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our-kendrick · 4 years

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Anna Kendrick Puts Her Characters, Her Career—and Herself—Under the Microscope

The actor turns inward to reflect. But don’t worry, she’s laughing along the way.

Read here, or below.

Anna Kendrick has an idea. “Every character should do a scene with her mother at the beginning of a shoot,” she suggests. Her theory is that this type of interior work could function as a sort of controlled breakthrough in therapy—but instead of your own lifetime’s worth of baggage, it’s your character’s.

The notion occurred to her during production on her new HBO Max series Love Life (debuting May 27), on which Hope Davis portrays her mom. “I learned so much about my character during that episode; you go back to your own childhood stuff,” she says. And though she hadn’t previously considered it in such explicit terms, to hear Kendrick talk about her acting is to realize she’s actually been putting her roles under the proverbial microscope for years.

“Why does that person behave that way? Why do some people see the world in a different way?” she muses, chatting by telephone from her home in Los Angeles, where she’s been quarantining since mid-March. “And that’s the kind of driving curiosity that, hopefully, makes me effective at my job.”

Of course, having been acting professionally since adolescence, Kendrick knows that what initially lured her to the trade was a good deal less existential. “It would be really insane for me to suggest that finding truth in a person’s psychology interested me at that age,” she says, with just a little bite. “It was more that I knew plays like Annie and Gypsy meant that I could get on a stage and wear a costume, and people had to pay attention to me. My goals were more streamlined: I wanted to sing really loud and be onstage.”

Streamlined, indeed. Kendrick starred in the 1998 Broadway premiere of High Society, for which she earned a Tony nomination at the ripe age of 12, making her one of the youngest performers in history to earn the distinction. Not long after, as it so often does, Los Angeles came knocking. And, as it so often does, it quickly proved less glamorous than advertised.

“I don’t really know what to say about it other than it sucked. It was hard,” Kendrick says of her early days navigating the “business” side of the business. “Every now and then, I’m walking around in L.A. and I notice some back alley, weird entrance, and remember I used to go around to that entrance because they didn’t want you coming in the front entrance if you were there to audition. It’s a very degrading process to be holding your sides and have some bored receptionist say, ‘Can you use this back entrance?’ And then, obviously, the image of walking into a room and there are 20 girls who look exactly like you.”

Though she hardly recalls the period with rose-hued fondness, it was a necessary steppingstone to becoming the Anna Kendrick we know today, the singular one who is known as much for her turns onscreen as her quips on Twitter. (She even wrote a book of nonfiction essays, Scrappy Little Nobody, that went on to become a New York Times best-seller.) As it happens, learning to unleash the persona inside the person—to embrace rather than smother whatever nonconformity exists within—was a critical turning point in her approach to both acting and auditioning; one which, believe it or not, came courtesy of a certain vampire franchise.

“I remember auditioning for the family in Twilight and running into a friend of mine and both of us being like, ‘Why are we here?’ ” Kendrick recalls. “ ‘[The role] is the bitchy mean girl, they’re going to hire some leggy blonde, because that’s the part.’ I thought, OK, I’ll just go in and do something dumb, because I’m not going to get the job anyway. Hopefully, the casting director will remember me as being funny, and they’ll bring me back in for something else. It’s such a hideous cliché, but I just had to realize the only times I got a job were when there was something I could do that nobody else could do.”

To again lift that turn of phrase right off the therapist’s couch, it wasn’t just a career breakthrough, but a psychological one. That isn’t to say it suddenly unlocked the secret to enduring Hollywood success, but it did help secure the actor’s first Oscar nomination.

The story—well-documented in the history book of Kendrick’s life by now—goes that the writer-director Jason Reitman already had her in mind when she came in to audition for his new feature Up in the Air. The role was a co-lead opposite George Clooney. She got it, obviously, but as the greener of the two actors, how did she step on set and believe, I have a right to be here?

“Um, I didn’t,” she says with a terse laugh. “George was such an angel, and would say things like, ‘Are you nervous? Got to get nervous for your first day’—and that is complete bullshit. He absolutely does not [get nervous], but I believed it at the time, and that’s what I needed to hear: that I had permission to be nervous. Because it’s one thing to be nervous, and it’s another to be pretending you’re not.”

Now, Kendrick is herself a formidable leading lady, having starred most notably in all three Pitch Perfect movies; the series has to date made more than $500 million worldwide and solidified Kendrick as a capital-N Name. In a position quite different from the one she was in about a decade ago, today she tries to practice the same on-set empathy that has been shown to her.

