#wynn entertainment

[the-burt-macklin-fbi]

This is so cute?!

Please add tags for creators missed!

[nohr-selphias]

wynne doesnt like how loud the warden and zev are in the tent but on the other hand the absurd amount of unbridled eye fucking that was happening before was driving morrigan up the wall

[callonpeevesie]

spa day in the moving castle

[death-rebirth-senshi]

Well okay maybe he snaps on her a lot. Maybe he is this fucking close to throwing hands with Wynne over this comment. There may also be a rude remark along the lines of "Just because you couldn't keep your legs closed and it went poorly for you doesn't mean I can't handle fucking Zevran and killing darkspawn at the same time without tripping over myself."

[mintmentos]

So no one wants to talk about that mistake huh

[unhinged-nymph]

So proud of my mom and dads

[keycomicbooks]

Spawn #1 (1992) Created by Todd Mcfarlane, 1st Appearances of Spawn, Sam & Twitch & Malebolgia, 1st Cameo Appearance of Jason Wynn, 2nd Title Published by Image Comics

#Spawn #1 (1992) Created by #ToddMcfarlane, 1st Appearances of #Spawn, #SamAndTwitch & #Malebolgia, 1st Cameo Appearance of #JasonWynn, 2nd Title Published by #ImageComics "Questions, Part One" While a strange assailant stalks the city, ripping out human hearts, another otherworldly being arrives. As his mind reels, our tortured hero remembers that he struck a deal with the devil in order to return to his beloved wife - five years after his death. The man who was Al Simmons is no more. He has become Spawn. https://www.rarecomicbooks.fashionablewebs.com/Spawn.html#1 @rarecomicbooks Website Link In Bio Page If Applicable. SAVE ON SHIPPING COST - NOW AVAILABLE FOR LOCAL PICK UP IN DELTONA, FLORIDA #KeyComicBooks #ImageUniverse

[nationallawreview]

It Takes More than an Algorithm to Prove an Agreement: An Analysis of Gibson v. Cendyn Group

On May 8, 2024, Chief Judge Miranda Du of the U.S. District Court for the District of Nevada granted defendants’ motion to dismiss with prejudice the complaint in Gibson v. Cendyn Group, LLC, Docket No. 2:23-cv-00140-MMD-DJA, an antitrust case alleging that hotel operators on the Las Vegas Strip used algorithms to inflate room prices in violation of Section One of the Sherman Act. The court’s…

[heartburstings]

sensationalist dan schneider youtube video creators i want you to meet my friend jeff. and i want you to guess what jeff will the do.

[elizadraws]

Bulgarian Music in Studio Ghibli films

”Myth has it that Orpheus was born in what is now Bulgaria. It seemed to be fact, not myth, that his daughters are still singing there”

These words were written by the New York Times in the remote 1963 — the year in which the largest Bulgarian folk ensemble crossed the Iron Curtain to conquer an entire continent with its cosmic art.

The 1975 release of Le Mystère des Voix Bulgares, a compilation album of modern arrangements of Bulgarian folk songs, further popularized Bulgarian music, and in 1977, a vinyl record featuring the folk song “Izlel ye Delyo Haydutin” (Eng: Come out rebel Delyo) began its journey aboard the Voyager 1 and Voyager 2 spacecrafts.

From this point on popularity from the West spread to the East, and Bulgarian folk music made it to the entertainment industry, including legendary Japanese anime films, like the cult cyberpunk “Ghost in the Shell” or the heartwarming Studio Ghibli features.

In this short article I write about two occasions of Bulgarian music playing in Studio Ghibli’s films.

The record that inspired the creation of “Only Yesterday”

“Only Yesterday” is a 1991 Japanese animated drama film written and directed by Isao Takahata, based on the 1982 manga of the same title by Hotaru Okamoto and Yuko Tone. Set in rural Japan, the film draws parallels with the peasant lifestyle present in Eastern Europe.

