#credit to my friend aida for this
Text
#SHE FUCKING DIED#YES#did the queen die yet#YES SHE DID#NO MORE COUNTDOWN FOR HER#AYAHSUEH YES#queen elizabeth ii#anti monarchy#new meme ❤️#image id in the alt text#credit to my friend aida for this
40K notes
·
View notes
Text
Bryce, Nesta and Azriel Bonus Chapter Reaction
P.s. this is my second read 👀
Bryce cracked open an eye, surveying her two companions.
Nesta sat against the opposite wall, head down, breathing lightly.
But Azriel was staring right at Bryce. She started, whacking her head against the rock. White pain splintered across her vision. By the time it cleared, Nesta was awake.
I HOWLED at this part 😂😂😂😂
"What is it?" Nesta peered down the tunnel to one side, then the other.
Bryce rubbed the back of her aching head and sat up. "Oh, nothing. Just your usual predator-in-the-night warrior, staring at me while I sleep."
"You weren't sleeping," Azriel said, faint amusement in his voice.
Bryce was insufferable but her commentary was fucking hilarious. PREDATOR IN THE NIGHT WARRIOR 😭😭
"Were you really watching her sleep?"
Azriel glowered. "When you say it like that, it sounds... unsavory."
At least he's self-aware.
"We defeated Hybern," Azriel confirmed. A glance toward Truth-Teller at his side. Then at Nesta. "Nesta beheaded the King of Hybern herself."
Bryce blinked. "Badass," she breathed.
It was a group effort but even in ACOSF no one gives Elain the credit (except Lucien in ACOWAR).
Nesta's back stiffened. "My mother would be thrashing in her grave if she knew I was a warrior-if she knew I wore trousers every single day and that I'm mated to a Fae male. I can't tell what would have horrified her more: me marrying a poor human man or becoming what I am now."
Nesta I'm so proud of you 🥹
Bryce jerked her chin toward Azriel. "You've got the broody look of someone with an awful mother, too. Care to share?"
Nesta snorted. "Az never talks about his mother, and neither will our friends, so I'm guessing she's even worse."
The Illyrian snarled softly, "My mother is anything but awful."
Nesta tensed, like she was surprised she'd gotten such a response from him. "I was joking. Az, I didn't even know-"
"I don't want to discuss this," Azriel cut her off coldly.
I'm so excited to meet Az's mother but I know learning of her story will break my heart. I think she might still be dealing with both physical and mental scars and that's why Az is fiercely protective of her, otherwise why would Cassian in ACOSF even think about if Az tried to convince his mother to come live in the Library.
"So that ... phone of yours," Nesta said suddenly, as if eager to change the subject for all their sakes. "You said earlier it has music inside it?"
Bryce's advantage here is music because she won over Nesta so easily (at least during this moment).
"Stone Mother" began playing, its rolling, thumping drums offsetting the wild, yet mellow, guitars. And then Josie's voice filled the tunnel, sharp and yet soaring, accented by Laurel's sweet, clear backups. The sound was foreign, earthy-haunting. In the span of a few notes, Bryce was back in her childhood bedroom in Nidaros, sprawled on the carpet, letting the sound of the music run over her for the first time.
This song had carried her through it all-through the years of pain and emptiness and rebuilding. It had carried her from light into darkness and then back into the light.
I don't know if the name choice for the song is intentional but if it's inspired by the myths it feels like an indirect nod to Theia/Fionn/Aidas (which we learn about soon after this scene) or even Ember/Randall/Autumn King.
This was one of my favorite dances. It's from a ballet called The Glass Coffin." Bryce hit play again, and the violins began.
This is definitely a nod to Vesperus who they found in a clear quartz sarcophagus 👀
Again, Nesta was silent, knees now clutched to her chest, staring into the darkness. As if she was dedicating every inch of herself to listening.
"This sounds like some of our music," Azriel murmured. Nesta shushed him.
Nesta is so entranced by it.
Two hours later, they were walking again. Maybe Azriel had been interested enough in the music that he'd let them linger.
He is a singer after all 😏
Nesta had clapped her hands over her ears at the screaming, wailing death metal, but Azriel had chuckled.
He'd probably get along with Ruhn and his idiot friends.
It comes at no surprise that Az in the modern world would be a metalhead.
Nesta had loved the classical stuff the best, and both of them had been intrigued by the pulsing, thumping club music. "That is what you dance to in your world?" Nesta asked. Bryce hadn't been able to tell if she was intrigued or dismayed. Azriel, at least, had seemed on board.
My mans was ready to break a leg right then and there in the tunnels I know it.
"So you guys have swords and stuff?"
"Something like that," Azriel hedged. He clearly wasn't going to enlighten her about their defenses.
"And your magic is ...”
"Don't push it," Azriel said, a hint of that earlier chill entering his voice.
Nesta's lips thinned at the tone, like she was remembering it, Like it didn't sit right with her.
Az's attitude switches up so fast even Nesta is wary of it. He needs a long holiday.
Bryce asked Nesta, "You have a mate, right?" She nodded to Azriel. "Do you?"
"No," Azriel said quickly, flatly.
"A partner or spouse?"
"No."
Bryce sighed. "Okay, then."
Azriel's wings twitched. "You're incurably nosy."
"I think that's the nicest thing you've said about me." Bryce winked at him.
Bryce hit him where it hurts the most 🤣 it's always fun to have confrontational characters interact with him because the IC tend to walk around eggshells when it comes to Az.