“No, I’m an absolute monster,” she says with just a split-second pause before answering in earnest. “I mean, you try to adjust to your various co-workers. Obviously, there are people who you realize really thrive when it feels spontaneous, and it would be better if we weren’t word-perfect. And then, for other people, it’s those early takes that are really magical and you want to make sure it’s as on-book as it can be.” As for her ideal scene partner, when given a preference, Kendrick does have one in mind.

#Anna Kendrick #Backstage #Interview #2020

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perfectdocument · 3 years

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Correction in Death Certificate !

A demise authentication is an authority record gave by the public authority, which pronounces reason for death, area of death, season of death and some other individual data about the perished.

There are a few reasons why you may have to acquire a demise authentication. Regularly it's to fill in as confirmation for lawful purposes. These reasons may incorporate getting to annuity benefits, asserting extra security, settling bequests, getting hitched (if a widow or single man needs to demonstrate that their past accomplice has passed), or orchestrating a burial service.

Government authorities may require the demise authentication to audit the reason for death during examinations to decide whether unfairness happened.

General wellbeing authorities use passing authentications to aggregate information on different measurements, including driving reasons for death. General wellbeing strategies rely intensely upon the mortality information from death endorsements since they are the solitary wellspring of data about the reasons for death and diseases going before death.

Before giving a guaranteed demise testament, specialists for the most part require a mark from a doctor or coroner to approve the reason for death and the character of the perished. Upon the marking of the demise authentication, neighborhood specialists will ordinarily give a testament of demeanor of remains, otherwise called an internment or incineration grant.

Crematories and graveyards require this structure before they will incinerate or cover a body. In certain locales, the structure is joined with a transportation license that permits the development or shipment of a body.

Who can get a demise endorsement?

In certain states, demise testaments are viewed as open space archives and they can be gotten by any individual paying little heed to the requester's relationship to the expired. In different states, just a legitimate delegate, a life partner, parent, youngster, or kin of the perished may get an affirmed duplicate of the passing declaration.

In these examples, evidence of connection to the decedent is required while presenting the application. Kin commonly need to give a duplicate of their introduction to the world testament showing parental relationship to the decedent.

Legitimate agents need to give documentation demonstrating the demise endorsement is required for the assurance of property rights. Legitimate delegates are normally needed to incorporate a letter expressing whom they address and how they are identified with the individual named on the record when mentioning duplicates.

Instructions to get duplicates of death declarations

There are basically three different ways to get affirmed duplicates of a demise declaration:

They can be requested through the memorial service home

They can be organization through an outsider organization that works in this field, like VitalChek

They can be requested through the state or district in which the individual kicked the bucket

Numerous individuals track down that ten duplicates of the passing declaration are adequate for finishing vital desk work and different errands. Expenses fluctuate by state and area. Expenses will commonly go around $20 per copy.To request passing authentications through

How to get a Death Certificate in India?

Presentation:

Passing is a hopeless second in every individual's life thus the stylish society of these days has made it vital through the laws of our country that demise must be scratched by the clinical local area thus there emerges a craving for the Death Certificate.

A Death Certificate might be a record that is given by the govt. to the family members or the near ones of the perished expressing the date, reality, and clarification for the demise of somebody and it serves an imperative instrument.

Laws with respect to the record:

The archive of the demise testament is managed by "Enrollment of Births and Deaths Act, 1969". Under the law, it's important to enlist every passing with the elaborate State/Union region Government inside 21 days of its commonness. The govt. of India has given an efficient and obvious framework for the enlistment of passings, with the Registrar General at the middle and furthermore the main recorders inside the States, the area enlistment centers, and city enlistment centers.

Rundown of Documents required:

The accompanying archives square measure expected to get a demise declaration:

* Credentials

* A legitimate instrument indicating the time and spot of death (Affidavit)

* A reproduction of the Ration card

* AN Address verification (Aadhaar Card, Electricity Bills, and so forth)

* The individual mentioning the passing endorsement must give a proof of relationship with the expired along with his/her status and address.

As indicated by the Registration of Births and Deaths Act 1969, the Registrar can enter the name of the expired into his/her records without charging any expense.

Steps to Obtain a Death authentication:

The means to a passing endorsement are as per the following:

Stage 1: Get an Application structure from the neighborhood body specialists.

Stage 2: Fill in the subtleties of the structure like name of the expired, time and spot of death, and so forth

Stage 3: Attach the reports like age verification, address confirmation, a duplicate of apportion card, and so forth

Stage 4: Since the proof of death is required, an emergency clinic letter might be required which will indicate the spot of death or who guaranteed the passing at the graveyard or crematorium.