The original work is a compilation of short stories about 11-year-old Taeko’s daily life in 1966. Director Takahata had a hard time making it into a movie since the manga, told in the form of a memoir, has no plot to hold a feature. Together with producer Toshio Suzuki, they came up with the solution of bringing the narrator of the story, adult Taeko, into the movie. But there is a curious anecdote about how this idea came to mind.

Taeko picks safflower as the Bulgarian song “Malka moma dvori mete” plays in the background. © Studio Ghibli

In a 2021 interview with students from Sofia University St. Kliment Ohridski, producer Suzuki recounts how a record of Bulgarian songs performed by the children choir “Bodra Smyana”, introduced to him by director Takahata, inspired the creation of the movie. Moved by the cosmic voices of the children, they decided to make “Only Yesterday” a musical. He also recalls what a tiring process it was to acquire the rights to the music, but if you’ve seen the movie, I am sure you will agree that it was worth it; the haunting, beautiful songs with the pastoral images of farmers picking flowers contribute to one of the greatest scenes created in cinema.

Producer Suzuki showing the record that inspired the creation of ”Only Yesterday”. Source: Studio Ghibli’s Twitter

In “Only Yesterday”, we can hear two songs from the album Bulgarian Polyphony I by Philip Koutev Ensemble. The upbeat “Dilmano Dilbero” [Eng. beautiful Dilmana] sets a happy mood as the protagonist gets changed and ready to go on the field. As the scene shifts and Taeko starts narrating a sad story about the girls in the past picking safflower with their bare hands, the song and mood shift as well.

While the first song has a fast rhythm, with lyrics about pepper planting that can also be interpreted figuratively, the second one, “Malka Moma Dvori Mete” [Eng., a little girl sweeps the yard], is a ballad about a young girl who is forced into marriage but has never known true love.

Both compositions sing about life-cycle events like marriage and the regular coming of the harvests, with lyrics perfectly fitting the setting and plot of the movie, which makes me wonder if the filmmakers chose them by chance or if they had someone translate the words.

Bulgarian Cosmic Voices Enchanting Howl

“Howl’s Moving Castle” is a 2004 Japanese animated fantasy film written and directed by Hayao Miyazaki, loosely based on the 1986 novel of the same name by British author Diana Wynne Jones. Set in a fictional kingdom the movie draws inspiration from various places in Europe. One of them being Bulgaria.

The story focuses on a young girl, named Sophie, magically transformed into an old woman, and a self-confident but emotionally unstable young wizard, Howl, living in a magical moving castle.

A sketch of a Star Child. Source: The Art of Howl’s Moving Castle

If you’ve seen the movie, you surely remember the scene when Madame Suliman ambushes Howl and tries to strip him of his magic powers. Star Children encircle him and his companions; their shadows grow big, dark and intimidating. They start dancing and chanting unintelligible magic words and are almost successful in their devilish act.

This scene, together with the music played in the background, have been a favourite of many fans of the film. Some even recount it giving them nightmares when they were children.

Star Children encircle Howl in an attempt to strip him of his magic powers. © Studio Ghibli

It turns out, however, that these aren’t any incantations, but the lyrics of a folk song. In Bulgarian. And a love song! Contrary to popular belief, the lyrics have nothing to do with magic and are actually about a boy taking his sweetheart, Dona, to the market to buy her new clothes. The excerpt used in the movie is very short and a bit altered from the original, but the words used go like this: Trendafilcheto, kalafercheto, Done mamino, translated as “the rose, the costmary, my darling Dona”.

I am planing a follow up article where I will post the translated lyrics together with a brief explanation on how they are related to the movies.

If you want to comment on or add something, I would love to hear!