Nesta asked, "Without firstlight, would your world become like ours, do you think?"
Bryce considered. "I don't see another way to power our cars or phones, so... probably."
Post-apocalyptic Midgard in CC4.
"You can do good," Azriel warned, "while still being bad."
Bryce whistled. "I know a number of males back home who could only dream of delivering that sentence with such cool."
I wonder if this is more about him than anything else...
Nesta laughed again. "If you weren't our captive," she said, shaking her head, "I think 1 might like to call you a friend, Bryce Quinlan."
I knew if there was anyone who would have bonded with Bryce from ACOTAR, it would be Nesta.
Did it matter? The Fae in Midgard weren't her problem, and she didn't want them to be, but what if they could be more? Was such a change possible?
A lot of the resentment Bryce feels towards her the Fae in Midgard reminds me of how Az feels about the Illyrians.
Nesta went on, "I'm stronger, faster. Harder to kill. I don't see a downside to that."
"And the near-immortal life span isn't so bad, huh?" Bryce leased.
"I'm still adjusting to the idea of that," Nesta said, eyes on the tunnel ahead. "That time is so ... vast. The day-to-day versus the sprawl of centuries." She slid her attention to Azriel. "How do you deal with it?"
He was quiet for a moment before saying, "Find people you love-they make the time pass quickly." He caught Nesta's eye. and said a shade apologetically, "Especially if they'll forgive your occasional snapping at them over things that aren't their fault."
Something seemed to soften in Nesta's eyes-relief, perhaps, ar the extended olive branch. She said quietly, tentatively, "Nothing to forgive, Az."
I love this part so much!! Az and Nesta have such a special bond. Him including her among the people he loves 🥹 he's at least aware about his own faults.
But his words had lightened some of the remaining tension.
And his next ones finished the job entirely as he winked at Nesta. "And I've been told having children makes the time fly, too."
Nesta rolled her eyes, but Bryce didn't miss the gleam in them.
Nesta was willing to play-to get back to their normal dynamic.
She admitted, "I wouldn't know the first thing about how to raise a child." She pointed to herself. "Raised by a terrible mother, remember?"
"Doesn't mean you'll be one." Azriel said gently.
Azriel said I want Nessian babies 🤣
I just know Nesta would be a wonderful mother and it kind of reflects the reality of how a lot of people who've had toxic parents feel about having a family.
My mother was even worse to Feyre-and my sister has turned out to be..." She searched for the word. "A perfect mother."
This makes me happy 🥹 I miss Feyre
"What do you want to hear?" Bryce asked, opening her music library.
Nesta and Azriel swapped glances, and the male answered a bit sheepishly, "The music you play at your pleasure halls."
Bryce laughed. "Are you a club rat, Azriel?"
He glowered at her, earning a smirk from Nesta, but Bryce played one of her favorite dance tunes-a zippy blend of thumping bass and saxophones, of all things.
And as the three of them walked into the endless dark, she could have sworn she caught Azriel nodding along to the beat.
Az you're proving her point about being a club rat 🤣 I love that SJM emphasized not only Nesta's but Az's fondness for music.
She hid her smile and played song after song, until the battery on her phone drained to the dregs. Until tha ast, beauiful link to Midgard went dark and died.
No more music. No more pictures of Hunt.
This part hurts.
And with each mile onward, she could hear Azriel humming softly to himself. The rolling, wild melody of "Stone Mother" flowed off his lips, and she could have sworn even the shadows danced at the sound.
His shadows dancing to HIS SOUND 😭❤️ and there is only one other person who the shadows ever danced around.
I mentioned it before but one of my headcanons was about when Az is spying or on a mission and he's waiting somewhere, he sings and his shadows dance around him 🥹
133 notes
·
View notes
Text
(Credit goes to JWBtheUncanny on Deviantart)
PreCure All Stars Crystal Freeze 9
For the Final Battle against Dr. Doom with everyone learning He was Manipulating everything from the Start involving the War for the Healing Garden, To get into Latvaria to get Revenge on Dr. Doom for Secretly Attacking the land of Hearts by using Bombs to cause Earthquakes in an effort to punish PreCure for ruining his plans of 2020, the Jerkinators and Ketchum Alliance came up with the Idea of Smuggling them into Latvaria, By placing Pretty Cure All Stars (From Max Heart to Healin Good) and the Fairies of UFO in Crystal Freeze, Being placed in Crystal Freeze will hide your thermal heat from any and all life-form Scanner, If some of you are familiar with my work so far, Being in Crystal Freeze places you in a Hibernation state and for as long as the Panel operator wished, the Process however can be Dangerous if not used properly, Aside from it being used for long distance Travel from World to World, it would be considered as a form of Punishment for anybody that's committed a crime against the PreCure Race, Before going into Crystal Freeze, All PreCure have to wear these Special Latex suits that can not just cover there privates and would serve as a Regulator for there Body Temperature, kinda like a Diving suit.
If your wondering how this was possible, You can thank KiraKira PreCure a la Mode, They've been busy recreating the Crystal Freeze chambers as requested by Cure Elder, and MLPFan053.
Here we see DokiDoki PreCure (Mana Aida AKA Cure Heart, Rikka Hishikawa AKA Cure Diamond, Alice Yosuba AKA Cure Rosetta, Makoto Kenzaki AKA Cure Sword and Aguri Madoka AKA Cure Ace).... Frozen with there Fairy Handlers (Sharuru, Raquel, Lance, Dabyi and Ai) Returning to the traditional Blacks, Been taking some liberties slightly.