Stage 5: The structure, alongside the archives and the clinic letter, should be submitted to the Registrar of Deaths inside 21 days.

Stage 6: The Registrar will confirm the archives and afterward put it in his records.

Stage 7: After 1-2 months, the family members or almost ones will be informed that the demise testament has been delivered and they can gather it from the Local Body Authorities.

Consider the possibility that we will in general miss the enrollment inside the necessary time.

It is inconvenient to deal with the lawful conventions while taking care of the departure of a darling thus if there's any postponement (termination of 21 days) in news the passing to the Registrar then it is exonerated by paying an ostensible late expense of Rs 2/ - . Notwithstanding, on the off chance that the postponement is more than thirty days, it should in any case be possible anyway by composed authorization from the Registrar and a lawful instrument from the functionary, inside one year from the date of death.

Need for Death Certificate:

The Death Certificate is an indispensable instrument and is required for various reasons, for example,

* Claiming life affirmation

* Pensions

* Subsidence Estates

* Medicaid benefits

* Future relationships

Issues with the trouble of Death Certificate:

There square measure a few issues that somebody may confront though getting a passing testament:

* The Doctor may decline to sign the demise declaration as he/she is maybe uncertain concerning the clarification for death. Nonetheless, the laws that stop the postponement of the trouble of a passing endorsement and that they had the opportunity to have a fair motivation to back it.

* The inaccurate clarification for death may appear to be on a passing testament because of more than one medical problem.

Arrangements:

The answer for the above issue is that the specialist who is dependable to sign the authentication should investigate the clinical history of the expired and look at it appropriately so he isn't uncertain about it. The subsequent issue is a mistaken clarification of the passing of the expired, for this, the clinical specialist or the doctor who marked the endorsement needs to give documentation to demonstrate that the demise testament needs corrects. The documentation ought to incorporate the expired's name, date and spot of death, the mistake, the changed data and the mark of the clinical professional.

Regardless of whether a Death Certificate is gotten on the web:

With the headway in innovation, everything is computerized nowadays and that is the methodology to prompt a demise testament.

The reports should be transferred electronically through a record. A proforma of enrollment could likewise be acquired from Clicking Here and a yield signal is to be taken and must be submitted to the local enlistment center's working environment and furthermore the human will follow his solicitation from the record made.

This office isn't out there to the individuals who have surpassed the 21 days point thus they need to actually present the enrollment type along with the reports to the local recorder's work environment.

End:

In this way, a demise declaration is a fundamental archive that is proof or verification whether a previously mentioned individual is dead or not. In cases, especially criminal cases, the information concerning the demise of the casualty is gotten through it.

#correction #deathcertificate #municipality

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theeurekaproject · 4 years

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A Painstakingly Complicated Discussion of the Caste System

This post is mirrored from my Wattpad story Eureka in Excessus, which is a collection of miscellaneous pieces of the Eureka Project that never quite made it into the book. You can find it here.

Today on "Wren Has Too Much Free Time: The Book," we discuss the painful intricacies of the caste system in a society that doesn't exist! I'm the type of person who gets super into worldbuilding (sometimes at the expense of the actual story) so writing this type of guide is really entertaining to me. That being said, if you would rather not listen to two thousand or so words of rambling about the social order of a fictional empire, you are by no means required to read this—the actual story can be understood just fine without it. If you're a lore-obsessed geek like me, though, read on :)

I knew from the very beginning that Eleutheria had to have a caste system. I needed a quantifiable way for characters to compare themselves to other characters, and "she's rich but I'm poor" didn't really work because poverty and status are so relative. The noblewomen consider everyone beneath them "poor," but then there are people like Lyra, who were literally raised on the streets. There's also the fact that Eleutheria's social order is incredibly complicated and alien—it's almost nothing like our own, owing to the fact that they have larger gender differences, a weird history, and bizarre societal norms that are often at odds with what readers consider normal. So I knew I needed a quantifiable system that shows which characters are ranked higher than other characters.

The caste system started as simple ranks and numbers, but that got boring and difficult to keep track of very quickly, so I started giving the castes names. Like everything else in Eleutheria, they're in Latin, but I'm hoping that a combination of context clues and obvious English loanwords will be enough to give readers an idea about what they mean. Eventually the system grew from ten vague groups to exactly twenty extremely specific castes grouped into several different cohorts. I like this way of organization because it allows me to make certain jobs equal without combining them into one caste—scientists and medical types are different things, but they're in the same cohort and thus relatively equal. I finalized the hierarchy with a few additional groups that aren't quite considered castes, and that led to the system I—and Eleutheria—use now. So, without further ado: the twenty castes of Eleutheria!

