#runtime is 53 minutes

[odinsblog]

The Complete History of Tumblr ↵

[wanderfan2000]

So, I somehow just dubbed Pages 1-14 of my newest comic, The Punishment. And I think it might be my most LARGEST comic dub to date! 

[j4gm]

By my count, as of the end of the Fionna & Cake miniseries, there are now a grand total of 303 episodes of Adventure Time:

278 original episodes (counting TMYM and CAWM as one each)

10 minisodes (5 Frog Seasons, 4 Graybles Allsorts, and The Wand)

1 bonus episode (Diamonds and Lemons)

4 Distant Lands

10 Fionna & Cake

Including title sequences and credits, these 303 episodes have a total runtime of 62 hours, 47 minutes, and 53 seconds. If you did nothing but watch Adventure Time and sleep, that would take you four entire days.

[thewarmestplacetohide]

Dread by the Decade: 夜半歌声

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★★★★

Plot: An actor is tutored by the seeming ghost of a murdered revolutionary.

Review: Emotionally resonant and politically charged with well-rounded characters, Song at Midnight thrives despite some technical issues.

English Title: Song at Midnight Source Material: Le Fantôme de l'Opéra by Gaston Leroux Year: 1937 Genre: Psychological Horror, Horror Musical, Historical Romance Country: Republic of China Language: Mandarin Chinese Runtime: 1 hour 53 minutes

Director: Ma-Xu Weibang Writer: Ma-Xu Weibang Cinematographers: Yu Xingsan, Xue Boqing Editor: Chen Yiqing Composers: Tian Han, Xian Xinghai Cast: Shi Chao, Jin Shan, Hu Ping, Gu Menghe, Xu Manli, Wang Weiyi

------

Story: 4.5/5 - Provocative and boundary-pushing, it's unafraid to explore dark subject matter and humanize its tragic characters.

Performances: 4/5 - Everyone ranges from solid to fantastic. Shi and Hu give particularly wrenching performances.

Cinematography: 4/5 - Clearly inspired by German expressionism, it pays tribute well with harsh shadows and creative camera work.

Editing: 2.5/5 - Some transitions are noticeably lacking.

Music: 4/5 - The songs sung by the film's leads are lovely.

Effects: 3/5 - Its technical limitations show a bit here, but they did well with what they had.

Sets: 2.5/5 - Limited but professional enough.

Costumes, Hair, & Make-Up: 3/5 - Less exciting than you'd expect from a film inspired by Phantom of the Opera, though Danping's scars are pretty decent.

Trigger Warnings:

Moderate violence and gore

Torture

Attempted sexual assault

Misogyny (critiqued by the film)

Classism (critiqued by the film)

Ableism (critiqued by the film)

Medical scenes

[stedesbonnets]

as my beloved friend @theosrose said yesterday when we were talking, the sheer lack of any scenes between stede and ed this season makes it feel very strange, and since i've got nothing better to do today, i've decided to compare the amount of screen-time stede and ed share in season 1 vs season 2*

* i mean scenes in which they are alone, or in company but the focus is only on them (like the restaurant scene)

season one:

ep3: their first meeting (25:17-25:38). total: 21 seconds

ep4: opening (02:22-02:42), "who's this mary then?" (09:51-10:48), stede wakes up (13:41-14:31), aux wardrobe (14:57-16:56), "do you wanna do something weird?" (18:36-21:11), "we need to be a lighthouse" (26:51-27:38), ending (29:43-31:10). total: 535 seconds

ep5: books looting (01:32-01:49), dining lessons (02:26-04:18), going to the party (04:51-05:21) (i cut it right when frenchie enters), entering the party (09:10-09:48), ed playing the piano (15:29-15:57), stede telling ed to stand down (20:31-21:04), passive aggression (25:17-25:36), moonlight (26:11-27:12). total: 337 seconds

