#studio rada

[elderscrollsconceptart]

Rada al-Saran on his throne

Concept art for The Elder Scrolls: Online

Art by Nuare Studio

[timelordandhisart]

I definitely wouldn't draw this character if it weren't requested.

[studiorada]

１２月レッスンカレンダーとお知らせ

やっと冬の気配を感じるようになりました。 気温も下がり、代謝も難しくなる季節です。 体調管理のためにもぜひレッスンにお越しくださいませ。 床が冷えやすくなっておりますので、ぜひ暖かい格好でお越しくださいませ。

studioRADAは全クラス、メールにて事前予約制となっております。    ご予約方法に関しましては下記の【クラス参加のご予約】をご一読ください。 お手数ではございますが、メールに記載する内容などご確認いただけましたら幸いです。

12月のすべてのクラス・WSのご予約を受付中です。 12/29(日)〜1/6(月) 年末年始休業をいただきます。 何卒ご理解のほどよろしくお願いいたします。

最新情報、代講・休講情報は X・Facebook・Instagram にて随時ご案内しております。ぜひフォローをお願いいたします。

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【12月のバレエ・コンテンポラリークラス ピックアップ】

＊朝バレエ・夜バレエ体験料金実施中  バレエ全クラス初回1500円で体験していただけます。  ぜひご活用くださいませ！  (スタジオにお越しいただくのが初めての方が対象です。祝日特別クラス・舞台人のためのバレエクラスは適用外です。)

＊12月特別講師をお迎えします！！ 土曜日19:30-21:15 12/7・12/21 池上たっくん「コンタクトワーク基礎クラス」 12/14 岡田玲奈　　「フロアムーブメント基礎」 各種snsで随時情報更新しております。 ぜひフォローの上、ご確認のほどよろしくお願いいたします＊

・タンゴクラスの詳細はこちら からご覧ください

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【クラス受講・スタジオ内でのお願い】  • 全クラス事前予約制  • マスクの着用有無の自由  • 受付での手指消毒のご協力  • ゴミはお持ち帰りください  • 体調がすぐれない場合は受講をお控えください

【studio RADAの取り組み】  • 講師による任意でのマスク着用  • レッスン中、レッスン毎の換気      • レッスン毎のスタジオ設備、備品等の清掃

【クラス参加のご予約】    info@studiorada.com まで  ①フルネーム  ②ご希望のクラス名と日時 ③日中連絡のつくお電話番号  以上を明記の上、ご希望クラスの前日夜22:00（朝バレエ以外は各クラスの2時間前）までにお送りください。 お電話でのお申し込みはご遠慮いただいております。

[justacynicalromantic]

Ukrainian painter, professor, public figure Oleksandr Murashko (1875 - 1919) with his wife Marguerite Murashko, nee Kruger:

Oleksandr was a student of another prominent Ukrainian painter - Illia Repin.

Murashko has been called "the most important Ukrainian artist of the turn of the century". His painting "Carousel" won the gold medal at the Munich Exposition in 1909, and he exhibited in Venice, Rome, Amsterdam, Berlin, Cologne, and Düsseldorf.

From 1909 to 1912, Murashko taught at the Kyiv Art School. In 1913, he opened his own studio in the Ginsburg skyscraper, where many young Jewish artists were trained, including Mark Epstein. He had a great influence on Kazimir Malevich.

He founded the Association of Kyiv Artists in 1916 and the following year co-founded the Ukrainian State Academy of Arts.

Oleksandr Murashko was murdered by the agents of the All-Russian Extraordinary Commission secret police, more commonly known as Cheka (ЧК), in 1919, when he was taking a stroll with his wife.

Not long before his death, his hands full with organising the socially important activities, with teaching and working at the Art Rada, Murashko wrote:

"I haven't really been making any new artwork for the last two years. All of me is immersed in organizing the artistic life of Ukraine. This issue is posed so acutely and is so complicated that I cannot possibly, in any good conscience, avoid it. But I have firm hope that, having given my all to my people, I will be able to return to quiet work..."

Some of Murashko's artwork.

The famous "Carousel":

"Burial Of A Kish Otaman":

"Winter" and "Girl in A Red Hat":

"Near The Cafe":

"Rural Family":

[taskmastercaps]

[ID: Six screencaps from Taskmaster. Susan Wokoma sits outside a garden shed at night, wearing pyjamas and a pointed nightcap. She says, "I was made for this. I don't know if you know, but I trained at the Royal Academy of Dramatic Art, mate." Later, in the studio, Greg Davies says, "RADA strikes again." Susan pleads, "I know it's annoying, but it's all I've got, so... just let me have it." End ID.]

[hotvintagepoll]

Propaganda

Devika Rani (Achhut Kanya)—She was grandniece of Rabindranath Tagore (laureate). She was sent to boarding school in England at age nine and grew up there. After completing her schooling, she joined the Royal Academy of Dramatic Art (RADA) and the Royal Academy of Music to study acting and music, at a time when aristocratic women did not enter showbiz. She studied filmmaking in Berlin. It is well known that she underwent training at the UFA Studios in the art and technique of acting under Eric Pommer, and other aspects of film production including costume and set designing and make-up, under eminent directors like GW Pabst, Fritz Lang, Emil Jannings and Josef von Sternberg. She is also reported to have worked with Marlene Dietrich. She had a multi-faceted personality and took on many responsibilities of film production at Bombay Talkies, a studio that she co-founded with Himanshu Rai in Mumbai in 1934. She often took care of hair and make up, supervised set design and editing, scouted for new talent and mentored them. She was the face of Bombay Talkies, and also the reason behind the political and financial backing the studio received, at a time when even women from red light districts refused to work as actresses. She was the first recipient of the Dadasaheb Phalke Award, when it was instituted in 1970.

Diahann Carroll (Paris Blues, Carmen Jones, Porgy and Bess)— Face of an angel. She had the range. She brought chemistry with every romance she portrayed. She also had a great fashion sense, and was so pretty Mattel made a doll based off of her.

