#queen odet

[365filmsbyauroranocte]

A Rainha Diaba (Antonio Carlos da Fontoura, 1974)  

[alice-angel12x]

What do you think of Swan Lake AU? With Y/n playing Prince Siegfried, Kalim playing Odete and Jamil playing Odile:

AU History:

Y/n is the crown princess of her kingdom who will soon turn 18, and although her father knows he can command her and leads her kingdom alone, The people are insisting that the princess find a suitor. One day, while traveling through the woods, she encounters a swan, and discovers that this swan is actually Prince Kalim, who was cursed to transform into a swan, and returned to being human after sunset, he was cursed by someone who used to be his best friend, and the curse could be broken if he fell in love and was reciprocated, the curse would break, as time passes and they fall in love, so Y/n invites him to her coming-of-age ceremony, Kalim replies yes, but that he could only go at night, and Y/n said that the ceremony would be in the afternoon and last until midnight. At the coming-of-age ceremony, while chatting with the other candidates, Y/n expected Kalim to appear, but he was taking a while, so he appears, only he was wearing a black suit instead of white, and when Y/n goes to introduce him to her father, he asks to call him Jamil, and before Y/n was about to say who she chose, another Kalim appears saying that the other Kalim was an impostor, so to find out who the real Kalim was, Y/n asks a question that she knows only the real Kalim would know, and after Kalim answers correctly, the other "Kalim" reveals himself to be Jamil, the sorcerer responsible for cursing Kalim into a swan, After Jamil leaves the party, Y/n decides to go to his cabin in the forest to try to convince him to undo the curse, she goes to Jamil's hut and asks him to undo Kalim's spell, and when he refuses, she says that she will do whatever he wants if he undoes the curse, and he says that if she lived with him for 1 year without running away, he would remove the curse, also saying that she can only go out at night to visit Kalim and his father. During the time she spends with Jamil, she discovers a little more about Jamil and also falls in love with him, only she is still in love with Kalim, leaving her confused. But one morning, as the two were walking through the woods, Kalim (in his swan form) appears a little injured, and after tending to his wounds, Jamil being the only one able to understand him, they discovered that one of Y/n's pretenders was attacking their kingdom, because he was disgusted that she hadn't chosen him, and when they get there, they discover that this suitor was actually a very dangerous and evil sorcerer, and when Jamil tries to cast a spell to stop him, the sorcerer casts the same curse as Kalim on him, making him also transform into a swan (Kalim turns into a white swan and Jamil turns into a black swan), and when he was about to attack Y/n, the stone in the necklace (which belonged to his mother) starts to glow and in addition to protecting Y/n and everyone in the kingdom, he casts a spell that hurts the sorcerer, making him run away. Then Y/n's father reveals that her mother was the Fairy Queen Guardian of the Forest and the Kingdom, and that she always faced the wizard to protect the forest and the kingdom, and that the Magic Crystal was the only one capable of defeating him, so Y/n together with Kalim and Jamil decide to go on a journey to the sorcerer's castle, defeat him and undo the curse, and along the way, they make new friends and allies who were also transformed into animals by the wizard

If you want, you can change some things, but what do you think?

This is a really cool Idea. Sorry for the supper late response, I am very bad at checking my inbox. But I really like this concept. I might just want to draw this.

[world4]

Odet de Coligny, Cardinal de Châtillon.

Odet de Coligny, known as the “Cardinal de Châtillon” (1517-1571), was a French Huguenot leader, Catholic prelate of the Renaissance, known for his conversion to Calvinist Protestantism. First Archbishop of Toulouse, then Bishop of Beauvais, he was excommunicated by the Pope after his conversion in 1562 and married in 1564. He was a member of the government of Queen Catherine de Médicis. Odet de…

[byneddiedingo]

John Garfield and Joan Crawford in Humoresque (Jean Negulesco, 1946) Cast: Joan Crawford, John Garfield, Oscar Levant, J. Carrol Naish, Ruth Nelson, Joan Chandler, Tom D'Andrea, Peggy Knudsen, Craig Stevens, Paul Cavanagh, Richard Gaines, Robert Blake. Screenplay: Clifford Odets, Zachary Gold, based on a story by Fannie Hurst. Cinematography: Ernest Haller. Art direction: Hugh Reticker. Film editing: Rudi Fehr. Music: Franz Waxman. Jean Negulesco's Humoresque gets its title from the Fannie Hurst short story it's based on, but it also evokes the music played behind the opening title: the seventh of Antonín Dvořák's Humoresques, a group of short piano pieces that were later transcribed for orchestra. The music is best known today for the several facetious lyrics that have been attached to it, including "Passengers will please refrain from flushing toilets while the train is standing in the station." Today, the movie also inspires similar irreverence, as an example of the melodramatic excesses of Joan Crawford's later career. How many drag queens have donned replicas of the Adrian gowns Crawford wears in the film, with shoulder pads so wide and sharp you fear that she could injure a bystander with a sudden turn? But there are far worse movies than Humoresque, and far less impressive performances than Crawford's in it. She doesn't appear until well into the film, after we've established the ruthless desire of Paul Boray (John Garfield) to become a famous concert violinist. All he needs, it seems, is a rich patron, so when he meets Helen Wright (Crawford), who has the money and nothing else to do with it but take lovers and drink, his fate is sealed. It's not like he doesn't have people to warn him off: There's his fellow musician, pianist Sid Jeffers (Oscar Levant), who can't supply much more than cynical wisecracks to keep Paul from doing the wrong thing. And there's his mother (Ruth Nelson), who bought him his first violin but now wants him to settle down with fellow starving musician Gina (Joan Chandler) and raise a family. But once Paul falls into Helen's clutches and becomes a hugely successful concert artist, all Mama and Gina can do is sit in the audience and glare up at Helen in her box -- though Gina sometimes bursts into tears and flees the auditorium. None of this would work if Garfield and Crawford didn't play their roles as well as they do. Garfield brings all the intensity and conviction to Paul that he does to his ambitious boxer in Body and Soul (Robert Rossen, 1947). Although the violin playing is actually done by Isaac Stern, with some nice camera trickery that puts Garfield's face and Stern's fingers in the same frame, Garfield keeps up the illusion well, to the extent of busily working the fingers on his left hand, practicing the fingering even when he's not playing. He has some improbable lines to speak -- the screenplay by Clifford Odets and Zachary Gold is freighted with them -- but he makes them work. As for Crawford, ambition was her nature and ruthlessness her forte in life as well as art, but she never just speaks her lines -- she inhabits them. There's no surprise in her performance, but that's not what we want from her. Negulesco's direction can be a little shapeless -- there's a gratuitous mid-film montage depicting a busy, hyped-up New York City -- but he handles the concluding sequence, set to a pastiche of themes from Tristan und Isolde, very well. Franz Waxman received an Oscar nomination for scoring, and there are excerpts from composers like Tchaikovsky, Brahms, Bizet, Mendelssohn, and Bach throughout: The film is a reminder that there was once a time when the audience for a Hollywood film would sit through extended passages of classical music.