ep6: opening (00:11-02:30), ed almost kills stede (15:46-16:00, 16:16-16:25, 16:49-16:55), bathroom scene (18:00-20:44). total: 332 seconds

ep7: opening (00:10-01:10), treasure map (05:11-05:56), the moth (10:45-11:12), restaurant scene (12:00-13:30), after lucius calls ed out (17:35-18:40), co-captains (24:29-25:07). total: 325 seconds

ep8: "i mean in hindsight i probably could've guessed" (11:22-48), nature walk (12:40-12:52), the beach talk (16:43-17:28), ed leaves (22:18-22:52), foot nudge (33:07-33:35). total: 145 seconds

ep9: ed shaves off his beard (13:33-15:27), the kiss (16:44-19:58), last conversation (21:02-21:35). total: 341 seconds

interesting note: although stede and ed share the last amount of scenes in ep9 (only 3), the total amount of time spent together is the second longest in the entire season. also, the kiss scene is the longest scene in s1.

TOTAL NUMBER OF SCENES: 35

TOTAL NUMBER OF TIME: 2036 seconds, or 33.93 minutes

the total runtime of s1 is 5 hours 6 minutes 45 seconds, or 306.75 minutes. 33.93 out of 306.75 in percentage is 11.06%

season two:

ep1: opening (01:12-02:17). total: 65 seconds

ep3: reunion (27:43-29:44). total: 121 seconds

ep4: opening (00:00-00:28), "you're not a mermaid" (03:17-03:35), "i like your beard" (10:09-10:46), "i love everything about you" (17:23-19:43), stede inviting ed back to the ship (24:00-24:53), "buttons turned into a seagull!" (26:40-27:02). total: 298 seconds

ep5: "i'm your captain" (03:22-04:50), moonlight kiss (25:20-27:44). total: 224 seconds

ep6: guilt room (03:01-03:22), poison into positivity (04:53-05:47), don't be pirates, kids (07:47-08:17), the almost dance (11:38-11:54), the love scene (22:10-22:27, 22:43-22:50, 23:25-23:32). total: 152 seconds

ep7: the morning after (01:02-02:18), dining and dashing (04:19-05:57), ed giving stede a lesson in being famous (06:03-06:43), ed leaving (11:59-13:51). total: 326 seconds

TOTAL NUMBER OF SCENES: 21

TOTAL NUMBER OF TIME: 1186 seconds, or 19.76 minutes

the total runtime of s2 (minus the finale) is 3 hours 16 minutes and 2 seconds, or 196.033 minutes. 19.76 out of 196.033 in percentage is 10.07%

CONCLUSION:

while the amount of screen time in percentage is similar between the seasons, s2 has significantly fewer scenes with stede and ed. additionally, the time they spend together per episode in s1 is much longer than in s2, and the scenes are stretched out throughout the episodes evenly. even during s1ep8, in which they share the least amount of screen time due to being separated, stede and ed still share 5 scenes, unlike s2ep5 which separates them for the longest amount of time (20 minutes!)

so far in s2, stede and ed share way less scenes than in s1, and when they do, they are shorter and often oddly spaced. for me, the best laid out episode is episode 4, while the worst is episode 5. interestingly, they share the least amount of screen time (after ed wakes up) in ep6, despite having the love scene in it. in my opinion, most of their scenes in s2 feel less earnest than in s1, and are so short i can barely savor them. this is ultimately the result of hbo cutting off two episodes, but also an issue of giving the crew too much spotlight, making stede and ed's plot line feel rush and poorly planned post ep3.

i have no doubt the finale will fix most of stede and ed's issues, but the scarcity of the scenes they share (and their contents) make their arc feel watered down to me, like the writing crew keep beginning to say something meaningful but getting cut mid sentence

[xombigirl]

Tonight's Runtime for Critical Role Episode 53 is 4 hours and 22 minutes including art reel, break and post reel. The break will start at 2 hours and 33 minutes into the broadcast.