The Trinitarian castes are the "best of the best"—the old money noblewomen who lead Eleutherian society and serve as models to everyone else. Nothing a Trinitaria says or does is wrong—they can get away with murder if they so desire, and there's nothing anyone can do to stop them. Despite their high status, though, the Trinitarium are constantly fighting amongst themselves, frequently resulting in bloody civil wars that leave hundreds of thousands of people dead. Naturally, the people who start said wars get off scot-free; they always do.

Caste Cipher is the highest Trinitarian caste. Supposedly descended from the Founders of Eleutheria, the Ciphers are said to have unflinching brilliance, impossible beauty, and the divine wisdom of their ancestors. Their shockingly blue eyes, unflinching gaze, and uncanny-valley nature distinguishes them from the rest of the nobility (or, well, at least it did; Acidalia-Planitia, eldest daughter of Alestra Cipher, has, to the rest of the court's disgust, very plain, very human brown eyes.) Ciphers are considered almost gods by quite a few denizens of Eleutheria, and anyone who dares question them will be swiftly and violently stricken down by Alestra Cipher's hand.

Examples: Alestra, Aleskynn, and Acidalia (the latter only sort of.)

Caste Princips is the second-highest caste, consisting of nearly all the other noble families on Eleutheria. Noble houses Vulgaris, Communia, Summus, and others reside on this level—just below the Ciphers, but above everyone else. They are said to have descended from Eleutheria's earliest settlers, a population chosen by the Founders to spearhead their new civilization. Despite their high ancestry, though, they are not above stupid, petty squabbles, and they spend most of their time arguing with one another over nothing of importance. Though Caste Princips are not nearly as revered as Ciphers, they evoke the same anxiety in ordinary citizens—mostly because they too are wealthy and powerful enough to erase people from existence.

Examples: The ladies-in-waiting, most of Aleskynn's friends

Caste Praelia is the final, dying Trinitarian caste. It once consisted of numerous noble houses who served as military powerhouses; Praelium houses produced an untold amount of warriors, generals, and gladiators. However, Alestra came down on them hard during her reign, not wanting to be superseded by charismatic Praetors and their extremely loyal armies. Now the only remnant of caste Praelia is the noble house Generalis, which is also slowly fizzling out—its matriarch, Anatolia Radiata, died several years ago, leaving her daughter Cassiopeia as the lone survivor.

Examples: Cassiopeia, the late Anatolia

The Logos castes are just underneath the Trinitarians. Consisting of scientists, doctors, businesswomen, and other academic types, this cohort has given rise to some very powerful people. However, most women in this category remain solidly middle-class—not every researcher is an Einstein, you know? Despite this, they are treated with a sort of reverence by the rest of the population, because they're considered the "movers and shakers" of Eleutherian society. They discover new things, uncover the past, and help move humanity forward; who wouldn't love them? So they usually get off pretty well in the grand scheme of things... sure, sometimes they discover things they weren't meant to know and get themselves shot for treason, but considering that this is Eleutheria we're talking about, that's not that bad.

Caste Negotia is mostly composed of businesswomen, economists, and management types. Some are your ordinary office busybodies, and others are CEOs. They can be enormously wealthy, but many are your regular old run-of-the-mill managers. Still, the caste is associated with luxury anyway—very few Negotium are cripplingly poor.

Caste Scientia consists of researchers and scientists, who are further divided into specialties depending on their field. Again, they can be very rich, or kind of in the middle, but rarely ever impoverished. Outside of the Trinitarian castes, the Scientias are one of the most respected groups in Eleutherian society—after all, they invent the technology that's made the empire so powerful. Despite this—or maybe because of it—they are under intense scrutiny. Alestra is so afraid of the Scientias mobilizing against her that's she's started an aggressive campaign to keep dangerous ideas from spreading: she takes away their children to be raised by the state, kills anyone whose research goes a little too deep, and brutally slaughters everyone who disagrees with her just to make examples out of them. Scientias also have a tendency to die young due to completely unrelated reasons—they're often frail, sickly, and inexplicably weak. Conspiracy theories abound about this, but every time someone makes a breakthrough, they wind up dead.

Examples: Athena, Carina

Caste Medica contains medical professionals—doctors, nurses, dentists, and the like. Alestra sees them as slightly less of a threat, so she's a little more lenient with them. Besides, she kind of has to be nice to a degree—even Imperatrices get sick, and she wants to avoid being killed by her own doctors if something goes wrong. This caste is generally kept happy, just because Alestra knows offending them could result in her death. It would be very easy for the royal physician to cut the wrong thing during surgery and make an assassination look accidental.