(Interesting side note, When I asked my friend if Cure Elder and Cure Younger had been through Crystal Freeze Before and what it was like for them, Well, He came up with this Response "Cure Elder would say that it is a refreshing feeling. The process tingles with your entire body including the parts that are sensitive to the touch. Not only that, Cure Younger would say that the process is extremely ticklish and it could take a while for the body to settle down during the process before they get cooled off.", Which is a very Reasonable thing.... Makes me wonder if they have some kind of Immunity to Hibernation sickness)
#precure#pretty cure#dokidoki precure#doki doki precure#mana aida#cure heart#rikka hishikawa#cure diamond#alice yotsuba#cure rosetta#makoto kenzaki#cure sword#aguri madoka#cure ace#precure all stars#precure fanart#drawing
5 notes
·
View notes
Text
Amren, the Cauldron, and a certain "Great Library"
Please don't screenshot or share this post without credit.
I just came across the following passage...
“And Amren?” “Her duties as my Second make her my political adviser, walking library, and doer of my dirty work. I appointed her upon gaining my throne. But she was my ally, maybe my friend, long before that.” - ACOMAF, chapter 18
... and it made me wonder. Besides being a walking, talking library in the metaphorical sense, as the IC's go-to whenever they need information, could she possibly be something more... literal? I know this sounds ridiculous, but SJM often plants hidden double meanings.
Amren went into the Cauldron. She was in there when:
It broke.
Feyre threw the Book of Breathings into it, in a desperate attempt to heal the cracks of both the Cauldron and their world.
It was healed by Feyre and Rhys.
The Book of Breathings ended up in Midgard, as part of what we learnt was the Great Library of Parthos. Assuming that this is at a point in time after the BOB was thrown into the Cauldron and, as I have theorised before, fell through a rift between worlds and ended up in Jesiba's care, could Amren also have some sort of link to the Great Library?
Along with everyone but Mor and Elain, who were notably absent, Amren was present when Azriel brought Bryce to the townhouse, so the assumption is that she, along with the rest of the IC, will be party to the initial discussion about where Bryce came from and how to get her back home.
Will someone bring up the BOB, which was supposed to be able to send Amren home?
Will Bryce recognise the name?
I wouldn't be surprised if Amren had held onto her notes from ACOMAF, and had the BOB's text written down somewhere.
Could Clotho or Merrill read the ancient text?
Could it help Merrill with her research on multiple realms?
Could it tell them how to open a rift to Midgard, Hel, and ask for Aidas' assistance?
And the biggest, craziest thought: if like calls to like, and the BOB has been in the Cauldron (especially at the same time as Amren, though I don't know if that makes a difference), could it talk to any of those who have as kin? Elain, Nesta, Jurian?
So many questions!
#acotar cc tog crossover theory#hosab spoilers#amren#amren acotar#amren theory#acotar theory#acotar crack theory#great library of parthos#clotho acotar#merrill acotar
34 notes
·
View notes
Photo
Abu Hurairah radi Allahu 'anhu said:
🌟 ❛My friend (Rasulullah salla Allahu 'alayhi wa sallam) advised me to observe 3 things:
(1) to fast 3 days a month;
(2) to pray two raka’aat of Duha prayer; and
(3) to pray Witr before sleeping.❜ [Sahih al-Bukhari 1981]
Among the lessons we learn from this hadith is the importance of istiqaamah (consistency). Sure, we should definitely strive to do voluntary fast more than 3 days each month, pray more voluntary salaah than the 2 raka’aat Duha every day and the Witr prayer every night. But doing so much can be overwhelming at times, and when we're overwhelmed, we tend to abandon our good deeds altogether. Rasulullah ﷺ said:
🌟 ❛The most beloved deed to Allah is the most regular and constant, even if it were little.❜ [Sahih al-Bukhari 6464]
Stay istiqaamah, even if it seems little.
Prioritize quality over quantity.
And remember that consistency will always bear fruit, even during times of interruption. Rasulullah ﷺ said:
🌟 ❛When a servant of Allah suffers from illness or sets on a journey, he is credited with the equal [reward] of whatever good deed he used to do [consistently] when he was healthy or at home.❜ [Riyad as-Salihin 133]
And this is from the Rahmah of Allah, walhamdulillah.
Your sister in Deen,
Aida Msr
11 notes
·
View notes
Text
Post Alley Film Festival 2024
In the heart of the cinematic world, a beacon of empowerment illuminated the screen as the 12th Annual Post Alley Film Festival took center stage at the Seattle International Film Festival (SIFF) Film Center on the 30th of March. Hosted by Post Alley Film Festival Founder and Director, and the President of Women in Film (WIF) Seattle, Virginia Bogert, showcased over thirty short films from over nine countries highlighting the talent, creativity, and resilience of female filmmakers.
From the moments the lights dimmed and the first film flickered on the silver screen, it was evident that this festival was not just about showcasing films; but was about amplifying voices, challenging norms, and rewriting the narrative of women in film. The lineup was an intricate tapestry of emotions, weaving together stories of strength, vulnerability, triumph, and orange cat behavior.
The films covered a wide range of topics, divided into seven distinct segments. In the first segment, "Beginnings/Ends," the focus was on the circle of life and the inevitable reality of death. Films included in this section were "Cuando te Vas," directed by Isabel Montes, "Witness," directed by Aida Tebianian, "Hangman," directed by Megan Brotherton, and "Scam," directed by Julie Sharbutt.