[lunardatagarden]

Perfect Dawn by Lunar Data Garden

[ l o a d i n g _ e v e n t _ P e r f e c t _ D a w n ]

> 12 new songs

> [ E c c o s y s t e m _ B o o t ]

> S e c r e t P l a c e

> S l e e p w a l k i n g T h r o u g h D a t a l i l i e s

> M e m o r y C a r d [ ⠕⠗⠊⠛⠊⠝]

> B a c k T o Y o u P t . 1

> E v e r y w h e r e I K n e w

> C T R L _ 8 0 4

> D o Y o u W a n n a T a l k ?

> L o s t C o n n e c t i o n

> G l a s s H a l l s

> B a c k T o Y o u P t . 2

> D i s c o n n e c t e d H e a r t

> Runtime: 53 minutes 14 Seconds

[flyttadigs]

new dorian electra album dropped and to no ones surprise the best song is also the longest one. (rambling about the runtime of modern music under the cut but tl;dr "yes man" is the longest in their entire catalogue now and im just looking at numbers not to hate on them but as a case study. overall fanfare is good everybody go stream it.)

would u believe its also now the longest in their entire catalogue. "yes man" is 5:26. previously that title belonged to "control" which clocks in at 4 minutes exactly. which i cant help but attribute to the four features on that song.

from their previous two albums though, the longest yet has been "career boy" at....... 3:37. this was previously their only song from their TWO albums to not only hit but also surpass the 3:30 mark.

this all surprised me so much just now looking up but now that im aware of the whole "tiktok audios influencing artists to write shorter songs with a punchy tiktok-audio-potential moment" phenomena i cant help but look out for it on new releases honestly, so while flamboyant may be remaining to be my favorite dorian album, i am absolutely enjoying the extra two songs (vanilla flamboyant and my agenda both having 11 songs each, not counting bonus tracks and remixes) and those extra minutes that are clocked in on fanfare. theres only three songs in total on fanfare that surpass 3:30 but im still savoring it and hoping they feel the energy with "yes man".

the last of the numbers for those final runtimes:

flamboyant - 31:17

my agenda - 20:30 (BRO???)

fanfare - 41:14

my agenda only has two songs that even make it to 3:00 so that explains that.

anyway, fanfare is a great album and most of the songs are actually just 15 seconds shy of hitting that 3:30 mark, leaving not only my agenda in the dust, but surpassing flamboyant by an entire ten minutes. im enjoying that about it already, and im grateful it broke dorian's trend of those super short songs from my agenda (i do love my agenda btw, this is not a dig at that albums sound or concepts, just me wishing it was freakin LONGER because its GOOD lol).

stream fanfare. or at least go listen to yes man and just vibe with it and savor it, you will understand at the 3:53 mark trust me. i even linked it if u scroll up im so serious if you read this far and havent heard their music before first of all i love you and second of all. you cant read all this and not listen to yes man cmon. <3

[wolfsplosion]

what's your favorite twrp song/album!

(visibly shaking) I HAVE VERY NORMAL AND NOT INSANE FEELINGS ABOUT THIS QUESTION , THANK YOU SO MUCH FOR ASKING ,

my favorite song of all time (TWRP or otherwise) is Polygon!! it just scratches my brain so good!!!! I listened to it on repeat so much last year that I had like 2.5k streams, spotify wrapped practically handed me an autism diagnosis over it .. when I heard them play it live last tour my soul left my body for the entire 3 minutes and 53 second runtime

runner up fav songs: FOOD BAR, Planet Bass, Top Secret, Typhoon Turnpike, Under the Sun, Life Party (this one makes me emotional so I have to be in the right mood to listen to it or it'll make me cry, I'm lame ik), Synthesize Her, Need Each Other, Maximum Thrust, and Descension from the Cosmic Horror EP if that counts bc I love synth metal oughh

as for my fav album THAT'S HARDER TO PICK .. there's something to love on every album tbh!! it's probably between Together Through Time and New & Improved ?? but let it be known that the race for 1st place is a close one between like, all of them

.......also stream Lord Phobos's solo music for clear skin 💅

[gorgynei]

runtime for the ep tonight is 4hrs 53 minutes... scarey but sooooo exciting

[digitalmedia-by-tejas]

The Affect of Hope: Chaplin's Speech in "The Great Dictator".