[talesofealdancynedom]

Pretty new plumage for the cute young couple: Artemis(crimson), and Matcha(white), in the royal raven kingdom nest.

Tale 11: Artemis Craweleoth & The Griminthrope (chapter 5 - Beloved Princess 5/5) part 3. Stories of Fey

none

A year after Artemis and Matcha decided to tour magic forests, Morgen as hosting all his and Emilia’s children, and new grandchildren, on the gate. All except Artemis. Their other children had all flown the coop, and become accomplished mages; but not above having family reunions. They all took comfort in the knowing that Artemis was happy, in the shadow veil or some magic forest somewhere. It had been months since Matcha and Artemis were last spotted, but they did visit everyone individually on ocassion. But not this harvest gathering. Cadence, the eldest, insisted that no one go look for their littlest sister so late; unlike Calliope, the second eldest, who sided with Patrick. They missed their youngest sister, wanted to invite her. But Cadence was right; it was well in the evening, and everyone was too tired to hunt Artemis down. But as Cadence woke at dawn, to feed the stag fey with her children, she noticed something; silence.

At first, Cadence ignored the quiet; but then Calliope and her wife noticed, and then Patrick and his girlfriend noticed. Where was the morning calls of cockatrice at dawn? The two of albino peacock phoenixes that bickered all their childhoods? The song of the orphan birds, or metallic flap of Stymphalians. Not even gryphons perched along the edge of the tower. The Sibling’s curiously looked around, and then got their father and mother to check as well. All the raven children were missing. Morgan, being Mage of Tiberius gate, could feel all the fey and people on it, but accounting for an entire kingdom of fey was beyond his scope. Tiberius gate was too dense with fey to sort. Morgan sent his familiar Icarus to help search from above. Even with teamwork, the two couldn’t sense any raven children. Each fey they asked, noticed their plumaged mythical cousins were missing, yet had no idea why this was. Many said the raven fey had vanished during the night. Tiberius Gate was a sanctuary, inhabited only by the king mage, his family, and fey. If there were no children of the raven king here, there weren’t anywhere. This had happened before; when Morgan was King mage and in school. All the wolf children vanished, and almost claimed his enfeyed best friend. The propect of one tenth of all magic disappearing, terrified him.

Morgen feared the worst: The Raven King may have been killed. Such a good friend since they met: going for karaoke and flipping TV channels. The Raven King was always good for a laugh, and giving an unhelpful yet whimsical perspective. Morgan’s greif of the loss of fey and magic quickly became overshadowed by the fear for his raven brother’s life. He was experiencing a special kind of tragedy all over again. As much as Emilia and his children comforted Morgan, they would never understand that the death of a beast king, to the King Mage, is like the loss of a sibling. Flustered, Morgan ran to the Raven Door with his children, only to find a twelve-year-old girl, weeping on beneath a tree, when they entered the shadow veil. She had no colour, except her icy eyes; she was human mage. She looked like a princess, dressed as old Anglian nobility. Her dress was black crushed velvet, with feather ruff; Fairy robes like mage Queen Meriam Craweleoth of the Grand West. Like she was from a time when Tiberius made the gate. The sobbing girl was dirty, worn, and grey. Morgan knelt to her.

“Are you ok? Raven Queen Odette? You wear your mother’s fairy robes.” Morgan said calmly.

“My husband and children are dead. Their song silent, and my true love, all lost. I do not care that I am no longer immortal, cannot fly, or have returned to being a human girl; I weep for my children and husband, I weep, for I no longer want to sing or live without them,” Odette responded in tears. “All I have is my name; I have been Raven Queen here for so long, it is all I know. The veil takes your memories, as the surrounding magic does not know time. But enough of me; I need to aid Artemis and the new Raven King. They may need help adjusting to their new roles, but I can’t move myself to do anything but cry for my late husband.” She sobbed. Everyone was speechless. As if they had heard a eulogy. Morgan’s children could not comfort Odette; for no one but him, had been able to read Meriam’s journals about her daughter’s mortal life. Morgan knew the story well, and it reminded him of his own daughter, Artemis.