Moving on to the second segment, "Woman’s World," which sheds light on the daily struggles faced by women. Films featured in this category were "Made of Flesh," directed by Florence Rochat and Serena Robin, "Roses," directed by Coral Knights, "Jackie and Marilyn," directed by Hollin Haley, "Under," directed by Aloura Melissa, and "Above the Desert With No Name," directed by Sonia Sebastian.
The third segment, "Family Ties," explored the familiar challenges within families and generational trauma. Films included in this segment were "Blood Ties," directed by Emma Campbell, "Seward," directed by Debra Pralle, and "Mangata," directed by Maja Costa.
In the fourth segment, "Mothers & Daughters," the focus was on the complex and loving relationships between mothers and daughters. Films included in this category were "The Two Lives of Sepideh," directed by Soha Niasti, "Smother," directed by Lea Jeanne, and "Call Me Mommy," directed by Alea Erickson.
The fifth segment, "Coming of Age," highlighted the struggles of adolescence in a complicated world. Films featured in this segment included "Lava," directed by Carmen Jimenez, "Julie Baby," directed by Emily Groom, "Scotty’s Vag," directed by Charconne Martin-Berkowicz, "Gaps," directed by Jenn Shaw, and "Hold My Hair," directed by Rachel Taggart.
Moving on to the sixth segment, "Docs Rock," which showcased the versatility of documentary filmmaking. Films included in this segment were "The Golden Age," directed by Hannah Hamalian, "Mudlark," directed by Chezik, "Vanishing Seattle: Queer the Land," directed by Netsanet Tjirongo, and "Ape," directed by Allison Beda.
Finally, the seventh and last segment, "The Lighter Side," highlighted feel-good films. Films included in this category were "Things I’ve Made My Roommate Do. Episode 1: I’ve Parked my Car in the Friend Zone," directed by Mylissa Fitzsimmons, "Savi the Cat," directed by Netsanet Tjirongo, and "Musica Quarantena," directed by Lilian T. Mehrel.
Besides this wonderful ensemble of films, there was a profound sense of community that this film festival fosters. Each Q&A with each filmmaker provided a meaningful space for conversations and connections to thrive within the female filmmaking community.
As the final credits rolled and the lights came up, it was clear that the Post Alley Film Festival had achieved its mission of celebrating the incredible contributions of women in film. But more than that, it had ignited a spark, a spark of hope and possibility for a future where women’s voices are not just heard but celebrated and embraced. As we reflect on the moments shared and the stories told, let us carry forward the spirit of this festival and continue to champion diversity, equality, and inclusion in the world of cinema. In doing so, we not only honor the past but also pave the way for a brighter and more inclusive future for generations of female filmmakers to come.
#film#movie critic#movies#cinema#film critic#cinephile#filmmaking#cinematography#movie review#filmmaker#moviemaking#moviemaker#films#movie#women in film#women directors#wif#seattle
0 notes
Text
In the dream some kind of audition to be a monster. Didn’t know what location it was so I waited for the others to say if it was theirs when called. On walk there it was slippery, rainy, walked past Bpglif Kp performing something. I went through the library and up the elevator with an unstable floor. Apologized for being late but didn’t know what time it was. It was my second audition. Had to bite people to make them immortal. In this case I made them just to attack. In practice they would have been on my side. I was using the elements consciously like avatar. Was great at water, fine at earth, couldn’t get air. They sent in the big guns after I wasn’t doing enough or whatever. She was slicing up my arms with a device. Didn’t look like a knife but it felt like one. Didn’t look to check if it did damage. I still wanted a chance. She didn’t think I deserved it. I started slicing the minions throats but she didn’t care. Eventually they started working on my side and pushed her out. I stood for judgement before the test guy and someone else writing things down. He talked about some of the immortals texting their friends about getting $5 for the job. Don’t remember what he said, I left. Like an end credit, I fall off a cliff but the tower I was in is pink snf fluffy and dove off to get me. Random closeups of Aida cloth. People being shocked that they couldn’t leave yet. I woke up. Bland ending to a very vivid and interesting dream.
1 note
·
View note
Text
Aidas and the Library
A True Crack Theory
HOSAB spoilers below
Is Aidas the cat in the Library in the House of Wind, and is Aidas going to come to Prythian at the end of ACOTAR 5?
Much credit for this delightful crack theory goes to my dear friend, @sketchedabow, and to my other friends, @offtorivendell (who I think first made the cat connection, ETA in this post, which I either had totally forgotten about or hadn’t seen!! 😅) and @wingedblooms (who made the Bryaxis connection). I truly love my friends.
In ACOSF, we have this really interesting scene in the Library under the House of Wind, where Nesta senses this darkness in the depths of the library:
She’s talking about the seventh level of the library, which she is standing above on level six. And she says that the ramp down to the seventh is like “an entry into some dark pit of hell.”
Nesta describes the darkness she observes down there as almost alive; it feels like it’s breathing. The darkness pulses.
When Gwyn finds her, they have this exchange about the darkness and what’s below:
Nesta says she saw “pure darkness” below.
But here is where it gets interesting: Gwyn says that she feels something “like a cat. Small and clever and curious. It’s watching.”
What a weird specific thing to say. Like a cat.
You know who appears as a cat, and who is from some dark pit of Hel?
Aidas.