9.1 Abstract

The "Great Dictator" was a 1940s political satire movie with a runtime of 125 minutes. Written directed and produced by Charlie Chaplin, this movie is "a masterpiece that isn't just a delightful comedy and a grim agitprop drama, but a spookily accurate insight into Hitler's psychology" (Barber, 2021). And this blog is centered around one particular speech from this movie that comes at around the 1:53:55 mark of the movie. This speech lasts for approximately three minutes and thirty three seconds and is often regarded as one of the greatest speeches in cinema. The speech is a plea for humanity and has been resonating with people from around the world even today. But why does it continue to feel so powerful? Using affect theory, we can understand how Chaplin’s performance goes beyond words, creating an emotional force that stirs something deep within us.

(Fig; The Great Dictator Movie poster, Available at: https://image.tmdb.org /t/p/original/1QpO9wo7JWecZ4NiBuu625FiY1j.jpg (Accessed: 20 December 2024).)

9.2 Introduction

Affect theory is an abstract concept, with no single definition. In her journal article Marta Figlerowicz describes affect theory as "grounded in movements or flashes of mental or somatic activity rather than causal narratives of their origins and end points"(Figlerowicz, 2012). This idea conveys that human emotions are not linear and well defined, rather, they are spontaneous and fleeing across, moving from one body to the another. To expand on this notion we can look into the works of scholars like Massumi, who explain that human emotions arent just an interior, individual event; they are like rivers flowing from people to people, influencing how we connect, feel, and act in accordance with each other (Vogler, 2021). Or Sara Ahmed, who in her work "cultural politics of Emotions", deploys a model of affective contagion, focusing more on what emotions do and how they circulate rather than what they are. (Gorton, 2007)

It is this property that makes affect theory an excellent tool for analyzing this classic Charlie Chaplin piece.

9.2 The Affect of Hope

(Fig; Charlie Chaplin delivering the last speech, Available at: https://images.squar espace-cdn.com/content/v1/574f0b9a37013b939ab0b866/1489410266316-NAWXFGU9IHW3N8U9BX64/image-asset.jpeg (Accessed: 20 December 2024).)

The entirety of the final speech in "The Good Dictator" is filled with hope, But one of the most striking parts of this speech is Chaplin's declaration stating that, "The good earth is rich and can provide for everyone." The way he delivers these lines with a steady and sincere tone makes audiences feel like hope is not an abstract concept but a very tangible and real thing.

Ahmed (2010) describes hope as a “binding affect”—something that pulls people together by imagining a better future. And this affect of hope that comes from these lines have travelled for almost a century and they still hold true to this day. Bringing in the emotions of possibilities and togetherness.

And while we can say that the speech itself is full of hope, It also does not shy away from confronting the preexisting fears head-on "If you do not unite, you will be lost", but this line is more of a motivator than a paralyzing or demotivating statement. Brian Massumi describes describes fear as an emotion that can create momentum, and push us toward change (Massumi, 2002). And Chaplin brilliantly used that fear and channeled it towards something productive, conveying that while it may seem hopeless and lost, the power to act on is always in out hands.

9.3 Relevancene and Conclusion

Chaplin's speech is more relevant today than ever before. With a world grappling with more inequality, authoritarianism, and environmental crises, his call for togetherness and, kindness, and unity is as urgent as ever.

Affect theory reminds us that emotions aren��t just something we feel—they’re something we share.