Caste Historia ostensibly contains the historians, archeologists, et cetera. In practice, though, it's hardly composed of unbiased historical researchers. Most Historium are paid off by the state to publish the truths the government agrees with, and dissenters are simply killed. Much like the Scientias, Historium are subject to an intense amount of scrutiny; if someone publishes a document they aren't supposed to, Alestra's whole reign could collapse in on itself. This, compounded by the fact that society doesn't really need historians in the same way it needs scientists, has led to the thinning of caste Historia. After Alestra took power, their numbers were greatly reduced, and they never regained their lost power again.

The aptly named Artem castes are the creative types. Dancers, actors, artists, designers, animators, and anyone else who works an "artsy" job is classified into this cohort. Unlike most castes, the Artem castes are incredibly diverse and offer a high degree of social mobility for anyone fortunate enough to swindle their way into a high-paying job. Starving artists can become millionaires overnight if they're lucky, and famous stars can fade into nothingness if society forgets about them. It's a high-risk, high-reward game, but if you're skilled, loyal, and reasonably attractive, you have a decent shot at making a good living for yourself. Of course, artists who choose to defy the status quo never seem to remain in the spotlight for very long.

Caste Auctor is composed of writers, authors, and scribes. Auctores can be almost anything, so long as it's related to writing or communication. They can work in conjunction with Scientias and Medicas to do the paperwork surrounding scientific studies and case reports, help Magistratum with investigative journalism, translate ancient languages alongside Historium, create works of fiction, et cetera. Like the Scientias, they're somewhat respected by the majority of society, but that just means Alestra hates them more because they have so much influence. Any Auctor who finds themselves on her bad side will meet a swift and merciless end.

Caste Momentum consists of the people who are involved in creating "movies" and "TV shows" (read: "thinly veiled propaganda presented to the citizens as if it's truth.") It's a somewhat odd caste limited to propaganda professionals; there are actors and directors, but also certain psychologists and writers who specialize in messing with the human mind. Momentum castes regularly collude with Auctores, Medicas, and Scientias—and sometimes even Ciphers themselves—to create terrifying, mind-melding cocktails of half-truths that can convince weak-minded citizens of anything.

Caste Incentor is much more innocuous, containing mostly musicians. They're monitored heavily to prevent Dangerous Ideas from spreading, but they have more freedom than most Artem castes, mostly because Eleutherian music is by and large kind of terrible. Incentores are stereotyped as being dizty, lovestruck morons, because they're one of the few castes that never really does anything with science or history or government—mostly they just sit around and look pretty, and some of them sing on occasion. (Of course, most of them are not really that brainless, but they pretend to be stupid anyway—the dumber Alestra thinks you are, the less she'll want you dead.)

Caste Sollertia is a weird, catchall mixture of other "creative types." All sorts of career artists wind up here—designers, certain architects, tattoo artists, and anyone else Eleutheria can't shove neatly into their own little category. Sollertium are stereotyped as "free spirits" because they can grow up to be pretty much anything, so long as that thing has a creative component to it. The daughter of an architect can easily become a graphic designer if she so chooses (though it's customary to take your mother's job upon reaching your age of majority.) Sollertium associate with Logos castes like Scientias somewhat frequently—you kind of have to consult engineers if you're designing a building—so they have slightly more respect than Incentores, despite their caste's lack of structure and organization.

The Auxilium castes are where things start to get depressing (if the government surveillance wasn't depressing enough.) Auxilium are "helper castes," and that describes them pretty accurately—they only exist to serve other people. They range from middle-class to extraordinarily, horrifyingly poor, and they don't have the greatest of reputations. Most of the upper castes look down on them at least somewhat, and anyone who makes friends with an Auxilia will be made fun of mercilessly. There is one exception to this rule, though—Ministratora, especially the Imperial servants, are treated with a great degree of respect. Mostly because they report back to Alestra.

Caste Suffragia is the most fortunate of the Auxilium castes. They're called Suffragium because they used to be one of the largest voting blocs back when Eleutheria held elections (same root word as "suffrage.") Suffragium are, by and large, everyday workers just trying to make a living. Regular old salesmen, secretaries, and the like are mostly Suffragium, as well as most retail employees. It's rare to see a Suffragia rise above middle-classs mediocrity, but this is Eleutheria, so dull suburbia and ticky-tacky box houses are pretty decent. And they don't get murdered by furious Ciphers on a semi-regular basis, so... that's a win for them.