Source

[vigilskeep]

can you talk about misinterpretations of wynne and zevran's dynamic??? i'm chewing on your analysis

i think it’s a very basic case of people simply taking what is said at face value, in a way that comes up a lot with your classic zevran misinterpretations and uhhh oversimplifications. zevran and wynne’s banters are full of his classic exaggerated flirtations. all of their banters hinge on this joke and they’re very funny. but i’m always mildly stunned when i see people taking that as... zevran actually literally just being horny AGSHSKKSKS

i don’t think people give zevran enough credit for how clever he is at dancing around the other companions. nobody ever really gets one up on him. i can think of one specific instance in banter where i do think something gets under his skin, which i think oghren of all people manages essentially by accident the one time he’s actually not really trying

anyway: wynne opens their first banter with “you must know that murder is wrong, i assume.” it’s very wynne; she makes a judgement and announces it as fact. zevran is slightly stunned by this and also how funny it is: “i’m sorry... are you speaking to me?” with this incredible disbelieving pause because, like, he’s the party assassin. but he’s also playing for time quickly on how to react to this out of nowhere. wynne then explains the simple narrative she’s constructed that joining the party is due to a crisis of conscience on zevran’s part about being an assassin. and zevran immediately jumps into exaggerated agreement, and once he gets a better idea, the first of his flirtations with her, until she gives up in exasperation. it’s an evasion tactic zevran is very, very good at and has been doing to you, the player, since his first appearance on screen. he wants to play on the characters he performs when they’re useful shields, whether it’s the victim or the flirt or what have you. but also always with that ironic air that he’s clearly doing a bit; there’s the charm of letting you in on a private joke, but also he needs everything to be a faintly ridiculous game to him, so he doesn’t have to be affected

zevran keeps this joke up for the full extent of his banters with wynne through the whole game, because he finds it wildly entertaining, of course, and because he has no interest in ever inviting the conversation she wants. he so badly doesn’t want to deal with her asking this that he decides to run this bit into the GROUND, and starts doing it pre-emptively to ward her off even after she stops trying to instigate the conversation. bc wynne may be a good way off the mark, and, ironically for someone wanting zevran to take this seriously, not able to imagine that his life and feelings may be more complex than assumed (absolutely classic spirit behaviour once again), but she is needling at his reasons for leaving the crows, which is the last thing wants to be honest with anyone about

making the assumption that zevran is flirting with wynne out of genuine interest is, to me, the same mistake as thinking zevran when you first meet the warden is flirting out of genuine interest. this is how he knows to stay alive. if he let his guard down, he’d be dead; if he wasn’t charming, he’d be dead; and if he ever stopped to dwell instead of being the “eternal optimist”, always instinctually grasping at one more chance to live another day, he’d be very, very dead. he’s not going to casually discuss vulnerabilities for someone else’s peace of mind and he definitely doesn’t have the kind of insecurity to need to explain himself to people who don’t know him or what they’re talking about. so, rogue evasion abilities activate! it’s time for him to dodge! which is what he spends the entire series of banters doing. but also he’s just still finding it funny throughout. she just gives him so much ammunition. it’s like taking candy from a baby. zevran loves an old and terrible joke repeated for several months solid, they age like wine to him

i also think wynne’s comments are a light jab at how zevran does get read by players. he��s not ashamed of being an assassin. there’s this great line in one of his dialogues with the warden that asks why he shouldn’t continue to do what he’s good at when so few have come by his skills “honestly”, as he believes he has. there’s a tendency to characterise him and characters like him as, ah, the guilt-ridden victim in need of a pure-hearted saviour to show him the light, etc etc, but that’s never been who he is. there’s no ending where he suddenly quits being an assassin lmao

[cornley-amateur-drama-society]

Oh my god, I also was thinking about damsel in distress!Chris when I wrote that last bit a;dlkfja;sdljf

I think that there are two ways it could go down, and by “it” I mean the cast getting him the FUCK out of dodge.

(Under a read more because I am the way I am)

Scenario A (Or, Suck Up and Hope It Works)

This method involves several key cast mates: Vanessa, Sandra, and Jonathan.

I'll start first, though, with why the other's didn't get picked.

Robert is, well, self-explanatory. His blasting the news of his and Celia's affair (and I choose to believe it was an affair, though one that Robert had been misled into thinking that Celia and Raymond were separated) on the radio for the whole nation… Yeah… He's out for this.

Dennis is out because I think that Celia and Raymond would have such strong conflicting feelings about him. On the one hand, they know how poorly Dennis acts on stage when it comes to his lines and cues, and so they see Chris helping him (staying after rehearsals, meeting up on the weekends, etc. back when they were younger and Chris was still at home full-time) as, awfully, a charitable thing that their only son is doing.