And this speech is a perfect example of how timeless and legendary a piece of media can become If it masters the art of emotionally connecting with its audience. I personally believe that this movie is a very good case study for any up-and-coming storytellers on how to write a timeless classic. By analyzing and studying this human connection, I believe even we storytellers can tell tales that would hold true and speak to audiences across borders and generations just as Charlie Chaplin still speaks to us 80 years later.

9.4 References

Ahmed, S. (2010) The Promise of Happiness. Durham, NC: Duke University Press.

Barber, N. (2021) 'The Great Dictator: the film that dared to laugh at Hitler', BBC Culture, 5 February. Available at: https://www.bbc.com/culture/article/20210204-the-great-dictator-the-film-that-dared-to-laugh-at-hitler#:~:text=The%20Great%20Dictator%20is%20a,in%20a%20making%2Dof%20documentary (Accessed: 20 December 2024).

Figlerowicz, M. (2012) 'Affect Theory Dossier: An Introduction', Qui Parle, 20(2), pp. 3–18. Available at: https://doi.org/10.5250/quiparle.20.2.0003 (Accessed: 20 December 2024).

Gorton, K. (2007) 'Theorizing emotion and affect', Feminist Theory, 8(3), pp. 273–295. Available at: https://journals.sagepub.com/doi/pdf/10.1177/1464700107082369 (Accessed: 20 December 2024).

Massumi, B. (2002) Parables for the Virtual: Movement, Affect, Sensation. Durham: Duke University Press.

Vogler, G. (2021) 'Bridging the gap between affect and reason: on thinking-feeling in politics', Distinktion: Journal of Social Theory, 22(3), pp. 259–276. doi: 10.1080/1600910X.2021.1927782.

[theghostpinesmusic]

For some reason, the official Phish channel posted two videos apiece for the 8/4 and 8/5 shows. Initially, for my own sanity, I was only going to cover one video for each night. But, then I got stuck in writer's-block-hell while trying and failing to work on my sabbatical project and thought that writing about jams for a bit a) is still technically writing of a sort, and b) is probably the best way to round out my Friday afternoon at this point.

So, "46 Days." I don't actually remember this very well from my original watch of the full show (a few weeks ago at this point), but I did describe it in my initial notes as having an "Amazing, unique jam." Let's return to it and see if that judgment holds up to scrutiny, or if it was the drugs talking!

Unlike my previous write-up, this one starts "normally," with the song itself: "46 Days" in all it's bluesy, chunky, Round Room-era glory.

That said, it lasts about two minutes, and then we're immediately moving into a rumbling, drums-and-bass-heavy jam. Trey and Page are adding to the proceedings here, too, but at least initially they are playing in lower registers. I love how this section of the jam just sort of rumbles along as a result, the musical conversation between Trey and Page becoming more intense as it goes.

We change direction at 3:55 or so, modulating to a different (major?) key, and immediately Trey and Page both take more melodic control of the jam. I love what Trey starts playing at 4:45, and how Mike immediately moves to play off of his contribution. Before long, Page joins in and all three of them are doing this crazy melodic mind-meld which is just wonderful to hear.

The mind-meld uncouples a bit by 6:30, and this is a little bit more of an opportunity for Trey to take a solo and push the jam toward a peak, though it's not as if everyone else necessarily fades to the background here. In fact, Trey hits and holds a single note starting at 6:53 for about a minute, and though this might seem initially to be a sort of "show-off" move, I've often felt he uses this "trick" to let the rest of the band play while he essentially lays down a "backdrop" of that single note. It ends up feeling like an act of egoless-ness rather than the opposite. But maybe that's just me.

Regardless of the intent, Trey comes back from the held note at 7:50 to begin piling guitar loops on top of each other as the band builds energy toward a peak. Like most Phish jam peaks these days, this doesn't rely on one particular, fist-pumping high note, but instead is a rolling, major key blast of bliss before the band changes directions again at 9:05 and drops back into a darker jam in the key of "46 Days."

This sets up some pointed bluesy noodling from Trey before he leads the band back into "46 Days" proper to round things out.