This is round 4 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Devika Rani:

Achhut Kanya (1936) is the only one of hers I've seen but hot DAMN

Diahann Carroll:

Another groundbreaking black actress, although she might be better remembered for her television roles. She was also an activist and worked with charities to support women in need.

here she is hanging out with shadow prince anthony perkins :3

[invisibleicewands]

Michael Sheen narrates our brand-new show for The Snowman Tour

We are thrilled to announce that Michael Sheen has recorded the narration of The Bear, the Piano, the Dog and the Fiddle for us, ready for its world premiere on The Snowman Tour, 2024.

“I get to tell the story of The Bear, the Piano, the Dog and the Fiddle! It's something that I'm really excited to be a part of; the storytelling by David Litchfield is so rich, and the music that has been composed by Daniel Whibley is incredibly beautiful. To be able to contribute to such a lovely family experience this Christmas brings me a lot of joy.” Michael Sheen

Our Managing Director, Rachel Whibley, explains, "It’s been a joy collaborating with award-winning author-illustrator David Litchfield, award-winning composer (and Carrot Productions' very own Artistic Director) Daniel Whibley, and animator Kevin Francis to bring The Bear, the Piano, the Dog, and the Fiddle to life for our audiences.”

"We are hugely honoured that Michael Sheen agreed to narrate The Bear, the Piano, the Dog and the Fiddle!" Rachel enthuses. "He is a phenomenal actor and an all-round lovely human being, and it has been a privilege to collaborate with him on this project."

Michael recorded the narration last week in a London studio, and we are delighted to be able to share a sneak preview of his beautiful narration alongside the animation and music.

Michael Sheen

Michael is a multi-award-winning Welsh actor and RADA graduate known for his extensive work across film, TV and stage, as well as his charity work. His vast film credits include The Damned United, David Frost in Frost/Nixon, Tony Blair in The Queen, Lucian in the Underworld series, Aro in The Twilight Saga, Woody Allen’s Midnight in Paris, and Apostle.

Michael’s numerous TV credits include The Special Relationship, Masters of Sex, for which he was also a producer, Good Omens, Prodigal Son, Quiz, and Staged - the hit lockdown comedy co-created with David Tennant. Sheen's acclaimed stage performances include Amadeus, Caligula, and Hamlet. Recently, he made his directorial debut with The Way and played Prince Andrew in A Very Royal Scandal. He created, co-directed, and performed in the ground-breaking three-day live event The Passion in Port Talbot for National Theatre Wales.

The Bear and the Piano - the book trilogy

The Bear, the Piano, the Dog and the Fiddle, published in 2018, is the second book in the trilogy created by the multi-award winning illustrator and author, David Litchfield. The original book,The Bear and the Piano, took the world by storm in 2016, winning numerous awards, including Waterstones Children’s Book Prize for the Best Illustrated Book of the year. The final book, The Bear, the Piano, and Little Bear’s Concert published in 2020, sees Bear’s international concert days behind him; now a father, his musical adventures continue closer to home. 

The Bear, the Piano, the Dog and the Fiddle - the story

Set in New Orleans with a new cast of animal musicians, this charming sequel is a story about friendship and perseverance. Hector, a fiddle player, and his dog, Hugo, are best friends. They have made music together through good times, bad times and even some crazy times. Hugo is Hector's biggest fan, and when Hector retires, Hugo secretly learns to play the fiddle himself. But when Hugo gets the chance to play and tour with Bear’s Big Band – an opportunity that Hector had always dreamed of – Hector’s jealousy gets the better of him. Will Hector be able to overcome his own disappointment and learn to be happy for his friend?

This heartfelt tale reminds us that there are many different kinds of success. It celebrates the joy and healing powers of music and friendship, and teaches that friendship, like good music, lasts forever.

David Litchfield - the author and illustrator

David is a multi-award winning illustrator and author. David first started to draw when he was very young, creating Star Wars and Indiana Jones ‘mash up’ comics for his older brother and sister. Since then his work has appeared in magazines, newspapers, books and on T-shirts. He has also exhibited his illustrations in both solo and group shows in the U.K, Europe and America. In addition to The Bear and the Piano trilogy, David’s author/illustrator picture books include Grandad’s Secret Giant, Lights On Cotton Rock, T, and Kid Christmas: Of The Claus Brothers Toyshop. David has illustrated books for authors Ross Montgomery, Gregory Maguire, David Almond and Smriti Halls; Miss Muffet, Or What Came After for Marilyn Singer and book covers for Kate Dicamillo, Neil Patrick Harris, Chloe Daykin and many more. David lives with his family in Bedfordshire, England.

“I am so excited that Carrot Productions are adapting my book 'The Bear, the Piano, the Dog & the Fiddle' for their amazing live performance. Seeing my first book 'The Bear and the Piano' come to life on stage in Carrot's previous shows was one of the highlights of my life and I cannot wait to see what these incredible musicians and storytellers achieve with this new book.” David Litchfield

Daniel Whibley - the composer

Daniel is a composer and arranger whose music is heard live each year by thousands of people across the world, featured on TV and all BBC Radio stations. He was commissioned by Aardman to produce orchestral arrangements for all four Wallace & Gromit films and additional material for Wallace & Gromit and Shaun the Sheep in Concert. He wrote music for the 2023 CBeebies Prom and Mr Tumble’s Special Adventure with the BBC Philharmonic. His Musical Story of the Gingerbread Man has had millions of views, and his 10-part CBeebies series, Musical Storyland, was recently nominated for a Royal Television Society award.

“I’ve relished working alongside animator Kevin Francis to create a brand new score for The Bear, the Piano, the Dog and the Fiddle. Expect some very virtuosic violin playing at the performances!” Daniel Whibley

The Snowman Tour 2024

Carrot Productions are excited to be staging not one, but two world premieres for the 2024 The Snowman Tour. Alongside the screening of The Snowman, we will premiere two films featuring two very special dogs - Hugo the violin-playing dog, and The Snowdog himself.