Long ago, the now widowed Raven Queen was a princess kept in her father’s palace. There were talks of wedding her off in the name of peace. She was the only heir of the Great West of Anglia. Odette’s future was to be decided by lordly men. Even if her mother, the mage queen, protested. Odette stood gracefully in her finery at the edge of the courtyard pools, watching the birds. Princess Odette Craweleoth was her full name. She always wore soft blues, and had pale hair and icy eyes; she had magic move through her, at a very young age. Thus, changing her colours to that of a swan. Odette starred into the skies yearning to fly, and be as elegant as one of the birds she watched. Yearning to be a charmer of the Raven Gate in the Capitol instead, of its princess. Her mother, Meriam Craweleoth, sadly watched her only child resent her circumstances; like she once did.

Meriam, knowing the ways of magic, had figured out that her princess was a mage. In these olden times, mages were the only people who could use magic. Therefore, mages were used as weapons, if not exterminated; and Odette was oblivious to this fact. She only knew about a royal existence inside a palace. Odette was a girl who only wanted to love and live, and was innocently unaware of the trial of life. This resulted in Odette, not yet a fully grown lady, feeling no shame in indulging in the impossible. Meriam covered any tracks of her daughter and nephew finding joy in magical ways, least the people who call themselves wizard’s protest. More importantly, she wanted them to have their youthful pure wonder, a little longer.

Meriam dared to defy her values, and lie to her king husband; and withhold her knowledge of the fine large raven adorned in treasure. The Raven King visited the balconies uncomfortably often. Odette had grown to love and had befriended him. It was sweet, and heartwarming. Odette and the Raven King talked when he visited each night; bringing her shiny junk, and telling her jokes, as she complimented him and confessed her woes of having no choice in her future. The Raven King then revealed his more human face, to confess that he loved her so much, that if she requited his love, they could fly off together. Odette could be his beautiful swan. thrilled by his offer, she agreed and kissed him, becoming enfeyed with his magic as a beast queen. She loved him back. At last, she determined her fate, and could fly.

Queen Meriam did not see her daughter, the princess, fly off with the Raven King. but knew and said nothing; her little girl would be safe, and live long and happy in the shadow veil. But common men would not understand such things. By the time the guards, and Odette’s father, arrived to her chambers, she had gone without a trace. Meriam now guarded the Raven Gate she had made, for her daughter’s sake. Anything to keep her only child safe, and meet her raven grandchildren. And Meriam died in her age guarding it from her people. People who had been given tools to wield magic, and wished to eliminate magery form the world.

All Odette could recall of this, is once being a princess, the birds she watched, and wanting to be herself. It felt like it was only a dream. Odette had forgotten the name of her kingdom, and the faces of her human family. The people who loved her centuries ago. Odette was raven queen no more, but still felt a mother to the bird fey. She, in her emptiness, wished to help Artemis and her remaining royal children, the richen raven and griminthropes, which were now presumably human mages somewhere. Odette wanted to help her daughter in law be the queen she once was. To protect what remained of what she loved most. It was all she had to fill a hole, where love once was.

Morgan was struck with sadness as well. He was close to the Raven King, who was quite the beloved personality among all the beast kings and mages. No doubt the other beast Kings and Queens would grieve him too. The King’s of fey were like the only siblings Morgan and Emilia ever had. They were like aunts and uncles to their four children. Everyone felt cold and empty; as nostalgia reared from pleasant to bitter. There was no more innocent prankster, funny hat wearer, bad dancing crackly singer. The Raven King sung badly purposefully, because his real voice was so beautiful it caused any living thing that heard it to die. The first Raven King was terrifying and glories, in all his majesty. As pure magic should be. Even if The Raven King was made only of magic itself, he felt like a physical person. He was as old as the world itself, and had met his eventual end. Infinity always has eventually. Even though he lived so long, it felt so short. The Raven King was now just a story in books of magic. In his stead, Matcha would now have to be all of these things.

Suddenly it dawned on Morgan, Emilia and their children. Where is Artemis and Matcha? Are they alive and the new king and queen of the raven kingdom as Odette said? Patrick approached Odette firmly, and requested the widowed queen to take them deep in the forest; to the secret nest. The giant raven nest that was forbidden to anyone but the Raven King, Queen and any newborn heirs. The Raven King had decorated an orchard of trees in dazzling gems, armor, jewelry and ornaments in the most spectacular way. Centuries of careful tweaking and crafting; It was art. It was what inspired Matcha to bead and decorate. The nest sat upon the largest tree in the circular orchard. It was made of felt, down, straw and twigs. As Odette lead the concerned family into the clearing, they saw a large four-winged crimson bird with a skulled head in the nest. Perched above her, another large snow-white raven with Icey eyes, that was adorned handsomely with jewelry about his neck and talons. It was like Odette and the Raven King were still there. The family cautiously approached behind Odette; her face still wet from tears. She pointed to the massive birds, which turned to look at them.

“Mother?” the new Raven King said in a familiar voice. He swooped down into his human form, revealing himself. It was Matcha, and he looked exactly like his father had; taller and with more dazzling feathers, and a crown. Except his eyes, which were his mothers. He waved to the visiting mages with a wide smile. Even as King, Matcha was himself.

