#the borgias mera

[borgialucrezia]

hold on...that part when you said in the tags that cesare uses his power hunger and coldness as terrible coping mechanisms to deal with his guilt about murdering juan and corrupting lucrezia...that's very on point considering he was the one who decided his siblings' fates (and juan shaped cesare's destiny and haunted the narrative throughout cesare's story despite being dead for years)...

"i think cesare is building walls around his heart. you do get colder and less sentimental when you take that path. he has to go on and he can't mourn [juan] forever, especially since he's responsible for his death. he's not making excuses for what he is anymore, and what he wants to be. i think he can control his mind into having no second thoughts. and that's the only way you can rule in that era, really [...] he did it out of jealousy and envy. once he made up his mind, it was set. he didn’t want to talk anymore, because he knew juan could change his mind."

—françois arnaud.

the 'can't mourn juan forever' part just says how he feels some sort of remorse over killing him, at least off-screen, but in his mind it was something that had to be done so he could go to the next level and get what he wants? it makes sense but also makes me question why did he emotionally crush juan while stabbing him by very decidedly excluding him from the family in his final moment (regarding juan forgiving him for everything) by telling that 'they're borgias and they never forgive' deliberately knowing damn well juan suffered from feeling excluded and his desperate need to be included when he simply could've just killed him without being extra? but come to think of it, that's such a..fascinating writing actually, because cesare borgia is supposed to be our handsome heartthrob lead, with a covetous nature and masked sociopathy but filled with conflict. i mean i gotta confess, the reason i say cesare is the finest male lead in every way is because of his descent into darkness trope as he's gradually becoming selfish, morally bankrupt, and even outright villainous, causing his father to fear him in a way that cesare lowkey threatened to usurp him since he has no qualms about murdering anyone, including his brother (and the two sforzas, whom he disobeyed his father about not killing but that's not relevant right now). rodrigo felt that he had no choice but to give in to cesare by allowing him to take control of the papal army.

the transformation of cesare's character is so personal to me because you can see how at first he tried to do everything to please his father, and then he was like, 'well hey if you're keeping me trapped forever in the cardinal robes, i'll give you an example to fear me' *kills juan*. eventually after his father gave in and fearfully forgave and gave him command to the papal army and their ambitions became one. their plans together threatened lucrezia and those she cared about. he kept her in the dark, and she's no longer his priority nor on the same page as him. planning a murder for political gain without her knowledge and against her interests and what she stands for.

so we all know from the very beginning that lucrezia's character's core has always been the desperate need to regain her lost innocence. s3's ending shows cesare making a promise to her as he takes away her chance to regain that lost innocence she sought to bring back, persuading her that she will be "naked, clean, bloodless again, and mine." as some sort of attempt for her to accept the twistedness of their relationship. lucrezia had darkness in her since she's a borgia, but she never wanted to give in to it. all the borgia children have it. cesare proudly embraces it, while juan was emotionally and physically wrecked, so he succumbed to it. that's also why juan still perceives his sister as 'angelic' because he believes cesare is dragging her down with him.

and it's true in some way because she was turned on by cesare's darkness, brutality, and strength. she believed she was safe with him and thought she could handle and manage cesare by herself, while he thought she would accept everything about him (just like how poor miss bonadeo was naïve enough to believe in his chivalry) and she always did, until the series finale. it ended any romantic tone of their relationship and concluded their story. she ran away from him and left him for dead. (re: borgia apocalypse script), see what happens when someone lets their own hunger for power and ambitions consume them and puts them above his family and loved ones? their downfall would be as intense as it is lonely. i'm still a little bitter over not getting a fourth season, especially when we could've seen francois deliver the craziest and most unhinged performance as it was written in the script, and holliday with those powerful lines...

i think something just fell into place in my brain but idk how to make it make sense to anyone else, but i’m gonna try??