I discuss it more in depth in this post, but I really Theia’s second daughter went back to Prythian through the rift with Truth-Teller before the rift closed. And I think it’s possible Aidas helped her get through the rift with protection from demons from Hel.
And Aidas loved Theia:
And he also seems to have betrayed her, leading to her death:
(HOEAB)
(HOSAB)
This raises so many questions for me:
Is Aidas the cat in the library in the HoW?
Can Aidas appear there in cat form like he does in Midgard?
Or is there some kind of portal to Hel in the deepest part of the HoW?
Does Aidas come to watch over Theia’s descendants? To atone for his betrayal of his love?
Is Bryaxis a demon from the Pit that Aidas planted there to observe and keep him informed? Like the shepherd Thanatos planted in the bone quarter as an informant?
And my crackiest theory:
I’m convinced that if CC3 is next, it’s because CC3 is going to be important to the end of ACOTAR 5, and something from CC3 is going to appear in ACOTAR at the end. I imagine in this scenario that the last chapter of HOSAB occurs sometime in the middle of ACOTAR 5, and then in the last chapter, something from CC3 is going to come into play. (For example, Bryce returning with Gwydion and maybe TT, or some of the starborn returning to colonize Dusk, or something like that.)
But will this be Aidas? Is he going to hear of the dire threat to Theia’s descendants in Prythian and return to help?
And how might Aidas play into the ACOTAR plot? Is he related to the Illyrians, or maybe even to Koschei? Were Koschei and the Carver and Stryga children of the Void, just like the Princes of Hel and the Under-King?
I. Just. Have. So. Many. Questions. And I truly cannot wait to see where Sarah is going with this.
#hosab spoilers#crack theory#acotar theory#cc theory#aidas#princes of Hel#aidas and theia#the library#house of wind#acotar 5#acotar 5 theories
101 notes
·
View notes
Text
BEST ADAPTED SCREENPLAY
Shortlisted: Compartment No. 6 by Andris Feldmanis, Juho Kuosmanen, & Livia Ulman / Dune by Eric Roth, Jon Spaihts, & Denis Villeneuve / The Lost Daughter by Maggie Gyllenhaal
THE NOMINEES ARE:
Passing
Screenplay by Rebecca Hall, adapted from Nella Larsen’s novel
CLARE
You see, I haven’t any proper morals or sense of duty like you.
IRENE
You’re talking nonsense.
CLARE
But it’s true, ‘Rene. Don’t you realize I’m not like you a bit? Why, to get the things I want badly enough - I’d do anything...hurt anybody. Throw anything away. Anything.
(beat)
I’m not safe.
The Power of the Dog
Screenplay by Jane Campion, adapted from Thomas Savage’s novel
PETER
Phil- I’ve got rawhide to finish the rope.
PHIL
You’ve got it?? What are *you* doing with rawhide?
PETER
I cut some up. I wanted to be like you. Please take what I’ve got.
PHIL
Well...that’s damn kind of you, Pete. Tell you something, everything’s gonna be plain sailing for you from now on in. And you know what? I’m gonna work, finish up that rope tonight. You’ll watch me do it?
Quo Vadis, Aida?
Screenplay by Jasmila Žbanić, inspired by the book Under the UN Flag by Hasan Nuhanovic
MAYOR
Always the same. You keep telling us this, but nothing ever happens. You said this 3 days ago when the Serbian army entered the safe zone. You said it again 2 days ago when they besieged the town. You said they wouldn’t come a centimeter closer, and yet their tanks are getting closer and closer by the hour. Why is Srebrenica a UN safe zone if the Serbs can go on as they please? You keep telling us we are safe, but they are shelling the city. Their soldiers are in every village surrounding the town.
KARREMANS
As I said, they have been issued an ultimatum. And this has very serious consequences if they fail to act. Between 40-70 aircrafts are on standby and ready to launch an attack on all positions held by the Republika Srpska Army. They will be wiped out.
MAYOR
Should people be moved to the shelters?
KARREMANS
They are safe. They can stay in their homes.
MAYOR
What will happen if the planes don’t come?
KARREMANS
They will come. They will come. They have been issued a United Nations ultimatum. If they fail to comply, they will be attacked at 6am sharp.
MAYOR
You will be accountable if the Serbs enter the town. (beat) Tell him! Translate!
KARREMANS
I’m just a piano player.
Zola
Screenplay by Janicza Bravo & Jeremy O. Harris, based on tweets by A’Ziah King and the article “Zola Tells All: The Real Story Behind the Greatest Stripper Saga Ever Tweeted“ by David Kushner
HOLLYWOOD
Dear heavenly father, we come to thank you today for all the bounties that you have bestowed upon us, Jesus! Now, heavenly father, we are asking you a special prayer today. Special prayer! Special prayer! Lord, we asking you to send us n----s! Send us n----s, lord. None of them fart-ass n----s! Father, send us n----s with culture! Send us n----s with good credit! 840! 840! Oh, Jesus, you know if he got good credit, lord, I know you’re sending him with a big dick. Don’t send us no no-dick n----s, send him with a big dick, Jesus! Father, we are asking you humbly today to send us these things. Send us these things! *speaks in tongues*
AND THE CRISTAL GOES TO...