“My condolences of your father. All the folk of magic will miss your little siblings, and the gifts he gave to us,” said Patrick “but where is my sister Artemis?” He asked. The red bird ruffled and turned into her human form; It was Artemis peering over the edge of the nest down at them. Everyone’s faces lit up to see her in good health. She had gone white and scarlet, just as Odette had when she became queen. Her collar and trims sparkled, and she wore a clear robe, like a veil embroidered with glittering feathers. The regal plume of feathers around her neck was as soft as clouds. Artemis was nearly unrecognizable. Her trademark autumn blacks of her eyes, hair, and clothes were now a regal white and blood red. Artemis jumped down, and landed before her family, surprising them a little. Even as Raven Queen, she was still herself.

“Told you I would never leave him Patrick.” Artemis said, smirking. Then her expression faded to sorrow. “The Raven King was murdered upon trying to rescue a flock of his captured daughters. The wizards must have been so scared to see him, that they lashed out on instinct like trolls. the beast kings can be verry shocking when you first meet one; as they are so big and all. He must have let his guard down because mages have returned, and have been keeping fey safe. I for one, did not know a beast king could die. I thought they may retire by choice, or turn human or something…” Artemis said. She was hugging Patrick, and melting into the fur of his coat. “I will miss him. He named me, and has been an accepting uncle all my life. Now I am Raven Queen, and I do not know how to be a step mother to an entire kingdom of fey. My husband will have to recreate his father’s work to restore balance. It’s a lot, and it’s not fair. I fear that, along the way, I will also forget you.” Artemis cried. Odette gently clasped Artemis’s hand, and looked away.

“I want to help, and stay, but I also need to find my royal children. They will have survived, and are now mages running amok; they must be confused to be human. Similar to Wolf Queen Flowen’s royal children, if I recall.  I am no longer enfyed, and will age now; my time is precious. I will do my best to help you be a good queen and mother to the raven kingdom. Our kingdom. I think we are all happy to see you both are well.” Odette said coldly. The family stood in the clearing of trees, decorated like a festive ballroom, as they stayed silent in memory of a lost friend, father, leader, and husband. Morgan ran up to Artemis, pulling her away from Patrick to embrace her.

“I and your family, can visit. As King Mage I come often; If the new king sees me worthy of being a brother, and gives me back the kingdom stone.” Morgan whispered. Matcha pulled a palm sized rock with the raven kingdoms rune on it. He smiled and put it in Morgan’s pocket, like it was another Tuesday.

“You look beautiful. This must be how Queen Meriam felt when Odette, her daughter, became a beast Queen. I am happy to hear my child will outlive me, prosperously for centuries; caring for fey like any proud mage. Though I know the veil can fog the mind, I hope you try to remember us.” He continued. Artemis’s family took turns giving her and Matcha comforting embraces, before parting. They took Odette with them to find the last of her children, wishing the best for the new royals. They saw their family off with a gentle smile in return; in spite of the events that had occurred. On the surface, it all seemed so scary, but underneath it was kindness. In time, and with tender love and care, the raven kingdom will once again have a happy ending. In a way, this new beginning already was one.

TABLE OF CONTENTS --->

<---PREVIOUS

[the-feral-lady]

DIY Odete and Rothbart for Halloweeeeny

[sims3medieval]

Crown Prince James was the first in the royal line of Kings to finally be bethroed to a member of The Strongholds family. Lady Agneta.

—

It’s been a while, Simblrs! But here I am back again. Since last time, King Arthur had 3 more children with Queen Gertruud.

Besides Princess Odet, married off to a count vampire, crown prince James (as displayed) and a set of twins. Since both King Arthur and Queen Gertruud became elders.

[cannibalcreepers]

I got 2 asks, what outsider foods/drinks have the hiliker/odets tried and liked and what would the brothers do if their s/o ventures into the city for periods of time, would they follow them? Also what ghost songs do you recommend, my favorite is square hammer.

Some good questions there!!

First of!! What food or drinks (that they haven’t made from the forest or people) have they tried and liked:

One-Eye: Definitely a sweet-tooth man, he will devour all the lollies, candies, chocolates and creams until he throws up. When he found out how a whip cream can works he would snatch that up so fast anytime victims ended up having them in their cars, which wasn’t often. Loves to just eat cereals dry, these boys don’t come across milk much and when they do it would never last long. 

For drinks he loves energy drinks but he feels like he’s going to die whenever he drinks too many and regrets it, doesn’t stop him from drinking them again whenever he comes across them. 

Three-Fingers: Another sweet-tooth of a man, the type to lick the frosting of cakes and give the base part to his brothers, how soft drinks (soda) haven’t rotted his teeth from his head is a mystery, on top of sweet foods he does prefer a good hearty meaty meal and gets excited whenever they take out a caravan that has stoked up meats and vegetables, time to make a good stew! 

Saw-Tooth: You’d never think it but the man actually enjoys fruits, simply just doesn’t have it a lot. The fruit he likes though are more like watermelon and strawberries, greens aren’t a big thing in these boys diet but he won’t say no to most as long as no ones asking him to eat a raw carrot, if there is going to be carrots and onions, it better be in a meaty, fleshy stew,

He hasn’t got a favourite drink really, but won’t say no to a beer with his brother Pa. 

All three of them would kill people for fried chicken though, fast food is like a god send to them. 

As for the second one about a s/o that travels of to cities for longs periods of times: 

That wouldn’t bode over well, being the boys are much too possessive, they would follow all the time, if the s/o likes it or not, else they don’t go and if they’re the type to go against the three’s brothers wishes will eventually cause them to consider if the s/o is worth the trouble keeping around. Plus cities are too far off from where they are, this habit would be killed off pretty quickly and the s/o will have to learn to deal with hiking around the local area if they dislike being in one area for too long.