We will be touring to venues across the country this November and December with two different shows. Choose between:

The Snowman™withThe Snowman and the Snowdog or The Snowman™withThe Bear, the Piano, the Dog and the Fiddle

Our shows feature screenings of the films, accompanied live by full orchestra, together with some other festive musical delights, and even an appearance from the Snowman himself!

You can hear Michael Sheen's charming and evocative narration of The Bear, the Piano, the Dog and the Fiddle at venues including: Stockport, Oldham, Derby, Buxton, Guildford, Birmingham, Liverpool, York and Chester. See listings for details.

“It's been wonderful to collaborate with the creatives at Penguin and author-illustrator David Litchfield to bring these films to life for our audiences.” Rachel Whibley, Managing Director, Carrot Productions

[justforbooks]

In the 1960s, there was one actor who could justifiably claim that ladies prefer blonds. As the secret agent Illya Kuryakin in the TV series The Man from UNCLE, David McCallum, who has died aged 90, received more fan mail from young women than any other actor in MGM’s history.

With his Beatles-style haircut, his liking for black turtleneck sweaters (which created a fad among viewers nationwide), and an aloof and enigmatic air, through which he sneaked a fair amount of charm and self-amusement, McCallum made Kuryakin into a sex symbol of the period. He provided a trendy contrast to Robert Vaughn’s Napoleon Solo, his fellow spy, who went in for expensive suits and ties.

Although Solo and Kuryakin worked perfectly in tandem, their personalities were at variance, the former being urbane, easygoing and sociable, the latter more reserved, intellectual and intense.

The James Bond film craze had already taken off when The Man from UNCLE series was launched in 1964, so US audiences were used to laidback heroes and their villainous nemeses. However, it was surprising to find a hip Russian alongside the good guys of United Network Command for Law and Enforcement fighting against the evil organisation THRUSH (an acronym for Technological Hierarchy for the Removal of Undesirables and the Subjugation of Humanity), during the cold war.

McCallum, who played Illya with the slightest Russian accent and an occasional Scottish lilt, was also known recently for his long-running role from 2003 in the popular CBS crime series NCIS.

He was born in Glasgow. His parents were classical musicians; his mother, Dorothy Dorman, a cellist, his father, David McCallum, a violinist and leader of the London Philharmonic Orchestra. McCallum Jr won a scholarship to University College school in Hampstead, north London, before being accepted at Rada, where he studied from 1949 to 1951, having given up his ambition, and his parents’ wish, to play the oboe professionally.

In 1951, McCallum managed to satisfy his love for both music and the theatre by landing the position of assistant stage manager at Glyndebourne opera. However, he was called up to do his national service in West Africa. Demobbed as a lieutenant, the 19-year-old McCallum headed for the theatre, which mainly meant stage-management jobs in rep.In 1956, he half-heartedly posted off some photographs of himself to the Rank Organisation, which was scouting for young talent. The photos were seen by Clive Donner, who was casting his first feature, The Secret Place (1957), and he invited McCallum to do a reading.

“Although he was nervous, his voice was firm, and he was very good,” Donner recalled. “I sat and looked at him for a long time. He was very skinny, with a marvellous head and huge eyes. I think he was living in a bedsit in Archway at that time and had little money. We put him under contract straight away.”

Obviously under the influence of James Dean, the leather-jacketed McCallum, playing a young punk involved in a heist, does his best to express teenage angst. In Cy Endfield’s gritty thriller Hell Drivers (1957), McCallum plays Stanley Baker’s brother, on crutches as a result of a crime. In the cast, as a waitress, was 20-year-old Jill Ireland. McCallum and Ireland were to marry a few months before the film’s release. Soon after, they played young lovers in Robbery Under Arms (1957), an adventure shot mostly in Australia. At that time, the couple were often pictured together in fan magazines.

It was back to British realism with Basil Dearden’s Violent Playground (1958), in which McCallum plays a juvenile delinquent gang-leader. Despite a mite too posh an accent, he makes a vivid impression with his drawn features and mop of fair hair.

There followed several more conventional supporting roles, such as radio operators, first on the Titanic in A Night to Remember (1958), and a jumpy one in an Elstree-studio Burmese jungle in the second world war drama The Long and the Short and the Tall (1961). He was even more nervy in John Huston’s Freud (1962) as one of the first of the psychoanalyst’s patients, a young man who assaulted his father because of an incestuous love for his mother.

After appearing as a sympathetic officer in Peter Ustinov’s Billy Budd (1962), McCallum went to Germany to make John Sturges’s The Great Escape (1963), the most expensive PoW picture of them all. Among a starry cast, headed by Steve McQueen, James Garner and Charles Bronson, McCallum held his own among the Brits as Eric Ashley-Pitt – “Dispersal – who devises a way of getting rid of dirt from the digging of an escape tunnel. But more significant for him was the fact that Ireland, who was with him during the shoot, fell for Bronson. Ireland and McCallum divorced; he later married Katherine Carpenter, while Ireland married Bronson.

McCallum, who was already making his principal career on television, was given the secondary role of Kuryakin in The Man from UNCLE, but was soon granted equal billing with Vaughn after it rapidly became clear that he had a huge fanbase. Alma Cogan recorded a song called Love Ya, Illya, which became a pirate-radio hit in Britain in 1966, and as late as 1991, an Argentinian funk duo named themselves Illya Kuryaki and the Valderramas, after McCallum’s character and the Colombian football player Carlos Valderrama.

The first feature-film spin-off from the TV series, To Trap a Spy (1965), in which McCallum had a minor role, did little business. But the second one, The Spy With My Face, co-starring McCallum, really lifted off, followed by the box-office hits One of Our Spies Is Missing, One Spy Too Many and The Spy in the Green Hat (all 1966), and How to Steal the World (1968).