Look at him, helping this dreadful actor in a going-nowhere play. It's truly only because of our parenting that Chris could be so kind and patient. ← Raymond and Celia Bean being themselves and hubristic

But on the other hand, they see him as not worth Chris' time and talent. The more their son has to help him, the less time their son can work on his lines. Why does Chris even bother doing this, spending time with the sorry boy?

They see Dennis as both something to pity, but also something that grates against the very cores of their beings.

So, because of that, he's out.

Max is out because I cannot picture him seeing how Chris is treated, the subtle barbs and guilt-tripping, and not lashing out.

I have a headcanon that the Bennett family is very large, and so Max has a lot of cousins that are both close to his age and more like siblings to him. And he saw how one of his favorite cousins was being treated by her fiancé-at-the-time, so's he, uh. Ended it. The engagement. Forcibly.

I think that he's one of those people that is totally chill and go with the flow until they're not.

He would go off on Chris' parents with a very personal tone, and it would quickly get out of hand.

Trevor is the same, except he would be hostile from the moment he stepped foot on their property.

He's seen how Chris acts around his father, he's seen the way that he tenses at the sound of his mother going, “Chris, dear, this is acceptable, but…”

Trevor would be there ready to fight and take Chris out of the house forcibly.

Annie is the same.

Listen. I was stage crew for several years. You don't work backstage and not be ready to throw down at a moment's notice.

Now for the people who do get to go.

I believe in my mind and soul and heart and bones that Vanessa grew up in a similar environment to Chris.

Same middle-class upbringing where appearance is nearly everything, and accomplishments make up for what appearances may lack.

Vanessa's issues with her parents, however, are firmly with the fact that her Nan lived with them throughout Nessa's teenage years.

And Nana Margery was not a woman who lived through the War for nothing. Her words were cruel, coated in a veneer of advice. Her eye was discerning, picking out the slightest misstep, the slightest wrong breath at the wrong moment.

And Vanessa's parents?

Nana Margery was her Dad's Mum. He, though the “man of the house”, couldn't kerb his Mother's tongue.

And Vanessa's Mum was constantly working during this time for the very same reasons Vanessa hated her Nan.

But, Vanessa is an actress. She may have stage fright and trouble with improvising, but she can smile politely and say the right things and butter people up with the best of them.

She not only knows the battlefield to come, but she grew up in it. If she can do anything for Chris, it's this.

Sandra was chosen also due to her acting skills.

She didn't grow up in the same situation, but she knows how to improvise, how to pivot on a pinpoint, how to make a situation work for her (for the most part).

And she's got grit. She knows that Vanessa isn't unconfident, but she also knows that this situation is different from some random critic in the paper or coming up to them on the street.

So Sandra volunteers to go with Vanessa. She will refuse to be cowed by Celia's guilt-tripping comments, Raymond's snide remarks.

And Jonathan. He's chosen because he's so forgettable.

He is the cast's assurance that Chris will get out of Celia and Raymond's house.

While Sandra and Vanessa distract his parents, Jono is grabbing the overnight bag (that turned into an overweeks bag) and getting Chris to pack his things away.

He's getting Chris down the stairs and out the door, which he has Chris open for him.

(You know, given his history and all.)

Jono gets Chris in the car, his rucksack in the boot, and then is rejoining the group nonchalantly.

Oh dear, he'll say, faux worry in his voice.

I apologise for stepping out for so long. I was phoned by my ex, you see, and I have to leave to pick up my daughter from school.

He'll frown slightly, a lemon twist to his mouth, and look apologetically to Celia and Raymond, who are trying to cover their surprise at his presence. They had forgotten that the two women had another person in their party.

He'll shake Raymond's hand, perhaps slightly more firmly than he ought, and give the barest shake to Celia's hand, hating how limp it is. (He's not going to bow over it, fuck that noise.)

Well, we must be off now. I don't want to keep my little girl waiting, and I was these two lovely women's impromptu chauffeur.