Oh my, well I would definitely suggest:

Darkness at the heart of my Love, Spillaways, Con Clavi Con Dio, I’m a Marionette, Ghuleh/Zombie Queen, Monstrance Clock, Twenties, Per Aspera Ad Inferi, Deus In Absentia, GRIFTWOOD!!!, Mummy Dust, Mary on a Cross, Jigolo Har Megiddo and Cirice 

Every song they have created is amazing but I’m very fond of these the most.

[atlasci]

im thinking about the god au again. you know how in myths, a lot of stuff has variations??? yeah well here’s some for arthur

arthur is depicted both as a serpent with an endless tail, and a leech with an endless tail. his teeth and colors change appropriately for these variations

when depicted as a leech, arthur’s main allusions focus more on how he steal and takes from other people, rather than tricking them. the legend goes that he stole power from the gods instead of swindling them out of it

arthur is sometimes depicted simply as a giant serpent/leech without the human-looking part added to it

after the story of the swan (@cygns​) and the serpent surfaced, some people began depicting him with black swan wings or burnt feathers

history can’t seem to make up its mind as to whether arthur’s eyes were green or blue, but either way they are always descriped as being hypnotizing and intensely bright

thorns being one of his nature symbols has a few different stories to it. some people say that he was bound with thorns by ozpin when he was cast down, and thornbushes grew up around him. other people say that his anger and sadness was so strong that his cries were laced with magic that would twist the nature around him into thorns

because offering meat, living or dead, to him is one of the most widely-known ways to give offering, arthur is also called “the butcher god” in some tales

some people say that it’s bad luck to have an apple tree at your home, because apples are one of his symbols and they could draw his curse to your family. others grow apples on purpose to please him and show him that they honor him but want no part in his wickedness, as protection. this varies from region to region

in the story of the serpent and the swan, some people tell it that arthur went with odet back to the heavens and stayed in her home while she prepared the wedding, but he was dragged out and sent back to earth by james. in this version, most people say that odet was no present when this happened, and the gods worked together to distract her as they knew her mercy would foil their plans to send arthur back

history also can’t seem to decide if arthur and ozpin were lovers or if they were master and student before he was cast down. there is a classic painting of the two of them created in the impressionist era called “the lesson” that depicts the two of them sitting by a small lake on top of mossy rocks. ozpin is reading from a book to arthur, who is surrounded by supplies to take notes with, though he is draped across the rocks with his cheek propped up on his hand as he looks up at ozpin. art historians have argued for years over whether this is meant to be admiration or pining

when the black queen, also know as salem, is depicted, she wears a crown. many people depict this crown as a living serpent from which the metal grows. arthur’s symbols show up quite a bit in her imagery, sometimes with a serpent around her neck, sometimes draped in emeralds, sometimes among a bed of yellow chrysanthemums. no one has ever been able to agree on what his importance is to her

[marciakaisersopran-blog]

Barcelona - QUEEN Concert - Oficina de Música de Curitiba Obra célebre eternizada pelo cantor do QUEEN, Freddy Mercury e a cantora lírica Montserrat Caballe. Soprano: Marcia Kaiser Cantor: Beto Ferreira Eruditu Philarmonic Orchestra Regência: Carlos Domingues 28 de janeiro de 2018 – 21h, no Teatro Guaíra | Grande Auditório. QUEEN CONCERT Direção Musical de Carlos Domingues Direção Artística de Felipe Guerra Direção de Produção: Monica Berlitz Direção Geral de Paulo Berlitz Gravação cedida por Ana Odete Trentini.

[junkielee]

[Film Review] The Devil Queen (1974)

    English Title: The Devil Qeen Original Title: A Rainha Diaba Year: 1974 Country: Brazil Language: Portuguese Genre: Drama, Crime Director/Writer: Antonio Carlos da Fontoura based on the story of Plínio Marcos Music: Guilherme Magalhães Vaz Cinematography: José Medeiros Cast: Milton Gonçalves Stepan Nercessian Nelson Xavier Odete Lara Yara Cortes Haroldo de Oliveira Wilson Grey Kim Negro Luter…

[njawaidofficial]

'Awards Chatter' Podcast — John Turturro ('The Night Of')

http://styleveryday.com/2017/08/27/awards-chatter-podcast-john-turturro-the-night-of/

'Awards Chatter' Podcast — John Turturro ('The Night Of')

One of the most highly-regarded character actors in the business — a regular in the movies of Spike Lee, the Coen brothers and Adam Sandler — reflects on his ethnic look, overcoming a mid-career crisis that almost led him to retire and why so many of his projects — from ‘Do the Right Thing’ to his latest, the HBO limited series for which he’s Emmy-nominated — address bigotry.

“I think the most interesting stuff being done is on television,” John Turturro, one of the most highly-regarded character actors of his generation — he has been a regular in films ranging from those of Spike Lee and brothers Ethan Coen and Joel Coen to those of Adam Sandler and the Transformers franchise — says as we sit down at the Empire Hotel in New York to record an episode of The Hollywood Reporter‘s ‘Awards Chatter’ podcast. “The types of films that were made in the 1970s are not being done [anymore],” he laments. “Mid-range, character-driven things.” This explains, at least partially, why Turturro wound up playing John Stone, a Manhattan criminal court attorney with health and hygiene issues who winds up defending a young Muslim man (Riz Ahmed) accused of murder, on Steven Zaillian‘s HBO limited series The Night Of, for which he’s nominated for the best actor in a limited series or movie Emmy. He adds, “The miniseries has always been an interesting form.”