Drive My Car
Screenplay by Ryûsuke Hamaguchi & Takamasa Oe, adapted from Haruki Murakami’s short story
MISAKI
My mother had a separate personality named Sachi. She first appeared when I was 14. She said she was 8 years old, but she never aged in 4 years. Sachi would often appear after my mother beat me up terribly. It was like her awareness didn't match the body of an adult, so she couldn't move well. She'd try to walk but fall over, and would end up just sitting still. Sachi liked puzzle rings. We did crosswords together. Sachi cried a lot for no reason. Whenever she did, I'd hold her and rub her back over and over. I liked those times.
The last beautiful thing in my mother was condensed in Sachi. Sachi was my only friend. I don't know if my mother was mentally ill, or if she was acting to keep me close to her. But even if she were acting, it was from the bottom of her heart. Becoming Sachi was my mother's way of surviving in a hellish reality, I think. When that landslide occurred, I knew that my mother's death meant that Sachi would die, too. Even so...I didn't move.
#2021 Film Awards#Best Adapted Screenplay#Drive My Car#ryusuke hamaguchi#Takamasa Oe#Passing#Rebecca Hall#The Power of the Dog#Jane Campion#Quo Vadis Aida?#jasmila žbanić#Zola#Janicza Bravo#Jeremy O. Harris
8 notes
·
View notes
Photo
Best Documentary Short Film Nominees for the 93rd Academy Awards (2021, listed in order of appearance in the shorts package)
NOTE: For viewers in the United States (continental U.S., Alaska, and Hawai’i) who would like to watch the Oscar-nominated short film packages, click here. For virtual cinemas, you can purchase the packages individually or all three at once. You can find info about reopened theaters that are playing the packages in that link. Because moviegoing carries risks at this time, please remember to follow health and safety guidelines as outlined by your local, regional, and national health guidelines.
A Love Song for Latasha (2019)
On March 16, 1991, Latasha Harlins, a 15-year-old African-American girl, was murdered by Soon Ja Du at Du’s convenience store in Los Angeles. The murder, which occurred almost two weeks after Rodney King’s beating at the hands of the Los Angeles Police Department (LAPD), contributed to the start of the 1992 LA riots one year later. Directed by Sophia Nahli Allison, A Love Song for Latasha is an avant grade film that intercuts statements by Latasha’s friends and family about the young girl they cared deeply for. Alongside reenacted scenes of childhood, of black girls frolicking on the Californian coastline and the streets of Los Angeles, the film serves as an intimate eulogy for Latasha – one delivered as memories about her become less immediate.
Whatever justified rage the Los Angeles rioters might have felt in 1992 is not the dominant force in Allison’s film. A Love Song for Latasha is foremost a cinematic lament rather than a political polemic. With the reenacted scenes edited and appearing as if it resembling a home movie, this piece appears like a visualization of the memories that the interviewees are recalling. When Latasha was murdered, she ceased to be just a daughter or a friend. A Love Song for Latasha, thirty years on, seeks to reclaim those distinctions for those who knew her best – something, given the significance of Latasha’s murder in history, that may never happen.
My rating: 6.5/10
Do Not Split (2020, Norway)
From Norwegian documentarian-journalist Anders Hammer comes Do Not Split, a street-level glimpse into the protests against the 2019 Extradition Law Amendment Bill (ELAB) that inspired the passage of the 2020 Hong Kong national security law. The events depicted in Hammer’s film include the Hong Kong police’s sieges of the Chinese University of Hong Kong (CUHK) and Hong Kong Polytechnic University, in addition to small-scale clashes between protesters and police, as well as mainland Chinese instigating confrontations. Hammer’s footage is harrowing material, a collection of violent imagery with few moments of individual revelation or introspection outside of the presence of Michigan-born activist Joey Siu. Do Not Split decides not to attempt a dialectic of why the Chinese Communist Party (CCP) and the Hong Kong Legislative Council (LegCo) are pursuing these changes and are brutalizing the protesters, depriving this film of the context that less knowledgeable viewers might need. For those who have been keeping at least superficially aware of events in Hong Kong, there is never any question on which side Hammer is on – despite Hammer’s journalistic background, this is not a piece of objective journalism.
Yet this is not agitprop due to the politics left mostly unexplained, and none of Do Not Split’s flaws take away from the rawness of the protesters’ desperation and the cynicism of the police and government officials enacting the crackdown. Despite the repetitive nature of the footage by the time it reaches the final stages of its thirty-five-minute runtime, Do Not Split contains excellent, crisp hand-held footage that makes immediate sense of the space and time of the depicted violence.
My rating: 8/10
Hunger Ward (2020)
For Pluto TV (some cord-cutting television service I was not familiar with until I started writing this) and MTV Films and directed by Skye Fitzgerald (2018 Oscar-nominated short film Lifeboat), Hunger Ward follows doctor Aida Al-sadeeq and nurse Mekkia Mahdi as they treat malnourished children in the midst of ongoing the Yemeni famine. The famine, directly related to the civil war that began in late 2014, has seen almost a hundred thousand children die in what UNICEF describes as, “the largest humanitarian crisis in the world.” Fitzgerald film works best when focusing on Al-sadeeq and Mahdi, as they describe the heartbreak conditions of the hunger ward and their experiences since the famine began. However, much of Hunger Ward’s footage is too in-your-face with footage of the mothers’ grieving and the last moments of several children. It appears almost as if gawking at the desperation and death that occurs every day in this hospital.
