#synnove karlsen

[oliviasdunham]

MEDICI: THE MAGNIFICENT, 2.04  — “Blood With Blood”

[spacer4t]

[basims]

SYNNØVE KARLSEN as Clarice Orsini MEDICI 2.04

[sejanuspiinth]

synnove karlsen as polly hillinghead in bodies (2023)

[moviesandmania]

BLACK CAB Nick Frost supernatural horror - first look

Black Cab is a 2024 supernatural horror film about a couple who are diverted to a remote haunted road by their jovial cab driver revealing disturbing motives and his true intentions. Director by Bruce Goodison (Then Barbara Met Alan; Murdered By My Father; Leave To Remain) from a screenplay by Virginia Gilbert and Matthew Holness with additional material by Nick Frost. The Sony Pictures…

[mikesmonroe]

SYNNØVE KARLSEN as CLARICE ORSINI in MEDICI : THE MAGNIFICENT.

[justmills]

From @georgemparker on instragram

[otp-i-dreamed-of-you]

I can say that I can change the world. But if you let me, I can make another world for us. Let me suffer all for you. Make this vision all brand new.

[filmreveries]

Medici the Magnificent (2016-2019)

[thatscarletflycatcher]

A Jane Eyre fancast

(Because I have enablers that let me rant about these things)

Bella Ramsey as Jane Eyre

I sometimes regretted that I was not handsomer; I sometimes wished to have rosy cheeks, a straight nose, and small cherry mouth; I desired to be tall, stately, and finely developed in figure; I felt it a misfortune that I was so little, so pale, and had features so irregular and so marked.

Sam Riley as Mr Rochester

I knew my traveller with his broad and jetty eyebrows; his square forehead, made squarer by the horizontal sweep of his black hair. I recognised his decisive nose, more remarkable for character than beauty; his full nostrils, denoting, I thought, choler; his grim mouth, chin, and jaw—yes, all three were very grim, and no mistake. His shape, now divested of cloak, I perceived harmonised in squareness with his physiognomy: I suppose it was a good figure in the athletic sense of the term—broad chested and thin flanked, though neither tall nor graceful.

Robbie Kay as St John Rivers

Had he been a statue instead of a man, he could not have been easier. He was young—perhaps from twenty-eight to thirty—tall, slender; his face riveted the eye; it was like a Greek face, very pure in outline: quite a straight, classic nose; quite an Athenian mouth and chin. It is seldom, indeed, an English face comes so near the antique models as did his. He might well be a little shocked at the irregularity of my lineaments, his own being so harmonious. His eyes were large and blue, with brown lashes; his high forehead, colourless as ivory, was partially streaked over by careless locks of fair hair.

Synnove Karlsen as Blanche Ingram

“Tall, fine bust, sloping shoulders; long, graceful neck: olive complexion, dark and clear; noble features; eyes rather like Mr. Rochester’s: large and black, and as brilliant as her jewels. And then she had such a fine head of hair; raven-black and so becomingly arranged: a crown of thick plaits behind, and in front the longest, the glossiest curls I ever saw. She was dressed in pure white; an amber-coloured scarf was passed over her shoulder and across her breast, tied at the side, and descending in long, fringed ends below her knee. She wore an amber-coloured flower, too, in her hair: it contrasted well with the jetty mass of her curls.”

Olivia Cooke as Miss Temple

she looked tall, fair, and shapely; brown eyes with a benignant light in their irids, and a fine pencilling of long lashes round, relieved the whiteness of her large front; on each of her temples her hair, of a very dark brown, was clustered in round curls, according to the fashion of those times, when neither smooth bands nor long ringlets were in vogue; her dress, also in the mode of the day, was of purple cloth, relieved by a sort of Spanish trimming of black velvet; a gold watch (watches were not so common then as now) shone at her girdle. Let the reader add, to complete the picture, refined features; a complexion, if pale, clear; and a stately air and carriage, and he will have, at least, as clearly as words can give it, a correct idea of the exterior of Miss Temple—Maria Temple, as I afterwards saw the name written in a prayer-book intrusted to me to carry to church.

Emily Watson as Mrs Fairfax

A snug small room; a round table by a cheerful fire; an arm-chair high-backed and old-fashioned, wherein sat the neatest imaginable little elderly lady, in widow’s cap, black silk gown, and snowy muslin apron; exactly like what I had fancied Mrs. Fairfax, only less stately and milder looking. She was occupied in knitting; a large cat sat demurely at her feet; nothing in short was wanting to complete the beau-ideal of domestic comfort.