Caste Ministratora is domestic workers. Personal assistants, maids, nannies, and some cooks are all Ministratoras, and their quality of life varies depending upon their employer. They can make very good money if they work for very rich people—you'd think noblewomen would treat their servants pretty poorly, but it'd be extremely easy for a resentful maid to slip something lethal into a drink or let important information slip, and sure, they might get themselves killed for it, but what good will that do if you're already dead? Alestra in particular is shockingly nice to the Ministratoras she employs, mostly because she's terrified of them turning on her.

Caste Raeda consists of the people who keep Eleutheria's public transportation system in check. It's a more important job than it sounds, but it's also too dirty and grimy for Scientias to want to do it, so the grunt work falls to the Raedae. They range from train conductors to mechanics to spaceship pilots, and though they're looked down upon by most other Eleutherians, their card isn't actually that bad. They don't make a lot of money, but that means they have more freedom than most, and they can escape Eleutheria with ease if things turn nasty—Alestra doesn't care about them enough to look into it when they vanish mysteriously.

Caste Vilicius is where things start to get human-rights-violate-y. Vilicius is a small caste that only exists to keep the Laborum and Cantatores in check—the second the lower castes start causing a problem, the Vilicii are there to beat them into submission. Allowing Vilicii to go mad with power and indiscriminately maim or kill Obscuri is one of Alestra's favorite ways of keeping Eleutherian society the way she wants it. Vilicii are another group that can get away with murder—provided they're murdering the "bad" people, of course.

And, finally, the aforementioned Obscurus castes. They're called Obscuri because they quite literally live in the darkness, populating the pieces of Eleutheria nobody else will tolerate living in. They're mostly orphans and other people with no family name or legacy, and they're often considered "resources" that can be bought, sold, and used rather than human beings with valuable lives. The one plus about being an Obscurus is that Alestra doesn't care about them, either, which means they can get away with doing "treasonous" things others would be jailed or killed for. On the other hand, they don't reap the benefits from the government, either—meaning they have no access to programs intended to help the impoverished.

Caste Labora is made up of factory workers. They're one of the largest castes, and they're incredibly strong, rivaling the greatest athletes and gladiators Eleutheria has to offer. This means that, hypothetically, if a Labora was to start a large revolutionary movement, things would be very, very bad—they probably wouldn't win anything, but they'd cause a significant amount of damage before the military came to shut them down. Somehow, though, they never stay strong for very long—every Labora seems to get some horrible, immobilizing disease that cripples their ability to move or communicate once they outlive their usefulness.

Caste Cantator is like the catchall caste for people Eleutheria doesn't like. Bastard kids, orphans, illegal second daughters back when Alestra had a one-child rule, et cetera, all fall into the Cantator category. Cantator is one of the smallest castes, but Alestra hates it more than anything because every Cantator is a living embodiment of a broken rule. She hasn't outright killed them all yet, mostly because doing so would be inconvenient, but she's dangerously unsympathetic to their problems, and she's revoked what little support the government used to offer them. They're a constant thorn in her side just by virtue of existing, and she'd be very happy to see them all wiped off the face of the Earth.

Examples: Lyra

Caste Servum consists of slaves. Chattel slavery hasn't been legal in Eleutheria for over two hundred years, but the fact that this caste is still on the roster shows how little the government cares about enforcing that rule.

"Outcaste" is a sort of general term for a person who doesn't fit into the official hierarchy. It doesn't actually have a negative connotation; whether or not being an Outcaste is a good thing depends on the circumstances of a person's birth.

The Magistratum are the police force. They aren't considered a part of the official caste roster because they're technically military (though they're rarely treated as such.) Certain units of the Magistratum are terrifying and efficient, especially Alestra's not-so-secret police, but most of the time they're kind of a mess because they're always fighting with each other. Most units are ruled by the government, others are run entirely by the various gangs/mobs that pop up in the Eleutherian underground, yet more work for various non-government paramilitary rebel groups, and some just serve themselves. And for every cop who works for an ulterior motive, there's some poor guy whose entire job is filling out paperwork and fighting with idiot sov cits.

"De Caelo" is the what non-Eleutherians get on their paperwork in the place where the caste name should be. It literally means "from heaven" because it most often refers to people from other planets (usually Mars.) Eleutheria doesn't get many tourists (because it's kind of a dystopian hellscape) but it does get visiting diplomats, and the "de Caelo" classification is just a way of saying "no, they don't have a caste; they aren't from here."