Click above to listen to this episode or here to access all of our 175 episodes via iTunes. Past guests include Steven Spielberg, Oprah Winfrey, Lorne Michaels, Meryl Streep, Eddie Murphy, Lady Gaga, Robert De Niro, Emma Stone, Will Smith, Jennifer Lopez, Louis C.K., Reese Witherspoon, Harvey Weinstein, Natalie Portman, Jerry Seinfeld, Jane Fonda, Ryan Reynolds, Nicole Kidman, Lin-Manuel Miranda, Taraji P. Henson, Justin Timberlake, Elisabeth Moss, Michael Moore, Kristen Stewart, J.J. Abrams, Helen Mirren, Denzel Washington, Brie Larson, Aziz Ansari, Stephen Colbert, Julia Louis-Dreyfus, Warren Beatty, Jessica Chastain, Samuel L. Jackson, Kate Winslet, Sting, Tyler Perry, Amy Schumer, Jay Leno, Mandy Moore, Ricky Gervais, Kris Jenner & Jimmy Kimmel.

Turturro, who is of Italian-American descent, was born in Brooklyn and raised in Queens. He first took seriously the prospect of an acting career when, at a young age, he saw a clip of Dustin Hoffman in the 1969 film Midnight Cowboy, back when it still was rare to see ethnic-looking actors in prominent screen roles. “I was shocked,” he recalls. “I was like, ‘Wow, he looks like someone who’s in our family.” Turturro began acting himself during high school and then majored in drama at SUNY-New Paltz. After graduating, he landed a one-line role in Martin Scorsese‘s Raging Bull (1980), then briefly worked in other jobs (including as a substitute teacher), before ultimately pursuing his MFA at Yale, where he was cast in an unusual number of productions.

Shortly after entering the world of professional acting, Turturro began a long and fruitful collaboration with the playwright/screenwriter John Patrick Shanley and also popped up in small roles in films such as William Friedkin‘s To Live and Die in LA, Woody Allen‘s Hannah and Her Sisters, Scorsese’s The Color of Money and Michael Cimino‘s The Sicilian. His breakthrough screen role was in the Shanley-scripted Five Corners (1987), which brought him to the attention of Lee, with whom he developed an unusually close friendship and in whose films he became a regular, starting with Do the Right Thing (1989), Mo’ Better Blues (1990) and Jungle Fever (1991). Thanks in part to working so often with Lee, and in part to his own interests, race in America became a recurring theme in Turturro’s work early on, right through The Night Of.

The Coen brothers, meanwhile, had been aware of Turturro’s work for years — Joel’s wife Frances McDormand had gone to school with him and they often had seen him on stage — and they cast him in key parts in some of their earliest films that wound up putting them on the map, including Miller’s Crossing (1990) and, shortly thereafter, Barton Fink (1991). In the latter, the actor so effectively played a Clifford Odets-like tortured New York playwright-turned-Hollywood screenwriter that the film was awarded the Cannes Film Festival’s Palme d’Or as well as its best director and best actor  prizes. “Here [in the U.S.], it didn’t do huge [business],” Turturro recalls, “but people in the business saw it.” Among them: Robert Redford, who cast Turturro as Herb Stemple, a game show contestant who becomes a whistleblower of the quiz show scandals, in Quiz Show (1994), one of his finest performances. While promoting Quiz Show, Turturro hosted SNL and met Adam Sandler. Years later, after Turturro had shown his comedy chops in a small but unforgettable turn in the Coens’ The Big Lebowski (1998), he became something of a regular in Sandler’s films, too.

The Big Lebowski remains one of Turturro’s most popular films — something he never imagined possible during the making of it or even after he saw it for the first time. “When I got the script, I was kind of disappointed,” he reveals. “I was like, ‘There’s nothing here!’ So then I thought, ‘I better make something up because they’re all talking about him!'” Egged on by the Coens, he came up with all sorts of business for his character — a competitive bowler named “The Jesus” who had been inspired by a character the Coens saw him play at The Public Theatre years ago — such as dancing, licking a bowling ball, shining a bowling ball in a way that resembled masturbation. “The first time they showed [my scenes] to me,” he confesses, I was really embarrassed.” As for the overall production? “I didn’t even get the movie when it came out,” he confesses. “When I saw it, I thought Jeff was great, but it went over my head.” But, with the passage of time, it has grown on him, and he recently revisited it in Going Places, a Coens-authorized film that he directed and stars in as The Jesus, which will be unveiled later this year. “It’s a continuation of the character exploration,” he teases, “but it’s not a spinoff of The Big Lebowski. It’s much more sexual. You find out that he was framed [as a pedophile].”

Turturro had done TV before The Night Of — he won a guest acting Emmy for Monk in 2004 and anchored ESPN’s eight-part miniseries The Bronx Is Burning in 2007, among other projects — but he had never done anything quite like The Night Of. It began as a passion project of James Gandolfini, Turturro’s dear friend who died in 2013. Turturro was at Gandolfini’s wedding and funeral, and Gandolfini had starred in 2005’s Turturro-directed Romance & Cigarettes and Turturro’s sister Aida had played Gandolfini’s sister on The Sopranos). And then the project fell stagnant after Gandolfini’s death. “When they came to me, I felt a little strange,” Turturro admits, but he was given the blessing of Gandolfini’s wife and managers to pursue it, spent time with actual lawyers, studied and imitated Yiddish-inflected voices of long ago and generally became enamored with the fictional Stone. “I just loved playing the character,” he says, “and if they want me to explore that again, I would.”