While this is the second post in a row I've done on something that is not a huge, 20+ (or 30+) minute jam, one of the things I've really appreciated about post-COVID Phish so far is their willingness to regularly explore a number of interesting musical ideas in a jam without necessarily having to stretch it to enormous lengths. Sometimes that long exploration is warranted, and sometimes you're able to play a twelve-minute version of "46 Days" that might not catch anyone's attention "on paper" because of its "short" runtime, but that nonetheless has a lot of interesting things to say.

As a fan going on twenty-five years now, I'd definitely rather hear something like this "46 Days" over one of the many, many, many, jams from the 2010s that were 20+ minutes long, but took ten of those minutes to get anywhere actually interesting musically.

So, yeah. I'm glad I gave this a second listen. And next time I'm totally going to write about a much longer, much crazier jam. So there.

[triplethreattheater]

Triple Threat Theater Episode 91:

Carry A Tune

Films discussed on this episode:

Grease (1978)

Cannibal! The Musical (1993)

Les Miserables (2012)

Runtime: 1 hour, 53 minutes

Hosted By: Joe Daxberger & Rian Miller

Subscribe to Triple Threat Theater on iTunes or check us out on SoundCloud.

Follow Triple Threat Theater on Twitter and Instagram.

[blackberry-sage-tea]

"I'm very glad it's all over" she says, while there's still 53 minutes left in the runtime of the movie.

[thewarmestplacetohide]

Dread by the Decade: Dr. Jekyll and Mr. Hyde

👻 You can support me on Ko-Fi! ❤️

★★½

Plot: A doctor experiments upon himself, hoping to scientifically separate his good and evil sides.

Review: Despite its high budget and a powerful performance from Bergman, this remake is not much more than a defanged retreading of old ground.

Remake of: Dr. Jekyll and Mr. Hyde (1931) Source Material: Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson Year: 1941 Genre: Sci-Fi Horror, Gothic Country: United States Language: English Runtime: 1 hour 53 minutes

Director: Victor Fleming Writers: John Lee Mahin, Percy Heath, Samuel Hoffenstein Cinematographer: Joseph Ruttenberg Editor: Harold F. Kress Composer: Franz Waxman Cast: Spencer Tracy, Ingrid Bergman, Lana Turner, Donald Crisp, Ian Hunter, Peter Godfrey

------

Story: 2.5/5 - Its strongest scenes are merely retreads of its predecessor's. Any new material is repetitive and overlong.

Performances: 4/5 - Shaky accent aside, Bergman is devastating as the abused Ivy. Tracy, though, is less memorable, with his Jekyll being solid, but his Hyde little more than a brutish criminal.

Cinematography: 4/5 - Striking, especially during Jekyll's transformation hallucinations.

Editing: 4.5/5 - Wonderful combination of of fades, dissolves, and cuts. Jekyll's transformation are standouts.

Music: 3/5

Sets: 4/5 - Lovely and high quality.

Costumes, Hair, & Make-Up: 3.5/5 - The women's gowns are gorgeous, but Jekyll and Hyde's costumes desperately needed more distinction.

Trigger Warnings:

Mild violence

Rape (off-screen)

Domestic abuse

Animal death

Animal experimentation

Misogyny (mostly critiqued)

[foone]

correcting my math:

she's at approximately 1:19, so the film is ~60% over.

of the remaining hour of film:

Obi-wan & Anakin start their duel at 1:47, and it continues until Anakin is disarmed (HA) at 1:59.

So that's a 12 minute long duel out of about ~53 minutes, or about 1/5th of the remaining runtime.

my roommate is watching Star Wars Episode 3 for the first time, and she just got to the point where Mace Windu and the other Jedi confront Palpatine. She goes "Boy, there's a lot of lightsaber fights in this movie!"

She honestly doesn't know that she's 3/4ths into the film and the remaining 1/4th is just one long lightsaber fight