And with a light chuckle, the three of them see themselves out, saying No, we insist, Mrs. Bean. Celia, of course. You shouldn't have to worry over seeing us out when Mr. Bean, Raymond, yes, I apologise. You shouldn't worry over seeing us out while Raymond needs you with him. Oh, to one day have a marriage like that.

Light smiles drop the moment they're no longer facing the Beans.

If Max and I ever become like that, hit us with your cars.

Gladly. Gods, that was awful… I nearly lost it on her, how she talked about Chris…

Who is currently in the car, so if you'd like to walk just the slightest bit faster so we can leave, that would be helpful.

Sandra sits up front in the passenger seat. Jonathan drives, and Vanessa is in the back, both of Chris' hands clutching onto hers.

She's doing the same, knuckles turning white. They both have a distance in their eyes, a certain vagueness to their expression, that Sandra and Jonathan just turn on the Satnav and make for Robert and Dennis' flat.

Sandra will get her chance to comfort Chris later.

Once the anger slowly rears its head in his ice-cold veins.

She will get the chance to curse his parents to the Ninth Circle of Hell and back, with Chris smiling quietly next to her. Both of them holding onto their own shite wine coolers because that's all that was in the flat.

(Trevor and Max are on an alcohol run. Dennis and Robert are sitting on either side of Vanessa, their presences grounding her. Jonathan is angrily making biscuits for them to eat. An interesting moment for nearly everyone to find out that he's a stress baker.)

(Annie shows up with takeaway Chinese, enough to feed an army, so that the group has something in their stomachs while they get pissed. If she snips the bags holding the food open a little too aggressively? Well, perhaps traffic was shite.)

(She walked to the restaurant. It's the opposite corner to the Grove-Tyde flat.)

nauseating thought for the day but how bad do you think the fallout would've been for chris if raymond had gotten injured on the set of the pilot (not the pilot)

[justcallmecappy]

One of the criticisms I've seen DA players have in response to Anders' actions at the Kirkwall Chantry is some degree of, 'his actions forced innocent mages into a war they had no choice whether or not they wanted to be involved in'.

What a lot of these players seem to miss is this: The mages were already involved. They have been involved since childhood, when their magic manifested.

If you are born a mage in Southern Thedas, you are marked. The Templars will find you, or your neighbors who were conditioned by the Chantry to fear magic will turn you in, and you are brought to the Circle where you are at risk of Tranquility, or Annulment, and subjected to a Harrowing. Your children born to you in the Circle will be taken from you to be raised in a Chantry orphanage (like Wynne's child was). You are not allowed to get married, or start a family, or own land. You are not allowed to leave your Circle ever, unless conscripted to fight in the army (like in the Fifth Blight) or fulfilling some whim or need of those in power (like Malcolm Hawke being made to entertain nobles at a party). You might be thrown into the dungeon and left to starve to death, like the mage child Cole (and other mage apprentices of the White Spire) did. You are at risk of physical and sexual abuse, like the mages of the Gallows were.

Innocent mages were already involved. They were already being killed, they were already fighting for their lives for centuries since the inception of Circles, long before Anders' actions.

Also, in the case of the Gallows specifically, Knight-Commander Meredith had already called for the Annulment as early as the beginning/mid of Act 3. The mages' lives were already in danger, even before the Chantry was destroyed.

Anders tried for six years to make people listen and show how magic is not meant to be feared and can be used for good -- by publishing a manifesto, by providing free magical healthcare in Darktown -- to bring people's attention to the plight of mages and change things for the better. It took the imminent threat of his people being slaughtered wholesale for him to resort to what is aptly titled 'The Last Straw'.

If players want to blame anyone for subjecting mages to a conflict they did not want, look no further than the Chantry and their system of exploitation and oppression over the mages. Put blame on the Chantry for forcing mages into lives they did not choose, and asserting methods of culling and control over them, simply for how they were born. It was the Chantry that gave them no choice whether or not they had a say in staying alive or dying.