After The Man from UNCLE finished in 1968, McCallum continued to make guest appearances on TV until his second long-running series, the BBC’s Colditz (1972-74), in which he played Flt Lt Simon Carter, a hot-headed RAF officer who is impatient to escape.

Subsequently, McCallum appeared and disappeared as a scientist in The Invisible Man (1975-76), a US TV production, and co-starred with Joanna Lumley in ATV’s spooky sci-fi series Sapphire and Steel (1979-82) as the eponymous extra-dimensional detectives sent to Earth to monitor threats to the time-stream.

McCallum was seldom off television screens over the next three decades, making the occasional sortie into films. He also did some theatre in New York, where he and his wife had settled, notably Julius Caesar in a Central Park production (2000), playing the title role as “a senile old man, suffering from ideas of grandeur” according to the actor; and portraying the Emperor Joseph II on Broadway in Peter Hall’s revival of Amadeus (1999-2000).

In 2003, his looks belying his age, McCallum began playing Dr Donald “Ducky” Mallard, chief medical examiner, in the TV series NCIS, following the cases of the fictional agents of the Naval Criminal Investigative Service. His research for the part included studying pathology and sitting in on autopsies. He stayed with the show for the rest of his life, appearing in all 20 seasons up until this year. In one episode, a character asks another what Ducky looked like when he was younger. “Illya Kuryakin” comes the reply.

McCallum is survived by Katherine, their son, Peter, and daughter, Sophie, and by his sons Val and Paul from his first marriage; Jason, his third son with Ireland, died in 1989.

🔔 David Keith McCallum, actor; born 19 September 1933; died 25 September 2023

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

[lovvecherrymotion]

anon is busy crying about how a year later from esc23 JO are recording their new album in the same studio that they recorded Carpe Diem that changed their lives so much 😭 they are probably feeling so vulnerable and so emotional and cuddle each other nonstop, and maybe the matching mustache is so they'd laugh and be more silly... (and film 70s porn later)

ily anon i'm also super soft about esc joker out and them recording in the same place (i mean, i literally ranted to @me-sploh-rada-imas about it and the fandom ended up with a wonderful fic by them!)

tbh what always gets to me is jan and nace. the way their relationship changed. the others were already pretty close with jan and obviously esc changed a lot of things for all of them as a band. but when i think about jance i just-

they're kissing with their silly moustaches and laughing about it but their hearts are so full of love. and they're filming the 70s porn later 💜 for us, anon

[vintage1981]

Celebrating Jacqueline Pearce

Jacqueline Pearce is a British actress best know for playing Servalan in all four series of Blake's 7.

Born in Woking in the south of England, Jacqueline Pearce trained at the British stage school RADA and at Lee Strasberg’s Actors Studio in Los Angeles. 

Her TV career began in the 1960’s with regular roles in the ITV Play of the Week as well as appearances in shows such as The Avengers and Armchair Theatre.

She starred in two Hammer horror films, The Plague of the Zombies and The Reptile, filmed simultaneously in 1966. Other film roles include Sky West and Crooked, Don’t Raise the Bridge, Lower the River and How to Get Ahead in Advertising.

Roles in the 1970’s included Rosa Dartle in David Copperfield, Claudia Haswell in Couples, and Anna Rupius in Vienna 1900. But it was in 1978 that she was cast in the role for which she would be ever known.

Servalan was the Supreme Commander of the Terran Federation in Blakes 7, the TV drama devised by Dalek creator Terry Nation. The character was only expected to appear in one episode of the saga, but Pearce’s electrifying performance ensured the character would survive far longer than the title character, appearing in all four series.

A cold, calculating, ruthless sociopath Servalan’s main aim was to destroy the crew of the Liberator and the relish with which Pearce played the character ensured she would remain a fan favourite for the series duration. 

Her Doctor Who appearance came in 1985, playing Chessene of the Franzine Grig in the Colin Baker story The Two Doctors. She later appeared in a slew of Blake’s 7 and Doctor Who audio adventures for for Big Finish Productions.

In 1991 she played Miss Pendragon in the Russell T. Davies series Dark Season. She also appeared in series such as Casualty, Doctors, Daniel Deronda and The Young Indiana Jones Chronicles.

Her theatre work included West End appearances in Harold Pinter’s Otherwise Engaged (Queen’s Theatre) and JB Priestly’s Dangerous Corner (Garrick Theatre); Shadowlands; Tom Stoppard’s Night and Day (Belgrade Theatre, Coventry) ; and her one woman show A Star is Torn.

Jacqueline relocated to South Africa for several years, initially to care for orphaned monkeys, before recently returning to the UK. Her autobiography, From Byfleet to the Bush, was published in 2012. 

Jacqueline Kay Pearce, actor, born 20 December 1943; died 3 September 2018

[shamelessrabbithole]

Ty for the news! I checked the nursery play website and I saw his profile. Is that maybe a new profile pic/portrait? I also found really cool to see his drama studies listed. I was only aware of him studying in RADA.

Nice sleuthing! Even though the outfit is different, I think it might've been taken during his photo session with Luke Fontana, since the backgrounds are the same.

I also didn't know about some of these educational credits: He studied screenwriting at SNHU and has attended directing courses at the Australian Film and Television School (AFTRS), The Actors Studio at Pinewood UK, and Marjorie Ballentine Theatre Company. 

[steven1123x]

Behind The Scenes - Chapter 27: Actors At Work

🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬

A few days passed, and Steven woke up in his room, he picked up his phone and got a text from Mordecai. He and the crew were at the studio. Steven looks at the time, the numbers read 9:10 and under it, it said March 26.

Steven got out of bed and went to the bathroom.

He stepped out and went to his closet and picked out his bright red star shirt and a pair of black basketball shorts. The hybrid put them on grabbed his white Converse, put them on, and tied them.