Miles (pronounced mee-lays) are soldiers. Most men fall into this category because Eleutheria has compulsory military service. The military has its own ranking system, which is kind of impossible to memorize because it's so needlessly complicated—some of it is meritocratic like a traditional military structure (i.e. you get promoted if you do a good job), but most of it is just based on what you were born as, and it all uses random letters instead of fancy Latin names. The random categories are intended to confuse enemies so they won't intentionally target higher-ranking men—the idea is that they wouldn't single out a TB soldier over a DX soldier, because their names don't indicate how important they are. Of course, different categories have different uniforms and appearances, so the whole "random alphabet soup letter" names are functionally useless.

Examples: Ace, T (or AX-C240 and TB-2115, respectively.)

Luminosa is the title given to the founders of Eleutheria and other historically important people. It means "enlightened," and it's the highest honor an Eleutherian can ever hope to get. It's virtually impossible to receive this title—even Alestra didn't dare award it to herself. Less than fifty people have ever been called "Luminosa," and it's almost always awarded posthumously. Luminosae aren't considered a part of the caste system because they're theoretically above it—everyone on the planet would bow down to them, even the Ciphers themselves.

Examples: Katherine Amelia Davis, better known as Katerina Aurelia Luminosa (the woman Acidalia's coronation oath references, and ostensibly her ancestor.)

#lore #d e e p e s t l o r e #wren has too much time on her hands #worldbuilding #caste system #eleutheria #terra #solis #eurekaproject

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louisdungo · 5 years

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FILM BLOG

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Here are eight (8) films I have recently watched...

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Maynila sa mga Kuko ng Liwanag (1975)

This film is directed by Lino Brocka and stars Bembol Rocco, Linda Koronel, and Tommy Yap. The film revolves around Julio Madiaga (played by Bembol Rocco), a young adult from the province who went to Manila to find a job and eventually found himself into a society in which he becomes hopeless while learning that his old flame, Ligaya Paraiso (played by Linda Koronel), is also within the city. The movie as a whole was engaging right from the start until the end and it is really a must-watch. I, for one, started to appreciate more of the local films after watching this movie, even the vintage ones before my time like the film Batch 81 by Mike de Leon. I think its good to see such original narratives from local films nowadays, considering the amount of film festivals that we have as of now -- but if you would think about it, there's no local film like any other when compared with Maynila. There were actually no characters from the film that you would not be interested in. I symphatized with the main characters especially with Julio, since every situation he comes across in the film was very harsh that he can't seem to do anything about them but instead, he would often run from it. The main protagonist, Ah Tek (played by Tommy Yap), was very subtle throughout the film because you wouldnt expect him to have such a big turning point to the story and for Julio as a character later in the final act of the film. I saw the film only with its restored version which was made possible by Mike de Leon, who is also the cinematographer of this film, and they did a pretty good job on remastering its cinematography. The audio was a little blown out even with its restored version but I was able to understand most of the dialogue anyway. Overall, Maynila sa mga Kuko ng Liwanag gets more and more intense every after scene and I think it deserves to be recognized by everyone.

The Birth of a Nation (1915)

This film is directed by D. W. Griffith and stars Henry B. Walthall, Lillian Gish, and Ralph Lewis. The film is centered around a family from the north and south of america during the civil war period and how they eventually became at war with each other that results with the birth of a racist and aggressive nation, hence the title of the film. This is an important part of the history of film since it is the very first feature length film with a narrative. However, the film was unessecarily three hours long, at least for me, and it is also a silent film as a whole in which I wouldnt blame the filmmakers for it, given the time it was made. The film eventually shows the main protagonist's descent into madness as is explicitly shows how the birth of the Ku Klux Klan came to be. I think it's not that controversial enough, based from some people who have watched the film, since it is somehow for the viewers to be aware not only of the history of the KKK but also to be aware of the impact on racism and how it is still relevant until now. The final act might be the most brutal part of the film since it shows how we, humans, can do something unimaginable. I think The Birth of a Nation, as a whole, doesnt fear to show the dark truth in which the society could possess towards people of color and it would be rather recommended for people who are interested in what the first feature film was like.

The Jazz Singer (1927)

This film is directed by Alan Crosland and stars Al Jolson, May McAvoy, and Yossele Rosenblatt. The story revolves around a boy named Jackie Rabinowitz who is interested in jazz and wants to become a jazz singer but his father (played by Yossele Rosenblatt) whom, is a cantor, is keeping him from doing so since tradition must be passed on to him. Years later, Jackie (played by Al Jolson) grew up and was able to follow his passion whilst finding love along the way and must decide whether to keep on being a singer or to stick with his tradition and stay with his father. The Jazz Singer is known as the first "talkie" film in which dialogue can be heard in the film, except there wasnt much scenes with actual speaking voice on it and can only be heard whenever there are scenes in which Jackie is finished singing. What I like about this film is the narrative and the acting. The story was simple yet well executed as a drama movie and Al Jolson steals every scene that he is on. The final act might be my favorite part of the film because it was riveting and sad at the same time which ended on a perfect note. In Jazz Singer, I learned how you can follow your passion wherever you see yourself fit despite what others tell you to be what they want you to be, and there's nothing wrong about it.