basically cesare spends two seasons trying his damn hardest to protect lucrezia’s innocence. first in s1 by trying to convince his father she's too young for marriage and then, by putting her to bed on her wedding night and telling giovanni sforza she’s young and it’s been a long day or whatever. and then, in s2, when she tells him she would happily kill tonight he reminds her that her killing juan would deeply upset their father and he then takes the task upon himself instead. then s3 comes along and she is (on more than one occasion) visibly upset by how things are going with alfonso, they’re not going as she hoped, he’s not a man she could fall in love with, he’s not a man that will ever cherish her and offer his life and soul to protect her/her honor/the things that matter most to her, etc.. and so, she turns to cesare, ready to give into what’s been brewing between them for YEARS. meanwhile cesare himself spends pretty much all of "siblings" struggling not to give into it because of the thought he’d be corrupting her soul. but despite his hesitation, he slips up and allows them to give into their feelings, crossing a line he feels never should've been crossed. then, he spends the rest of the season feeling ashamed because he believes he's damned her and so he tries his best to avoid giving into her again. anyway, i believe between this, having killed his own brother for power (and for lucrezia—both on her behalf and to protect her innocence, but mostly, let's be real, for power), and gaining his father’s trust is why he begins to shift into the monster that he’s come to be known as. it’s like these three things combined make something in his brain snap, turning him colder, and in turn making him more calculating and power hungry until he's the one forcing lucrezia to aid him in killing her own husband, therefore, committing the final act of corruption of her soul, bringing her down with him. twisted, dark, and complicated. my roman empire indeed.

[professorsnortwort]

My friends, I promised this day would come! I have been dropping little hints about my bombshell announcement. I have done lots of dark web research to find out these truths. Norman has been helping me verify some nuances using the eDonkey 3000 (I have been paying him in Ranch Doritos and Sprite for his overtime). Today, I am finally ready to make the big announcement!

Of course, you remember that I was talking about Leonardo da Vinci? This was all thanks to that cryptex treasure hunt (turned out to be a red herring, anyway). However, your favorite professor did what he always does in these situations: pivot into the next great thing!

So, Leonardo da Vinci had some helpers, one named Salai. This is not uncommon, as all famous artists of the Renaissance had assistants who did a lot of the “busy work.” But, what you may not know is that Salai painted the Mona Lisa! All of it! The whole thing! Apparently when the Mona Lisa was supposed to have been painted, da Vinci was in Rome building weapons for the Borgia (hence the connection to that cryptex search). As you know, Leonardo da Vinci was also a brilliant engineer. So, Leonardo da Vinci could not have been doing both things at the same time.

There you are, my friends, some bold truths from your favorite professor. Thanks to Norman, Mera, and the eDonkey 3000 for the backup help in making this possible. My friends, please write your checks c/o Dr. Cornelius Snortwart!

As the kids say... “mic drop”

[calabriawebtvcom]

DEE DEE BRIDGEWATER A LOCRI HA INAUGURATO LA XIX EDIZIONE DI ARMONIE D'ARTE FESTIVAL

New Post has been published on https://calabriawebtv.com/dee-dee-bridgewater-a-locri-ha-inaugurato-la-xix-edizione-di-armonie-darte-festival/

DEE DEE BRIDGEWATER A LOCRI HA INAUGURATO LA XIX EDIZIONE DI ARMONIE D'ARTE FESTIVAL

L’incanto di una voce intensa, declinata con una infinita gamma di nuances, eppure fluida e naturalissima, una band in stato di grazia, di raro  equilibrio ed elegante espressività, la suggestione del luogo con la sua storia millenaria, ed ecco l’inaugurazione della XIX edizione di “Armonie d’arte festival”

ideato e diretto da Chiara Giordano, eccezionalmente per questa apertura al parco archeologico di Locri, con il concerto seducente e avvolgente della regina del Jazz internazionale, Dee Dee Bridgewater.