Primetime Emmy Awards The Night Of

#Awards #Chatter #John #Night #Podcast #Turturro

[gentwinheatsink-blog]

I take from the world I know

My shoulders ache; sweat traces an itchy line down my temple, but it seems that no one has noticed us at all.   Enki basks in the rapture of his chosen audience. My grimace turns half smile. But as the noise subsides, Auntie Isa thanks the ambassador for his question with the barest hint of annoyance. Enki bows slightly from his hips and walks back to the other finalists.   I bite my lip to distract myself from the fierce burn in my biceps and shoulder blades.   "Damn it!" I say, loud enough in the quieting stadium for my neighbors to glare at me. I imagined turning on the holo-sign to shocked attention and general approbation. I hadn't prepared for this — what good is public art if no one even notices?

Gil glances at me, probably waiting for a sign that I've had enough.   But then Enki pauses, turns his head, and squints. "Is that . . ." he says, peering out at us like he's caught sight of Venus on a clear night.   He's seen it. The familiar floating hologram of our pyramid city, but with a ghostly, dark handprint at its heart — a clear echo of Fidel, our last moon year king, who marked Serafina with his bloody hand. At the top rotate the words The wakas of Palmares Três want Enki. The bottom of the pyramid glows green with miniature algae vats. Beneath that, the words This year, our light comes up from the verde.   He laughs and claps his hands. "I hope so," he says, and sits back down. Auntie Isa ignores us entirely, focused as she is on restoring order and control to the event. But why should I care — the only one who matters laughed at my sign and now everyone must be staring at it, wondering who had the audacity to do such a thing.

I imagine I can hear a few of the camera bots buzz a little closer overhead. If I'm lucky, this will rate a second- or third-tier gossip cast.   Gil and I grin at each other in a moment of pure triumph. But I don't want to overstay my welcome, so we shut off the projectors just as the two security guards finally get around to asking us to leave.   Sometimes I imagine the end of the world.    Not this end of the world. The other one, four hundred years ago.   You know those pictures they show us on Memorial Day? The thousands upon thousands of tiny white crosses sticking out of the dirt like daisies. The char pits after the bodies piled too high to bury, belching clouds of black smoke that spread like oil above Rio and São Paulo. It's strange for a boy to look at that, no matter how long ago, and not imagine how it must have been. It must have looked like Armageddon when the cold came, when the dirty bombs devastated Pernambuco. Hundreds of millions more died in the nuclear wars and the freezing and the southern migrations.   

I know all that, but it's not what I imagine.    I imagine I'm a Queen. Odete, sitting in a bomb shelter somewhere on the    coast of Bahia, in a country that had once been Brazil, and trying to force a new world from the screaming mouth of the old one. What wouldn't I do? What wouldn't I create? Who wouldn't I sacrifice, if it would keep the world from ever dying again?   So I take my lover, my king, and I put him on a pedestal and I cut him down. A man, like the ones who ruined the world.   I take from the world I know: Candomblé, which always respected a woman's power. Catholicism, which always understood the transformation of sacrifice. And Palmares, that legendary self-made city the slaves carved themselves in the jungle, proof that a better world can be built from a Led filament bulb .    And so, Palmares Três. Odete's utopia was even more improbable than my birth, and yet here we both are. Don't you ever wonder how we came to such a strange place from the way the world was before?    When the world is destroyed, someone must remake the world. I think you'd call that art.

[talesofealdancynedom]

Raven King in human form. Who says magic can’t feel paternal love?

Tale 8: Cetus, Jupiter, and Makatchthis (chapter 1. Raven Children 1/5 ) part 2. Stories of Fey

gore

The Raven king collects many shinny pieces of garbage. He uses this trash to make ornaments and chimes for his nest. These random lustrous objects were enchanted with his song and strung in different ways to be hung all about the branches of a giant tangling tree. The leafless branches entirely covered with fragments that dangle like rain, glittered and frost. The Raven King’s large nest could fit the Raven king and his wife, Raven Queen Odette, and it was made of magical twigs, straw, shed fur, down, and lost thread. Like the other beast kings the nest was hidden in the shadow veil, and no one, not even other fey and kings were aloud near it.

The raven princes and princess needed three things aside from the warmth of Odette’s down; rotting flesh, shiny chimes above them, and a sibling to play with. Odette usually bore two, but sometimes three chicks, and when only one was born it didn’t grow up. The Raven king made his nest so sparkly, and took such good cares of his heirs, simply out of fear of losing just one. And thus, The Raven King had the most royal children of any of the beast kings. As birds the Raven Princes and Princesses had sexual dimorphism; the boys, Griminthropes, started black as crows and grew to magpies with skulled heads; while the girls became white opalescent four-winged ravens with golden eyes, talons and beaks. As royal fey they were half human; and could pull their neck ruffles over their heads to be birds, or back to appear in the same human forms as their mother and father.  Furthermore, these raven children could learn and make any noise they heard, and never grew out of eating trash, making a racket and being distracted by glistening nouns. Being half human, as Odette was a human mage once, they felt human emotions and spoke the language of humans. The daughters were personable, but the sons were…in need of special treatment.