He grabbed his hat that he bought a few days ago and put it atop his curly hair, grabbed his phone, and went out the door. Steven went on his phone and looked up the distance.

Twenty-five minutes. Perfect.

Steven walked downstairs, went out the door, grabbed his bike, and took the ride to Burbank. He decided to listen to music on the way.

He grabs his earbuds, plugs them in, and puts on a song.

The Cartoon Network movie lot was already bustling with life. Steven parked his bike, and put his feet on the ground, As a tall and grey rock man walked up. he wore a black guard uniform. “Rada rada.”

Steven showed him the text that he got from his friend Mordecai. “I’m here to watch them film Snitzhel.” He said.

Snitzhel nods and rasied the gate. Steven biked inside the studio and saw actors, Crew members, And even familiar faces studying their lines, he was looking for Regular Show.

“Oh, excuse me?” Steven asked. He sees a boy, he is wearing a white hat that covers his head and neck, his clothes are a blue shirt and shorts consisting of a green backpack worn on his back, completed with white socks that were cupped around his ankles and black shoes.

“Oh, hello.” the boy said.

“Oh my gosh! your Finn The Human from Adventure Time! Can I have a picture?” he asked.

“Sure, man,” he said, Finn walked over and put his arm around the boy’s shoulders, and Steven took a selfie with the boy.

“Oh, can you point me to where the Regular Show studio is?”

“Oh, you see that soundstage over there?” he asked. Steven nods. “It’s there, soundstage twelve.”

“Thanks, Finn! Hey. Happy late birthday by the way.”

“Thank you!” he said, then Steven rode off to the soundstage.

He’d made it, he walked in and saw a large, acoustically treated space designed for recording the show. Inside, he saw high ceilings and expansive floor space to accommodate various setups. The walls are often lined with sound-absorbing materials, such as foam panels or curtains, to minimize echoes and improve sound quality.

The floor may be open or have a stage area, with various microphones, instruments, and recording equipment scattered throughout. There are usually control rooms adjacent to the main stage, equipped with mixing consoles, audio interfaces, and monitors for sound engineers to manage the recording process.

The lighting can vary, with bright overhead lights for visibility and more atmospheric lighting for specific scenes or performances. Overall, a soundstage is a versatile environment tailored for optimal audio production, featuring a blend of technical equipment and creative space.

Steven sees a living room setup, Mordecai and Rigby are talking with Margret at the snack table. Then, someone walks into the set. Steven sees him — probably Mordecai and Rigby’s director.

The man has straight, dark brown hair that falls over his forehead and ears. He is smiling broadly, displaying his teeth. He is wearing a light-colored, button-up shirt. He also has a black and white checkered lanyard around his neck, He holds a clipboard under his arm as he walks to the director's chair.

“Coooollll!” Steven whispered, his eyes going starry, his friends smiled at him.

“I will ask him if you can watch,” Mordecai said, Walking up to the director.

“So, Steven. you want to be an actor?” Margret asked.

“Heck yeah, I do! That will be AWESOME!” He said, jumping up into the air, Margret chuckled, she liked him.

“Yeah, It’s a lot of fun, I love it you know.”

“I bet!” he said. Then, the Blue Jay walked back towards him and gave the hybrid a thumbs up.

“Okay places, guys! And action!”

🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬

“Regular Show: Brain Eraser, Scene One. Take one.” the Clapper Loader said, clapping the clapperboard.

Mordecai and Rigby were deeply engrossed in their latest video game session, the screen flashing with vibrant colors and intense action. Suddenly, a loud explosion erupted from the television, accompanied by bold letters declaring, “PLAYER 1 WINS!” Rigby slumped back into the couch, frustration etched on his face.

“Ugh! I lost again,” he groaned, his eyes narrowing at the screen.

Mordecai, with a smug grin, simply shrugged, his amusement evident. “Hmph. Hmph,” he replied, relishing his victory.

Rigby’s annoyance quickly turned to distraction as he rummaged through the couch cushions. “This stupid thing was throwing me off,” he muttered, pulling out a magazine that read, “Mustaches Monthly - SPECIAL HANDLEBAR ISSUE!”

Mordecai’s eyes widened in realization. “Dude! Pops' Mustaches Monthly! Benson told us to deliver this weeks ago. You have to give this to Pops.”

Rigby’s protest was immediate. “What?! Why do I have to?”

“Because you’re the tool who crammed it between the sofa cushions!” Mordecai shot back, exasperated.

Rigby huffed, sinking deeper into the couch. “I can’t get up now. I’m going to lose this sweet butt cheek groove I’ve been working into this couch! It looks just like me!” He gestured to the distinct impression his body had left on the fabric.

Mordecai rolled his eyes. “I’m not going up those stairs, dude.”

After a moment of silence, Rigby proposed a solution. “Fine, let’s play rock-paper-scissors for it.”

With determination, Rigby threw out paper while Mordecai chose rock. “Hmph hmph,” Rigby smirked, reveling in his victory.

“Whatever,” Mordecai groaned, begrudgingly conceding. As Rigby resumed his gaming, Mordecai reluctantly made his way to Pops’ room, where he could hear the sound of running water.

“Pops. Yo, Pops. I found your Mustache Monthly,” he called out, placing the magazine on a chair. Just as he turned, he was met with a shocking sight—Pops, fresh out of the shower and completely naked.

“Aaaaagh!” both Mordecai and Pops screamed in unison, their eyes wide with horror.

In the chaos, Mordecai caught an unintended glimpse of Pops' “junk mail.” Panic surged through him as Pops hurriedly covered himself with his hat, while Mordecai instinctively shielded his eyes.

“Aaaaagh!” they both continued to exclaim, trying to escape the awkward situation, but finding themselves blocking each other’s path.

“Uh... uh... uh... uh...” Mordecai stammered his heart racing.

“Uh... uh... uh... uh...” Pops echoed, equally flustered.