Il suo appeal, la complicità puntuale con i musicisti sul palcoscenico hanno creato l’alchimia di una calda serata d’estate, impregnata del tepore del romanticismo raffinato del mondo chansoniero francese.

Da Edith Piaf, a Jacques Brel, a Gilbert Becaud, Dee Dee Bridgewater ha omaggiato la grande tradizione francese, con il suo stile personalissimo e accattivante. La fisarmonica struggente di Marc Berthoumieux e le percussioni duttilissime di Minino Gray hanno fatto da contrappunto alla voce della Bridgewater, in un dialogo musicale che ha impreziosito la tessitura di questi grandi classici, con un’interpretazione generosa, intimistica, a tratti dolente, a tratti brillante, che ha trasformato ogni singola esibizione in un viaggio che tocca le corde più profonde di ciascuno.

L’amore è stato così raccontato dalla speciale sensibilità dell’artista come cifra esistenziale ed emotiva, come orizzonte di senso e di ispirazione.

Il concerto ha toccato il suo apice, con la meravigliosa e poetica “Et maintenant” che Dee Dee ha dipinto con la sua voce, accarezzando con maestria, in ogni singola nota porta al pubblico, quel senso di struggente malinconia che attraversa la canzone. Un concerto di altissimo livello musicale, inframezzato dalla grazia con cui l’artista ha interagito con il pubblico, introducendo i vari momenti di una scaletta che è scivolata via senza intoppi.

Una scommessa vinta, dunque, quella di Armonie d’arte festival a Locri. L’inaugurazione in trasferta del festival, che ha come sua casa d’elezione il parco archeologico di Scolacium a Roccelletta di Borgia, ha rilanciato il ruolo di un festival che da diciannove anni, e ogni anno con maggiore convinzione, si spende per imbastire, con sapiente regia, eventi che lasciano il segno nei luoghi della storia, come nell’immaginario collettivo, per la pregnanza non solo puramente artistico-estetica, ma per il valore etico aggiunto di raccontare la bellezza come arma di difesa e di salvezza.

«Andare nel cuore della Magna Grecia, a Locri – ha commentato il direttore artistico Chiara Giordano – ha appresentato una felice esperienza, che ha ribadito per “Armonie d’arte” la mission di porgere un messaggio culturale che va oltre la semplice e mera proposta di spettacoli, ma che si costruisce e si alimenta di una narrazione della bellezza nel senso più ampio e compiuto del termine.

Ed ora torniamo al parco archeologico di Scolacium a Roccelletta di Borgia e attendiamo un’altra grande stella della musica internazionale, l’appassionata e travolgente Dulce Pontes, il 26 luglio prossimo».

[aspadikoetagaurkoa-blog]

Menudas historias de la Historia - Nieves Concostrina.

Calixto III, primer papa español Día grande para España en el Vaticano el 9 de abril de 1455, porque en esa fecha el cardenal Alonso de Borja fue elegido papa, el primer español que aposentó sus reales en el solio pontificio. Y para ser el primer papa exportado, no estuvo mal. Ha dado mucho juego a la historia, sobre todo porque dejó bien colocado al resto de la familia, léase su sobrino y futuro papa Borgia, Alejandro VI, y a los hijos de este disipado pontífice, entre ellos los famosos Lucrecia y César Borgia. Los papas, por aquel animado siglo xv, gustaban de tener mucha y variada descendencia.El primer papa español tomó trascendentales decisiones, pero la más extravagante y cómica, no de su papado, sino de toda la historia del Vaticano, fue la excomunión de un cometa. Calixto III excomulgó al cometa Halley, ese que sólo se deja ver cada setenta y tantos años y que tuvo la mala suerte de pasar justo cuando estaba Calixto III. Pero el asunto no quedó en mera anécdota, porque además de excomulgar al cometa, el papa ordenó a la cristiandad que el rezo del Ángelus, además de al amanecer y al anochecer, se hiciera también al mediodía. Y hasta hoy.Cuando el papa llevaba un año en el trono, los astrónomos corrieron a advertirle que en la bóveda celeste había un cometa grande y terrible, con una cola de color amarillo que parecía una llama ondulante. Textual. Calixto III buscó sus propias explicaciones al fenómeno: aquello era un signo de la ira de Dios porque los turcos acababan de apropiarse de Constantinopla. Así que tomó varias medidas: primera, excomulgar al cometa; segunda, que todos los príncipes cristianos se unieran contra la invasión musulmana; y tercera, decretar que todos los católicos rezaran el Ángelus a mediodía para hacer desaparecer el cometa o, en su defecto, provocar su caída sobre Constantinopla para exterminar a los turcos de un golpe.El cometa, afortunadamente, se tomó en serio lo de la excomunión y se largó, porque si llega a caer en Constantinopla, se van a hacer gárgaras no sólo los turcos, también los Borgia, el Vaticano y la cristiandad al completo.