This is not to say that there is no revelation in the image of a child with their eyes glazed in lifelessness or the unearthly wails of a mother overtaken by grief. Fitzgerald edits and shoots their film in a way that makes this process – a child in their last moments of care, a declaration of death, a shot of the child’s corpse, a cut to the mother inside or arriving to the deathbed, and the echoing despair – occur tediously in their movie. Hunger Ward never breaks from this tedious formula. The film is redeemed only by withholding its slings and arrows until some text prior to the end credits, correctly assigning responsibility with Western nations that have enabled and abetted the violence in Yemen.
My rating: 6/10
Colette (2020)
Colette Marin-Catherine is in her twilight years and, upon first appearances, one might not predict the incredible life story that she has to tell. She was a French Resistance member, and French Resistance narratives tend to be sidelined in favor of those depicting Allied soldiers liberating France instead. But Anthony Giacchino’s (the brother of composer Michael Giacchino) film, distributed by British newspaper The Guardian and made for an extra feature of the virtual reality (VR) video game Medal of Honor: Above and Beyond, decides to linger on the memories of Colette’s murdered brother, who died at Mittelbau-Dora concentration camp in Germany, instead. At the urging and with the assistance of the young historian Lucie Fouble, who is interested in telling Colette’s story (although technically this is not Colette’s story), Colette travels to Germany to visit the site of Mittelbau-Dora so that Colette can… spill out her feelings?
It is self-evident that Colette does not see the academic or personal value of such a trip, but the irascible subject of this short film will nevertheless humor Fouble – her intentions genuine, her approach questionable. Colette, who cannot forget the loss of brother but has not been dwelling on his death, is emotionally vulnerable throughout the trip to Germany, and the audience learns little about Colette, German atrocities, or her brother. Even in these moments, she remains a compelling figure on-screen, but this movie is a disservice to its eponymous subject – one who deserves more credit as a member of the French Resistance, as someone not defined by the worst thing that had ever happened to her.
My rating: 6/10
A Concerto Is a Conversation (2020)
Distributed by The New York Times and executive produced by Ava DuVernay, Ben Proudfoot and Kris Bower direct a deeply personal documentary short film to bookend this slate of five. A Concerto Is a Conversation contains a conversation between Kris Bowers (composer on 2018’s Green Book and 2021’s The United States vs. Billie Holiday) and his grandfather, Horace Bowers Sr., before the premiere of Bower’s concerto at the Walt Disney Concert Hall in Los Angeles. What follows is a disjointed film with sketches of Jim Crow-era America from Horace’s past to the anxiety-laden self-questioning of Kris’ present. Kris, as a black man, is questioning his place in the classical music world – which has, justifiably in some ways, been seen as staid and white. If A Concerto Is Not a Conversation can bridge the differences between Horace and Kris’ stories, it barely does so thank to the scattershot editing.
Yet Kris and Horace’s conversation is wholesome, admiring, loving. This is Kris’ way to show his appreciation for his grandfather and the struggles that he endured for most of his life. The out-of-focus background makes A Concerto Is Not a Conversation seem almost like a dream, a meeting that almost should not be happening. And in honoring Kris’ profession and the piece that is set to debut, the film is divided into noticeable thirds – just like a concerto’s three movements. A Concerto Is Not a Conversation might not make for the most cohesive viewing, but it is a celebration of a profound bond, tied together by forces that defy even the most eloquent words: music and love.
My rating: 6.5/10
^ All ratings based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).
For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.
From previous years: 88th Academy Awards (2016), 89th (2017), 90th (2018), 91st (2019) and 92nd (2020).
#A Love Song for Latasha#Do Not Split#Hunger Ward#Colette#A Concerto Is a Conversation#Sophia Nahli Allison#Anders Hammer#Skye Fitzgerald#Michael Shueuerman#Anthony Giacchino#Ben Proudfoot#Kris Bowers#Latasha Harlins#Hong Kong#Yemen#Ava DuVernay#93rd Academy Awards#Oscars#31 Days of Oscar#My Movie Odyssey
15 notes
·
View notes
Photo
Today we remember the passing of Nina Simone who Died: April 21, 2003 in Carry-le-Rouet, France
Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), known professionally as Nina Simone, was an American singer, songwriter, musician, arranger, and civil rights activist. Her music spanned a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop.
The sixth of eight children born to a poor family in Tryon, North Carolina, Simone initially aspired to be a concert pianist. With the help of a few supporters in her hometown, she enrolled in the Juilliard School of Music in New York City. She then applied for a scholarship to study at the Curtis Institute of Music in Philadelphia, where she was denied admission despite a well-received audition, which she attributed to racial discrimination. In 2003, just days before her death, the Institute awarded her an honorary degree.
To make a living, Simone started playing piano at a nightclub in Atlantic City. She changed her name to "Nina Simone" to disguise herself from family members, having chosen to play "the devil's music" or so-called "cocktail piano". She was told in the nightclub that she would have to sing to her own accompaniment, which effectively launched her career as a jazz vocalist. She went on to record more than 40 albums between 1958 and 1974, making her debut with Little Girl Blue. She had a hit single in the United States in 1958 with "I Loves You, Porgy". Her musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach, and accompanied expressive, jazz-like singing in her contralto voice.