Grimenthropes require the flesh of things that have died. And a lot of it. they could get up to eight feet when fully grown. They were strong, pitch black and ominous, they could chill the bones of the bravest man. If a griminthropes hunger was great enough he would hunt. The daughters were fine with garbage and compost the humans made, but that dainty fare was too little for the raven princes. They would hunt for anything, including men, livestock, and other fey. Wait for it to die and become putrid before feasting. When griminthropes fed they held down the rotting dead flesh with their talons, used their massive corvid beaks to pull and swallow whole chunks through their skull heads. If there were bones, the griminthropes would reach their hands out from their breast to pull it into their strong human mouths beneath their obsidian plumage. The growling and crunching of bones could be audible for miles. When the prince was finished, there was nothing left of a corpse; not even bones or the scent of rotting meat. This is why the Raven King decided his princes should never be in the day veil. If one was to get hungry among men, and tried to hunt their livestock or people, the humans would kill his beloved sons. Children only he could love. Not to mention if the griminthropes ran amok the shadow veil, they would do the same to their cousins. devouring the fey of the other beast kingdoms. In desperation the Raven king decided to catch his precious flies with honey; he asked the Tree king to make him a special tree for his sons to perch in.

       This was The Death Tree. And it sat in a clearing covered in bones. It was tall, ebony, sickly, and noticeable from every point in the shadow veil. The Tree fey were made to give, and the Tree king was proud of all of her children. This generous gift was to sooth the griminthropes. It would attract anything dead or dying to its trunk. With free food, lodging, their brethren’s company, and an occasional serenade from their mothers and father, they would be content and never leave the tree. No fey or mage went near the tree out of fear of being mistaken for food. The wolf children would bring them carrion on occasion just for the thrill of getting a closer look. The griminthropes had a hierarchy and rotation of who fed on the next wondering entrée. The Richen raven princesses where able to go anywhere; but out of distrust of her sons, Queen Odette asked one of her eldest princesses, Palladis, to control and bring back any griminthrope that wandered. Palladis was like a bounty hunter or parole officer. Her brother’s containment was a top magical priority. Palladis was given special strength, and wisdom of the day veil to proudly carry out her duty. Even if it seemed cruel to any who heard the tale, The Raven king and queen loved their princes, and the griminthropes were indeed happy in their tree.

NEXT---->

[mulherama]

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Cinco novidades da Virada Cultural 2017

Evento acontece nos dias 20 e 21 de maio e teve sua programação divulgada nessa segunda-feira (8); veja as novidades da Virada Cultural deste ano

A programação da Virada Cultural 2017 foi divulgada nessa segunda-feira (8) pela prefeitura de São Paulo e apresentou novidades em relação aos anos anteriores.

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Daniela Mercury fará um dos principais shows da Virada Cultural 2017, nos dias 20 e 21 de maio

Foto: Leon Rodrigues/ Secom

Ao contrário do que foi anunciado pelo prefeito João Doria no começo do ano, a Virada Cultural não será concentrada no Autódromo de Interlagos, mas a pista será um dos palcos deste ano.

Veja abaixo cinco novidades da Virada:

Novos palcos

Além do Autódromo de Interlagos, a Virada deste ano terá outros grandes palcos. O Sambódromo do Anhembi receberá shows de Daniela Mercury, Titãs e Fafá de Belém, enquanto a Chácara do Jockey terá Liniker, As Bahias e a Cozinha Mineira, Orquestra de Música Jamaicana + Nando Reis e Dona Odete + Gaby Amarantos.

A Virada descentralizada também terá um palco no Parque do Carmo, com shows de Diogo Nogueira, Alcione, Wilson das Neves, Planta e Raiz e Bicho de Pé + Fágner. No Campo Limpo, MV Bill, Mart’nália e Fundo de Quintal são as atrações principais.

Shows menores no centro

Quem estava acostumado a ver grandes shows no centro, vai estranhar o evento deste ano. A Secretaria de Cultura optou por tirar as grandes atrações da Virada da região central para evitar mega aglomerações. Mesmo assim, o centro terá vários palcos e atrações durante as 24 horas.

Entre os destaques, estão festas de rua, palcos de cultura popular, música instrumental, forró, soul funk e rock. O Largo do Paissandú recebe um dos espaços mais legais da Virada: a Lona Circo, que terá espetáculos circenses das 18h do dia 20 às 16h do dia 21.

Hip Hop bem representado

Os fãs de Hip Hop vão gostar bastante da programação da Virada deste ano. O gênero terá dois palcos, um com músicos contemporâneos e outro com mais antigos. O palco contemporâneo ficará na Rua 24 de maio e terá shows de Tássia Reis, Edi Rock, KL Jay + Xis, Rincon Sapiência e Thaíde.

Rincon Sapiência é uma das atrações da Virada Cultural

Foto: Divulgação/Renato Custódio

Já o palco Hip Hop Antigos será na São Bento e terá apresentações de dança do Street Breakers Crew, Style Crew, Black Spin Crew e Street Warriors, além de sets de DJ Hum e DJ Ninja.

Cabaré Queer

Outra novidade é o Cabaré Queer, que acontecerá no Copan. O palco apresentações de Liniker, Jaloo, Rico Dalasam e Linn da Quebrada.

O espaço ainda será sede para o sarau Manas e Monas, um concurso de drag queens e o musical “O Meu Lado Homem – Um Cabaré d’Escárnio”.

Musicais

O Vale do Anhangabaú terá um palco dedicado a musicais, com destaque para “Alegria, Alegria”, peça estrelada por Zélia Duncan que comemora os 50 anos da Tropicália.

A programação ainda inclui “Auê – Barca dos Corações Partidos”, ��Gota D’Água – A Seco”, “Beatles num Céu de Diamantes”, “Carrossel – O Musical” e “60! Década de Arromba”.

A Virada Cultural 2017 é gratuita e acontece entre as 18h do dia 20 de maio e as 18h do dia 21 de maio. A programação completa está disponível no site da prefeitura.

[ariel-seagull-wings]

@themousefromfantasyland @the-blue-fairie

A Rainha Diaba (Antonio Carlos da Fontoura, 1974)