[tuseriesdetv]

Noticias de series de la semana: FX y AMC a juicio

Demanda contra AMC por la muerte de Bernecker

Más de seis meses después de la muerte de John Bernecker, su madre ha presentado una demanda culpando a AMC por producir The Walking Dead, como en anteriores temporadas, con "mínimo coste y máximo beneficio". Dice la denuncia que, como último eslabón en la toma de decisiones de producción, son responsables de asegurar las precauciones de seguridad para proteger a sus artistas y que sabían que la grabación de la octava temporada, incluido el séptimo episodio, no estaba siendo ejecutada de forma segura de acuerdo a los estándares de la industria. La cadena comenta que se toma la seguridad de sus empleados en todos sus sets "extremadamente en serio" y que "cumplen o exceden los estándares de seguridad de la industria". La investigación de OSHA concluyó que la escena no se ensayó, que no había ambulancia en el set y que el actor Austin Amelio, que interpreta a Dwight, empujó a Bernecker pese a que se le dijo expresamente que no lo hiciera. [Fuente]

Apoyo a Murphy contra Olivia de Havilland

Olivia de Havilland demandó a Ryan Murphy y FX por su representación en Feud: Bette and Joan y estos presentaron una moción argumentando que la demanda debería ser rechazada bajo el estatuto de California que prohíbe demandas frívolas amparándose en la Primera Enmienda (en resumidas cuentas, libertad de expresión). Estas mociones suelen tener éxito pero la juez Holly Kendig, de la Corte Superior de Los Ángeles, no la consideró oportuna en este caso. Kendig acepta que FX tiene libertad de expresión, aunque se centra en el segundo punto del estatuto, que destacaría los derechos de de Havilland sobre los demandados al presumirse una mínima probabilidad de prevalencia en su testimonio. Ahora, Netflix, The Electronic Frontier Foundation y la MPAA -que incluye a Paramount, Sony, Twentieth Century Fox, Universal, Disney y Warner Bros.- apoyan a Murphy y FX en su intento de apelación. Afirman que el análisis de la Corte es una desviación sin precedentes de décadas de protección a la libertad de expresión y amenaza con condenar géneros enteros de películas basadas en hechos reales como docudramas y biopics. "Los autores, guionistas y directores no pueden contar este tipo de historias si se les requiere presentar cada momento con el cien por cien de exactitud", dice el abogado Mark Kressel en un amicus curiae (una presentación voluntaria de terceros ajenos a un juicio sobre un tema generalmente de interés público) en el que señala que películas como The Post, Molly's Game o I, Tonya, candidatas al Oscar, podrían verse afectadas por esta decisión. MPAA y Netflix aclaran en una nota al pie que no creen que una queja relacionada con un docudrama no pueda estar justificada, sino que, en este caso, de Havilland no puede probar que la representación sea ofensiva o que se haya actuado con malicia. Su principal preocupación es que la juez haya permitido que sobreviva esta demanda. Daniel Nazer, abogado de EFF completa la queja en otro escrito diciendo que "la mera intención de crear un drama realista será suficiente para cancelar su protección en la Primera Enmienda", que "todo el género necesitaría el permiso expreso de todos los sujetos, haciendo imposible completar trabajos como The Social Network o The People v. O.J. Simpson" y que "una amenaza de pleito sería suficiente para disuadir a muchos creadores de finalizar un proyecto". "Si FX hubiera decidido representar a de Havilland como una criatura mitad humano y mitad gusano, Feud estaría protegida por la Primera Enmienda. Pero si, para cumplir los requisitos que aseguran la libertad de expresión, un artista debe convertir a una persona real en un híbrido de humano y gusano, entonces la doctrina subyacente es totalmente errónea". [Fuente] SAG-AFTRA, el sindicato de actores, coincide con EFF en ciertos aspectos pero, aun sosteniendo que no es cuestión de elegir un bando en este caso concreto, opina que la Primera Enmienda no es absoluta y que los cineastas tienen la obligación de hacer un ejercicio de precaución al representar a un individuo vivo para no invadir de forma injustificada sus derechos individuales o deshonrar falsamente su reputación. [Fuente]