Steven was trying his hardest to contain his laughter.

Finally, Mordecai managed to slip past Pops, darting out of the room just as Pops retreated into his bathroom. Breathing heavily, Mordecai made his way back downstairs and plopped onto the couch next to Rigby.

“Stop playing for a second,” Mordecai panted. “When I went upstairs, Pops was getting out of the shower.”

Rigby looked at him, puzzled. “Yeah, so?”

“And he didn’t have a towel,” Mordecai replied, his voice laced with disbelief.

Rigby’s face twisted in disgust. “Ewww!”

“Cut! Perfect guys!” J.G said, standing up, Steven then burst out laughing.

“Not funny, Steven.” he glares at his friend.

“It is! you saw Pops naked, dude!”

Rigby looks at his two friends back to back.

“It was for the scene!” he protested.

“I know! but was that acting or real? cause it looked pretty real to me.” Rigby said, Mordecai punched him in the arm.

“Owwww!” Rigby said as his friend glared at him.

“You did a good job,” Margret said. Mordecai could still see Pops’… stuff, it’s burned into his brain. And they were rehearsed this last week!

“Thanks, Margret,” he said. Sighing to himself.

Steven looks at Mordecai.

“Okay guys, places!” J.G. sat in the director’s chair holding a bottle of water in his hand. “And…” The man said. “Action.”

“Regular Show: Brain Eraser, Scene Two. Take two.” the Clapper Loader said, clapping the clapperboard.

Mordecai and Rigby were lounging in the park, the sun casting long shadows as the day wound down. Trying to be helpful, Mordecai picked up Mr. Peterson's magazine delivery, intending to drop it off at the old man's house on their way back.

"I tried not to look and just give him the magazine, but I saw his..." Mordecai began, his voice tinged with horror.

Rigby, ever the jokester, interjected with a smirk, "His junk mail? Ha ha ha ha ha ha!"

Mordecai's face turned pale. "No, dude, I'm mentally scarred. It's like the image is glued to the inside of my eyelids. Every saggy, wrinkled, shriveled, pasty..."

"Whoa, whoa! Don't put it in my head," Rigby quickly interrupted, holding up his hand as if to ward off the mental image.

Mordecai glared at him, the ghostly vision still unsettling in his mind. "This is your fault. You have to help me."

Rigby sighed, realizing the gravity of his friend's distress. "I'll help you to forget it if you promise to stop talking about it."

A glimmer of hope appeared in Mordecai's eyes. "Deal."

They shook hands, sealing the agreement, each hoping to put the disturbing incident behind them.

Steven watches the whole filming process from start to end.

🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬

The behind-the-scenes took hours to film because some actors forgot their lines. But all and all, it was a good filming day, Steven was walking out of the soundstage, he was about to grab his bike, then he bumped into a woman. Steven looks up.

The woman has short, curly dark hair and wears glasses. She is dressed in a plaid shirt with red, blue, and black colors over a light-colored top. She is standing with one hand in her pocket.

“I… I am so sorry.”

“It’s okay, It’s my fault. Should’ve watched where I was going.” The woman said Steven heard the woman’s voice. It was the most calming voice he had ever heard in his life.

“What’s your name?” the woman asked.

“I’m Steven Universe.

“I’m Rebecca Sugar, nice to meet you.”

🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬🎥 🎬

A\N: THIS IS IT! Steven had just met his future director! I can’t wait to see where this goes from here! Bye, guys!

[studiorada]

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[alexzalben]

Prime Video’s The Lord of the Rings: The Rings of Power Announces New Cast Members for Season Two

The Lord of the Rings: The Rings of Power has announced seven new recurring cast members for the forthcoming second season, currently in production in the UK. “Since its premiere, The Lord of the Rings: The Rings of Power has been bringing audiences together to experience the magic and wonder of J.R.R. Tolkien’s magnificent Middle-earth. To date, season one is the top Original series for Prime Video in every region and has been viewed by over 100 million people worldwide, a truly global hit that speaks to the universal nature of powerful storytelling. We welcome these wonderful actors to our ‘fellowship’ and look forward to telling more incredible Second Age stories in season two,” said Vernon Sanders, Head of Global Television, Amazon Studios. The new cast members are: Gabriel Akuwudike, Yasen ‘Zates’ Atour, Ben Daniels, Amelia Kenworthy, Nia Towle, and Nicholas Woodeson. The role of Orc leader “Adar” has been recast for Season Two, and will be played by Sam Hazeldine.

GABRIEL AKUWUDIKE Gabriel Akuwudike is a British-Nigerian actor who has appeared in the acclaimed series Hanna (Prime Video). Other TV credits include Ridley Road (BBC) and War of the Worlds (FX/Disney+). He has appeared in films including Sam Mendes’ 1917, and HBO’s Brexit directed by Toby Haynes. 

YASEN ‘ZATES’ ATOUR Yasen ‘Zates’ Atour is most known for his role as “Coen” in Season Two of The Witcher (Netflix). He was also a series regular in Young Wallander (Netflix), playing the role of “Reza Al-Rahman.” He directed the film Good Intentions and was an executive producer and star of the film When the Screaming Starts.

BEN DANIELS Ben Daniels has had recurring roles in television including Jupiter’s Legacy (Netflix) as “Walter Sampson,” The Crown (Netflix) as “Lord Snowdon,” The Exorcist (Hulu) as “Father Marcus Keane,” House of Cards (Netflix) as “Adam Galloway,” and Law & Order: UK (ITV) as “James Steel.” Film credits include roles in Benediction, Captive State, Rogue One: A Star Wars Story, and The Exception. Ben is an award-winning stage actor who has appeared in numerous productions including The Normal Heart (National Theatre – Olivier Award Nomination - Best Actor, Critics' Circle Theatre Award – Best Actor), All My Sons (National Theatre - Olivier Award – Best Supporting Actor), and Les Liaisons Dangereuses (Broadway - Tony and Drama Desk Nominations – Best Actor). Ben trained at the London Academy of Music and Dramatic Arts.