And if DA players would still say that the mages could have tried for a more "peaceful route" to alleviate their circumstances (despite seeing how Anders' manifesto, his Darktown clinic, and years of trying to negotiate with Elthina failed and Meredith was calling for Annulment anyway): very rarely do the oppressed win change by pandering to the morals of their oppressors.

Innocent mages were already suffering and being murdered in droves, for centuries. Innocent mages were already involved in this struggle, whether they wanted to be or not. And Anders' actions at the Chantry was like a rallying cry: If we're going to die anyway, then I'd rather die trying to take them down than giving them what they want.

(Also, I have not yet gone into detail on what actually started the mage-templar war, which was the Seekers hiding the cure for Tranquility, and Lord Seeker Lambert's decision to dissolve the Nevarran accord and take the Templars hunting for the free mages across the countryside because he decided dead mages were better than free mages -- because that's a whole separate post.)

[brf-rumortrackinganon]

I was thinking of an article that came out after Spare, where some of W&H's friends were threatening to talk, they said that W was squeaky clean in comparison to Harry and that H's Las Vegas scandal wasn't his only US one and that there were more visits to the US

I wonder if this might connect to Diddy's rumors

I don't think so. According to the Diddy rumors I've heard, Harry only began going to the parties after he and Meghan moved to California.

I haven't heard much about other rumors concerning Harry in the US pre-Meghan. I know of one rumor that has nothing to do with the 2012 Vegas naked pics and two rumors connected to the 2012 Vegas naked pics.

The non-Vegas-related rumor: Harry has a preference for lady entertainers of the night (if you catch my drift).

The Vegas-related rumors: Harry left a parting gift to someone he met in Vegas, who is now about 12 years old and Harry's behavior was so horrendous that the Wynn Hotel banned him. I believe the rumor said Harry had trashed his rooms and/or that he racked up a huge bill and left without paying (it was something like Harry thought the RPOs would pay for it as they usually did, but his bill was so high they had to get a wire transfer from London and it took longer than desired).

Again, all rumors.

[iww-gnv]

Tens of thousands of Las Vegas hotel workers fighting for new union contracts set a strike deadline Thursday, threatening major disruptions at more than a dozen resorts that could coincide with the Strip's inaugural Formula 1 races later this month. The Culinary Workers Union said about 35,000 members whose contracts expired earlier this year could walk off the job if deals aren't reached by Nov. 10 with casino giants MGM Resorts International, Caesars Entertainment and Wynn Resorts. Formula 1's Las Vegas Grand Prix weekend is scheduled to begin Nov. 15 with an opening ceremony and is expected to bring thousands of people to the Strip. Nevada's largest labor union, with about 60,000 members statewide, hasn’t gone on strike in decades. A walkout would be the latest in a series of high-profile labor unrest actions around the country — from walkouts in Hollywood to UPS' contentious negotiations that threatened to disrupt the nation’s supply chain — and would follow hospitality workers walking off the job last month at Detroit's three casinos, including MGM Grand Detroit.

[bunabi]

For the "anyone who didn't die onscreen" tweet I do think it is sort of like. Take it with a grain of salt. Because Bioware has always reduced cameos for quantum characters. But they also tend to leave a lot of wiggle room with deaths, looking back at DAO even. You can stab Morrigan, shell still appear in every game trailer. You can in gameplay murder Leliana at Haven, but she will then be a major character advising your character two games later like nothing happened. Alistair's execution isn't on screen, Sten is left off screen to die on prison, etc. I think they'll do whatever is most entertaining while still feasible, there's a reason you just "leave some one in the Fade" in Adamant, leaving open potential for fun stuff later! I feel like the only characters that might be Dead Dead are like Wynne who have proper dramatic deaths even if it's in the side materials.

That's what I think too

This is gonna sound cynical but most choices dont really matter in DA

It's impossible to callback all of the possible outcomes in DAO & DA2, they've been taking more control of the plot progression, being more selective with what carries over, and now Keep is dead indefinitely

So if a character coming back makes for a better setup or makes fans say yippee they should stay flexible 😭

The idea of honoring individual players' continuity and having more roleplay freedom was amazing while it lasted but the dream is over