Renovaciones de series

CBS ha renovado la sitcom Murphy Brown (1988-1998) por una undécima temporada. Candice Bergen vuelve como protagonista. Además, la cadena ha encargado pilotos de reboots de Magnum, P.I. (1980-1988) y Cagney & Lacey (1981-1988).

Sky ha renovado Fortitude por una tercera y última temporada

BBC One ha renovado Doctor Foster por una tercera temporada

Cancelaciones de series

USA Network ha cancelado Damnation tras su primera temporada

USA Network ha cancelado American Rust antes de su estreno por problemas de casting.

Incorporaciones y fichajes de series

Meryl Streep se une como regular a la segunda temporada de Big Little Lies. Será Mary Louise Wright, la madre de Perry (Alexander Skarsgård).

Paul Bettany no interpretará finalmente al príncipe Philip en The Crown.

Cherry Jones (Transparent, Awake) será la madre de June (Elisabeth Moss) en la segunda temporada de The Handmaid's Tale.

Kip Pardue (Marvel's Runaways, Ray Donovan) será Chad, el prometido de Kelly/Zelena, en el episodio 150 de Once Upon a Time, dirigido por Lana Parrilla.

John Malkovich (Con Air, In the Line of Fire) participará en varios episodios de la tercera temporada de Billions interpretando al multimillonario ruso Grigor Andolov.

Lolita Davidovich (True Detective, Shades of Blue) se une como recurrente a la cuarta temporada de How to Get Away with Murder. Se desconocen detalles del personaje.

Kenneth Brannagh (Murder on the Orient Express, Dunkirk) se une a la tercera temporada de Upstart Crow.

Michael Shannon (Nocturnal Animals, Boardwalk Empire) protagonizará The Little Drummer Girl junto a Florence Pugh y Alexander Skarsgård. Será Kurtz, un espía israelí.

Hannah Waddingham (Game of Thrones, 12 Monkeys) será recurrente en Krypton como Jax-Ur, una de los principales científicos del planeta y líder de la organización terrorista Black Zero. El personaje ha sido tradicionalmente masculino en la mitología DC.

Joanne Whalley (Wolf Hall, The Borgias) será la hermana Maggie Murdock en la tercera temporada de Daredevil.

Evan Gamble (Hap & Leonard, The Vampire Diaries) será recurrente en la cuarta temporada de Fear The Walking Dead como Ennis, alguien que solo se preocupa por sí mismo.

David W. Thompson (Green Room, Win Win) sustituye a Charlie Tahan en el papel de Scarecrow durante la cuarta temporada de Gotham.

Ashley Zukerman (Manhattan, Designated Survivor) será recurrente en Succession como Nate, un consultor político con buenos contactos y amigo de la familia Roy.