SAM HAZELDINE Sam Hazeldine’s credits include Peaky Blinders (BBC), Slow Horses (Apple TV+), The Huntsman: Winter’s War, Mechanic: Resurrection, and Ridley Scott’s The Last Duel.  He currently appears in The Sandman (Netflix) and The Playlist (Netflix), and will next be seen in the upcoming Band of Brothers sequel Masters of The Air (AppleTV+) opposite Austin Butler and Callum Turner, and starring alongside Jonah Hauer-King and Dar Zuzovsky in the Casanova drama feature, A Beautiful Imperfection.

AMELIA KENWORTHY Amelia Kenworthy is a graduate of the Royal Academy of Dramatic Arts.  While at RADA, she performed in numerous stage productions including Spring Awakening as “Anna,” A Midsummer Night’s Dream as “Puck,” Two Gentlemen of Verona as “Julia,” Pomona as “Ollie” and Against as “Shiela.”  She has also appeared in short films IRL and Messenger.  She will make her television debut in The Lord of the Rings: The Rings of Power.

NIA TOWLE Nia Towle was most recently seen in the Netflix film Persuasion. On stage, Nia debuted Neil Gaiman’s The Ocean at the End of the Lane at both the National Theatre and Duke of York Theatre. During her studies at Guildhall School of Drama, from which she graduated in 2021, Nia played leading roles in plays including Yerma, A Streetcar Named Desire, and Medea.

NICHOLAS WOODESON Nicholas Woodeson is a veteran English performer of television, film, and theatre. In television, his credits include Silent Witness (BBC), Baptiste (BBC), The Honourable Woman (BBC), Poirot (ITV), and Rome (HBO / BBC). He can also be seen in films including The Hustle, Paddington 2, The Danish Girl, Skyfall, and Conspiracy. His most recent theatre performances include The Two Popes, “The Duke of Norfolk” in The Mirror and The Light, “The Mayor” in The Visit, “Pope Francis” in The Pope, “Mr. Kidd” in The Room, and “Willy” in Death of a Salesman. Nicholas is a graduate of the Royal Academy of Dramatic Arts.

[hotvintagepoll]

Propaganda

Deborah Kerr (Bonjour Tristesse, An Affair to Remember, The King and I)— For several decades she held the record for most Oscar nominations without a win (6 in total), and she was a prolific leading lady throughout the 40s and 50s. She's best known today for the romance An Affair to Remember with Cary Grant, and as the governess in The King and I. Many people have this erroneous perception of her as extremely prim, proper, and virginal, but this could not be further from the truth. When she first came to Hollywood under MGM she was typecast into boring decorative roles, but broke sexual boundaries for herself and Hollywood generally in From Here to Eternity, when she made out (horizontally!) with Burt Lancaster (on top of him!) in the famous Beach Scene. She went on to play many sexually conflicted women, a character type that would define most of her post- Eternity work. She continued to break Hays Code boundaries with Tea and Sympathy, which addresses homosexuality/homophobia head-on, and even did a topless scene in The Gypsy Moths 1969!! One of the only classic stars to do so. She deserves a more nuanced and frankly a hotter legacy than she currently has!!!

Devika Rani (Achhut Kanya)—She was grandniece of Rabindranath Tagore (laureate). She was sent to boarding school in England at age nine and grew up there. After completing her schooling, she joined the Royal Academy of Dramatic Art (RADA) and the Royal Academy of Music to study acting and music, at a time when aristocratic women did not enter showbiz. She studied filmmaking in Berlin. It is well known that she underwent training at the UFA Studios in the art and technique of acting under Eric Pommer, and other aspects of film production including costume and set designing and make-up, under eminent directors like GW Pabst, Fritz Lang, Emil Jannings and Josef von Sternberg. She is also reported to have worked with Marlene Dietrich. She had a multi-faceted personality and took on many responsibilities of film production at Bombay Talkies, a studio that she co-founded with Himanshu Rai in Mumbai in 1934. She often took care of hair and make up, supervised set design and editing, scouted for new talent and mentored them. She was the face of Bombay Talkies, and also the reason behind the political and financial backing the studio received, at a time when even women from red light districts refused to work as actresses. She was the first recipient of the Dadasaheb Phalke Award, when it was instituted in 1970.

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Deborah Kerr:

I think she was one of my first crushes before I realised I was bi in The King and I when I watched it as a kid honestly. The kissing scene in From Here to Eternity is iconic for a reason. Actually tried to learn the accents for the characters she was playing if they weren't English which is more than pretty much anyone else was doing then. Played very restrained characters who frequently seemed to be desperate not to be so restrained. Did horror movies without venturing into hagsploitation tropes. Gave Marni Nixon the credit she deserved for her share of the singing in The King and I.

Anne Larsen is a peak late 1950s bisexual with big MILF energy. Have you seen the behind the scenes pics of her wearing a suit?? Have you????? Vote Deb as Anne Larsen.

Nominated for an Oscar six (6) times and never won, but besides her having actual talent (hot), and besides her looking Like That (very hot, also beautiful), she was always playing women who are, like, crazy repressed. Which makes it fun and easy for me to read these characters as queer. Icon!!!! You know what's hot? Playing ambiguously gay in vintage Hollywood.

Her face and talent and body, yes, ofc, duh. But also!!! Her HANDS!!!! I may be but a simple lesbian, but she is the best hactor (hand actor) that ever lived and that's HOT! For propriety's sake I feel I must redact a large portion of my commentary on this subject. Anyway. She's hot in her most famous roles (mentioned above), and also some of her sexiest hacting is on display in An Affair to Remember (her hand on the bannister when Cary Grant kisses her off-screen??? HELLO???), Tea and Sympathy (when she's trying to persuade Tom not to go out and she keeps flexing her hands like she wants to reach out to him but can't??? ALLY BEHAVIOR! WE STAN!), and The Innocents (which opens and closes with extended shots of her hands bc director Jack Clayton was also an ally and he did that for ME). Much of her appeal also lies in the fact that she often played deeply repressed characters and you know what's hot? When those uptight characters finally unravel. It's sexy. It's cathartic. It's erotic. Plus, she's beautiful to look at in both black & white and technicolor, and the more of her films you see, the more you can't help but fall in love!