Kate Winslet as Mrs Reed

Mrs. Reed might be at that time some six or seven and thirty; she was a woman of robust frame, square-shouldered and strong-limbed, not tall, and, though stout, not obese: she had a somewhat large face, the under jaw being much developed and very solid; her brow was low, her chin large and prominent, mouth and nose sufficiently regular; under her light eyebrows glimmered an eye devoid of ruth; her skin was dark and opaque, her hair nearly flaxen; her constitution was sound as a bell—illness never came near her; she was an exact, clever manager; her household and tenantry were thoroughly under her control; her children only at times defied her authority and laughed it to scorn; she dressed well, and had a presence and port calculated to set off handsome attire.

Dakota and Elle Fanning as Eliza and Georgiana Reed

Two young ladies appeared before me; one very tall, almost as tall as Miss Ingram—very thin too, with a sallow face and severe mien. There was something ascetic in her look, which was augmented by the extreme plainness of a straight-skirted, black, stuff dress, a starched linen collar, hair combed away from the temples, and the nun-like ornament of a string of ebony beads and a crucifix. This I felt sure was Eliza, though I could trace little resemblance to her former self in that elongated and colourless visage.

The other was as certainly Georgiana: but not the Georgiana I remembered—the slim and fairy-like girl of eleven. This was a full-blown, very plump damsel, fair as waxwork, with handsome and regular features, languishing blue eyes, and ringleted yellow hair. The hue of her dress was black too; but its fashion was so different from her sister’s—so much more flowing and becoming—it looked as stylish as the other’s looked puritanical.

Emma Mackie and Margot Robbie as Diana and Mary Rivers

I thought them so similar I could not tell where the old servant (for such I now concluded her to be) saw the difference. Both were fair complexioned and slenderly made; both possessed faces full of distinction and intelligence. One, to be sure, had hair a shade darker than the other, and there was a difference in their style of wearing it; Mary’s pale brown locks were parted and braided smooth: Diana’s duskier tresses covered her neck with thick curls.

[argentangelhelps]

CLIQUE SERIES 1 SCREENCAPS

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[lasaraconor]

[multistoty]

Clairce Medici

inspired by @bcbliophile

[love-for-tv]

[random-jot]

Little detail that I loved in Last Night In Soho - right at the start when they do Jaeger Shots, there are 4 shot glasses and one little measuring cup

Firstly — there's the visual metaphor here that one of the group (Eloise) doesn't fit in

Secondly — VERY true to the student experience. No fifth shot glass in the flat? Fuck it. Measuring cup.

OH, also – the other four shots are legit shot glasses, meaning they still have a lip of glass at the top; the measuring cup being smaller has been filled to the brim

If we continue the idea that the measuring cup represents Eloise, this possibly also indicating that Eloise is more “full” than the other girls, has been through more real tragedy, is more close to spilling over; the other four being more empty in terms of glass-to-drink ratio, particularly Jocasta — a lot of what Jocasta does and says feels very performative; only going by her first name; bringing up her grandfather’s suicide immediately after Eloise talks about her mother’s (if that was even true, which is doubtful) almost like she’s trying to “fill up” her own glass, so to speak, yet despite her efforts, her glass remains hollow — this would ring particularly true if we assume the glass on the right is hers; the emptiest one

OK, so I've looked at this scene again to see if I could tell who ends up with what glass — it's actually quite hard to tell who has which one; Eloise as it turns out does have a proper shot glass, which messes up my meta a little, although I have to say it doesn't look like anybody ends up with the measuring cup. In the spinning shot where the girls all take their shots it looks like everybody has a proper shot glass — certainly Eloise and Jocasta do, the other three it's harder to tell because of the way the camera moves, but it looks like all 5 of them have regular shot glasses? The measuring cup is seemingly nowhere to be seen. If anyone has it it's Cami (on the left), but it still looks like she has a normal one like everyone else since

Maybe I'm reading too much into it, there's a chance it's a continuity error (but it seems unlikely that EW would overlook a detail like that), perhaps most likely Cami does have it but I just can't tell because she's facing away from us, and all my above meta is obsolete Still, even if I'm way off with the analysis, I still really liked this shot, if only for my second point about it being very true to the student lifestyle. Gave me a little chuckle when it came up.

Regardless, this entire movie is fantastic, if you've not seen it yet, do!

[ruleof3bobby]

LAST NIGHT IN SOHO (2021) Grade: C

I love Edgar Wright however I couldn't wrap my head behind this idea. The mystery was average, didn't hook you in and was kinda too silly at 1st and dragged in the third act. Great cast and DP work, didn't care for the plot.