Nadine Lewington (Holby City, Containment) será recurrente en la quinta temporada de The Originals como Greta Sienna, un vampiro que vivió en Europa en los años 20.

Monique Green será recurrente en One Day She'll Darken como Nina, prima de Fauna (India Eisley).

Chyna Layne (Shemekka) ha sido ascendida a regular de cara a la segunda temporada de She's Gotta Have It.

Pósters de series

Nuevas series

Helen Mirren (The Queen) interpretará a Catherine the Great en una miniserie de cuatro episodios para Sky y HBO escrita por Nigel Williams (Elizabeth I) y dirigida por Philip Martin (Prime Suspect).

Apple ha dado luz verde directa a un drama escrito, dirigido y producido por Damien Chazelle (La La Land, Whiplash). No se conocen más detalles.

Netflix encarga ocho episodios de Unbelievable, limited series basada en hechos reales que se centra en una adolescente que mintió sobre haber sido violada y las dos detectives que descubrieron la verdad. Escrita por Susannah Grant (Erin Brockovich).

Sky encarga ocho episodios de Curfew, drama sobre una carrera ilegal de coches armados y customizados desde Inglaterra hasta Escocia para escapar de un gobierno totalitario. Protagonizan Sean Bean (Game of Thrones, The Lord of the Rings), Adrian Lester (Riviera, Hustle) Malachi Kirby (Roots, Black Mirror), Phoebe Fox (Close to the Enemy, Black Mirror), Robert Glenister (Hustle, Spooks), Aimee-Ffion Edwards (Peaky Blinders, Detectorists), Rose Williams (Reign), Elijah Rowen (Vikings) y Guz Khan (Zapped, Borderline). Creada por Matthew Read, guionista de Hammer of the Gods y productor de Happy Valley o Doctor Foster.

Paramount Network, antigua Spike TV, ha adquirido los derechos de MaddAddam, trilogía de novelas de Margaret Atwood (The Handmaid's Tale, Alias Grace) que narra la tendencia de la humanidad a la autodestrucción. Adaptan David Kanter (Philip K. Dick's Electric Dreams) y Linda Carlson (Five Came Back). Darren Aronofsky intentó adaptarla previamente para HBO.

FX ha encargado un piloto del reboot de What We Do in the Shadows, la película de 2014 escrita, dirigida y protagonizada por Jemaine Clement (Flight of the Conchords) y Taika Waititi (Thor Ragnarok, Hunt for the Wilderpeople). Clement escribirá y Waititi dirigirá el reboot producido por ambos.

Tomorrow Studios desarrolla la adaptación de The Oracle Year, la novela de Charles Soule (2018) sobre un joven de Nueva York que tiene 108 visiones del futuro y monetiza esas predicciones para convertirse en famoso.

La productora Caryn Mandabach (Peaky Blinders, Nurse Jackie) prepara When We Were Orphans, limited series adaptación de la novela de Kazuo Ishiguro (2000) sobre un detective de Londres en los años 30 que resuelve la misteriosa desaparición de sus padres en Shanghai cuando era niño.

Desarrollan una serie basada en la trilogía cinematográfica de los noventa The Mighty Ducks, sobre un abogado que se convierte en entrenador de un equipo juvenil de hockey. Steven Brill, guionista original, prepara un guion. Jordan Kerner repite como productor.

El spin-off de Grey's Anatomy, centrado en un parque de bomberos, se titulará Station 19.

Fechas de series

La segunda temporada de Jamestown se estrena en Sky1 el 9 de febrero

La segunda temporada de Sneaky Pete llega a Amazon el 9 de marzo

La segunda temporada de Timeless llega a NBC el 11 de marzo

Otras imágenes

Crossover de Scandal y How to Get Away with Murder

Tráilers de series

Seven Seconds

Sneaky Pete - Temporada 2