Literally is in thee most famously sexy scene of all time (or maybe just during the hays code era which is what we're talking about HELLO), which is the beach scene with Burt Lancaster in from here to eternity. To quote a tumblr post of a screen capture of a tweet of a video of joy behar on the view: "y'know, there used to be movies where they were kissing on the beach... From Here to Eternity. They're kissing-- Burt Lancaster and Deborah Kerr are Kissing on the Beach and then the WAVES crash!! You know exactly what they did!"

She might have a reputation of being chaste and virginal or whatever, but we all know it's the quiet ones who are certifiable FREAKS

Devika Rani:

Achhut Kanya (1936) is the only one of hers I've seen but hot DAMN

[hbcsource]

Helena Bonham Carter’s Harper’s Bazaar UK interview | February 2023

A WOMAN SCORNED Helena Bonham Carter tells Lydia Slater why her latest role, exploring the life of the 1970s soapstar Noele Gordon, feels like restorative justice Those of a certain vintage may remember the ponderous sequence of nine guitar notes that were the signal to cluster around the television for Crossroads. Set in a Midlands motel, the soap was much derided for its flimsy sets, implausible storylines and clunky dialogue; nevertheless, in the mid-Seventies, the series was attracting 15 million viewers, and battling Coronation Street for ratings supremacy. The unquestioned star of the show was Noele Gordon, known to the nation as Nolly, who played the matriarchal, auburn-haired motel owner Meg Richardson (later Mortimer). The role had been created with Gordon in mind, and she remained Crossroads’ most popular character from the show’s launch in 1964 until 1981, when she was suddenly sacked. Her defenestration, and the reasons behind it, are the premise on which Russell T Davies has based his new three-part series, Nolly. ‘One of my very first jobs in TV was a trial script for Crossroads, and I’ve wanted to write the story of behind the scenes on that show for 40 years,’ he said. ‘Russell has always been a real supporter of the underdog,’ says Helena Bonham Carter, who portrays Gordon, complete with coiffure and carefully modulated accent. ‘He thought Nolly was really badly treated, and I think he wanted to give her the send-off and the recognition she deserved.’ Bonham Carter was ‘very aware’ of the soap as a child. ‘It was part of the perma-wallpaper, and I knew all the characters.’ She was immediately drawn to the complexity of the woman in Davies’ screenplay. ‘Nolly was a highly complicated character and a mix of many things – and not an easy mix,’ she says. ‘But I love playing people who are complex.’ Gordon was a child stage star who came from a modest background. She trained at Rada and went on to work both behind and in front of the television camera, becoming Britain’s first female TV executive; she helped Ned Sherrin and Reg Watson launch ATV Midlands in 1956, and was the first woman to interview a British prime minister when Harold Macmillan appeared on her chat show. Steeped in the workings of daytime television, Gordon was unafraid to voice her opinions on how things should be done on Crossroads. ‘She was outspoken, she was herself, she was utterly authentic,’ says Bonham Carter. ‘I think, frankly, she terrified the people who ran the show. And she was punished for that. It’s not new, is it, that women aren’t allowed to have a strong voice?’ Certainly, the first episode presents the ‘Queen of the Midlands’ as a daunting figure, swanning to the studios in mink coat and Rolls-Royce, changing a new character’s accent from Brummie to RP (in the teeth of the producer’s protests), and then playing an on-screen practical joke on the same rookie performer, after she dared to cast doubt on Gordon’s assertions of the programme’s popularity. But the series also shows how Gordon was greatly loved and respected by (most of) the people she worked with – particularly the actor Tony Adams. He played the motel’s suave, moustachioed accountant, Adam Chance, and in reality not only rented a flat from Nolly but was her closest ally – for, having been jilted by her fiancé, she never married or had children. ‘The show gave her a real sense of identity, belonging and purpose,’ says Bonham Carter. ‘She said she had two lives, as Meg Mortimer and Noele Gordon. And whenever she went to a hotel or a restaurant, inevitably they would take her to inspect the kitchen… the line was very smudged.’ As a result, Gordon lost far more than just her job when Charles Denton, the incoming controller of programmes at ATV, informed her agent that ‘all good things must come to an end’, a decision that this series lays squarely at the door of misogyny and ageism. ‘I think Nolly is quite right when she says, “You wouldn’t have sacked me if I’d been a man”,’ says Bonham Carter. ‘Men are allowed to be difficult and dictatorial. It really feels like Greek tragedy – she’s cut off in her prime.’ Gordon refused to take the decision lying down and complained to the press, resulting in national headlines, and sackfuls of irate letters sent to ATV from her devoted fans, while the series shows how producers retaliated by declining to tell Gordon how she would be written out and going to the extent of staging her fake funeral. Bonham Carter herself has never joined a long-running franchise. ‘Even after just two seasons with The Crown, by the end, with the best will in the world, you’re beginning to get a bit automatic – and if you’re faintly bored, it’s time to move on.’ Fortunately, at 56, her own career is as busy and diverse as ever. ‘We might have less collagen, but we’re much more interesting when we’re over 50,’ she says, with a laugh. ‘Life makes you more interesting, you’ve got more depth, the map of the soul is so much bigger if you’ve survived.’ Sadly, Gordon did not. She died of cancer in 1985, just four years after her sacking, while Crossroads itself only limped on until 1988. This charming series, and Bonham Carter’s portrayal, are a worthy tribute to a national treasure, and an overdue acknowledgment of the unjust treatment meted out to her.