Citizen Kane (1941)

This film is directed and written by Orson Welles and stars also himself as the lead role, along with Joseph Cotten and Dorothy Comingore. The film focuses on the mysterious death of Charles Foster Kane (played by Orson Welles) in which a reporter is assigned to unravel the truth behind Kane's mystifying last words. I have to say, this film is far ahead of its time when referring to itsediting and cinematography. The story and especially its atmosphere is what I liked the most since I am more into the noir type of films, like Sunset Boulevard (1952). Every scene gets more engaging as you progress through its narrative. All the actors who took part did a brilliant job, but Welles made himself stand out among the rest of the cast. His portrayal of a man who was able to get everything he wanted, and wasnt really satisfied after all -- is beyond phenomenal.

Pink Floyd: The Wall (1982)

This film is directed by Alan Parker and Gerald Scafe and was written by one of the band members of Pink Floyd itself, Roger Waters. It stars Bob Geldof and it is a visual representation of the band's album of the same name. The story revolves around a man named Pink, a musician scarred for life who pondered on his childhood memories inside a hotel room and isolating himself from the society in which he symbolizes as a wall. This is actually the first album I have heard from the band and I started to appreciate more of their songs after watching the movie. It was captivating until the end since it is visually hypnotizing with all its twisted animations throughout the film, all thanks to Scafe's vision of the album. The way I see it, I think it shows how some people who happen to have a depressing upbringing could actually be forced into isolation and absolute madness all because of its noxious society that's surrounding them.

Hugo (2011)

This film is directed by Martin Scorsese and stars Asa Butterfield, Chloe Graze Moretz, Sasha Baron Cohen, with Ben Kingsley. The film is centered around an orphan named Hugo Cabret (Asa Butterfield) who is living inside a clock beyond the walls of the train station, and yet no one had any knowledge of who he is and where he lives. Hugo constantly works on an automaton in which his late father (played by Jude Law) had left him, not knowing that there is a secret message hidden within the automaton. Out of all the films Scorsese had made, this might be the only light-hearted one since most of his works are brooding and grounded. The film, as a whole, is well-directed. The story, the cinematography, the editing, every element evokes a youthful bliss. Hugo’s connection with the other characters is what simply made the film entertaining. The film also pays tribute to the first pioneers of film which can be quite educational in some way. I think every aspiring filmmakers should witness one of Scorsese’s masterpiece since it will make them appreciate and learn more of the filmmaking industry. Perhaps this film might be one of those reasons why I love filmmaking.

YIELD (2018)

This documentary is directed by Toshihiko Uriu and Victor Tagaro. It mainly documents the lives of nine (9) children namely Essam, Jason, Omar, Alex, Edralen, Glady Mae, Rommel, Ariel, and April as they endure child labor under the third-world conditions. Yield was somehow sad to watch since we get to witness some of the children’s deprivation of dignity which harms both their physical and mental state. This was not one of those typical documentary films since it is more observational – immersive, and no interview of some kind. Despite their hardships in life, some of them never yielded until they have reached their goals and some of them unfortunately never made it along the way. Yield was interestingly made in a span of five (5) years. I never really was interested in watching documentaries and maybe it depends on the subject matter, but this made me appreciate more of the alternative styles or modes in documentary filmmaking.

Batch 81 (1982)

This film is directed by Mike de Leon and stars Mark Gil as Sid Lucero in a brutal and grounded depiction of what newfound members of a fraternity has to undergo in order to become one of them. Basically the whole story revolves around Sid Lucero with six (6) of his other friends that decided to join a fraternity called the Alpha Kappa Omega (AKΩ) since they find it advantageous throughout their lives. As the film progresses, it gets more and more intense since their fate and friendship is immensely tested as there’s no turning back when joining the said fraternity. This is also one of the many Mike de Leon films in which it deals with the psyche of the Filipino people during the Martial Law years. It may not feel like a blockbuster-budget film but the story was powerful, all throughout. Batch 81 showcases how fascism has affected our human nature and captures our hunger for power wherein some people would tend to see themselves above everything else, and in that, it was a strong movie as a whole.

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