The sixth of eight children in a poor family, she began playing piano at the age of three or four; the first song she learned was "God Be With You, Till We Meet Again". Demonstrating a talent with the piano, she performed at her local church. Her concert debut, a classical recital, was given when she was 12. Simone later said that during this performance, her parents, who had taken seats in the front row, were forced to move to the back of the hall to make way for white people. She said that she refused to play until her parents were moved back to the front, and that the incident contributed to her later involvement in the civil rights movement. Simone's mother, Mary Kate Waymon (née Irvin, November 20, 1901 – April 30, 2001), was a Methodist minister and a housemaid. Her father, Rev. John Devan Waymon (June 24, 1898 – October 23, 1972), was a handyman who at one time owned a dry-cleaning business, but also suffered bouts of ill health. Simone's music teacher helped establish a special fund to pay for her education. Subsequently, a local fund was set up to assist her continued education. With the help of this scholarship money, she was able to attend Allen High School for Girls in Asheville, North Carolina.
In order to fund her private lessons, Simone performed at the Midtown Bar & Grill on Pacific Avenue in Atlantic City, New Jersey, whose owner insisted that she sing as well as play the piano, which increased her income to $90 a week. In 1954, she adopted the stage name "Nina Simone". "Nina", derived from niña, was a nickname given to her by a boyfriend named Chico, and "Simone" was taken from the French actress Simone Signoret, whom she had seen in the 1952 movie Casque d'Or. Knowing her mother would not approve of playing "the Devil's music", she used her new stage name to remain undetected. Simone's mixture of jazz, blues, and classical music in her performances at the bar earned her a small but loyal fan base.
After the success of Little Girl Blue, Simone signed a contract with Colpix Records and recorded a multitude of studio and live albums. Colpix relinquished all creative control to her, including the choice of material that would be recorded, in exchange for her signing the contract with them. After the release of her live album Nina Simone at Town Hall, Simone became a favorite performer in Greenwich Village. By this time, Simone performed pop music only to make money to continue her classical music studies, and was indifferent about having a recording contract. She kept this attitude toward the record industry for most of her career.
Simone married a New York police detective, Andrew Stroud, in December, 1961. In few years he became her manager and the father of her daughter Lisa, but later he abused Simone psychologically and physically.
In 1964, Simone changed record distributors from Colpix, an American company, to the Dutch Philips Records, which meant a change in the content of her recordings. She had always included songs in her repertoire that drew on her African-American heritage, such as "Brown Baby" by Oscar Brown and "Zungo" by Michael Olatunji on her album Nina at the Village Gate in 1962. On her debut album for Philips, Nina Simone in Concert (1964), for the first time she addressed racial inequality in the United States in the song "Mississippi Goddam". This was her response to the June 12, 1963, murder of Medgar Evers and the September 15, 1963, bombing of the 16th Street Baptist Church in Birmingham, Alabama, that killed four young black girls and partly blinded a fifth. She said that the song was "like throwing ten bullets back at them", becoming one of many other protest songs written by Simone. The song was released as a single, and it was boycotted in some southern states. Promotional copies were smashed by a Carolina radio station and returned to Philips. She later recalled how "Mississippi Goddam" was her "first civil rights song" and that the song came to her "in a rush of fury, hatred and determination". The song challenged the belief that race relations could change gradually and called for more immediate developments: "me and my people are just about due". It was a key moment in her path to Civil Rights activism. "Old Jim Crow", on the same album, addressed the Jim Crow laws. After "Mississippi Goddam", a civil rights message was the norm in Simone's recordings and became part of her concerts. As her political activism rose, the rate of release of her music slowed.
Simone performed and spoke at civil rights meetings, such as at the Selma to Montgomery marches. Like Malcolm X, her neighbor in Mount Vernon, New York, she supported black nationalism and advocated violent revolution rather than Martin Luther King Jr.'s non-violent approach. She hoped that African Americans could use armed combat to form a separate state, though she wrote in her autobiography that she and her family regarded all races as equal.
In 1967, Simone moved from Philips to RCA Victor. She sang "Backlash Blues" written by her friend, Harlem Renaissance leader Langston Hughes, on her first RCA album, Nina Simone Sings the Blues (1967). On Silk & Soul (1967), she recorded Billy Taylor's "I Wish I Knew How It Would Feel to Be Free" and "Turning Point". The album 'Nuff Said! (1968) contained live recordings from the Westbury Music Fair of April 7, 1968, three days after the assassination of Martin Luther King Jr. She dedicated the performance to him and sang "Why? (The King of Love Is Dead)", a song written by her bass player, Gene Taylor. In 1969, she performed at the Harlem Cultural Festival in Harlem's Mount Morris Park.
Simone and Weldon Irvine turned the unfinished play To Be Young, Gifted and Black by Lorraine Hansberry into a civil rights song of the same name. She credited her friend Hansberry with cultivating her social and political consciousness. She performed the song live on the album Black Gold (1970). A studio recording was released as a single, and renditions of the song have been recorded by Aretha Franklin (on her 1972 album Young, Gifted and Black) and Donny Hathaway. When reflecting on this period, she wrote in her autobiography, "I felt more alive then than I feel now because I was needed, and I could sing something to help my people".
In an interview for Jet magazine, Simone stated that her controversial song "Mississippi Goddam" harmed her career. She claimed that the music industry punished her by boycotting her records. Hurt and disappointed, Simone left the US in September 1970, flying to Barbados and expecting her husband and manager (Andrew Stroud) to communicate with her when she had to perform again. However, Stroud interpreted Simone's sudden disappearance, and the fact that she had left behind her wedding ring, as an indication of her desire for a divorce. As her manager, Stroud was in charge of Simone's income.
In 1993, she settled near Aix-en-Provence in southern France (Bouches-du-Rhône). In the same year, her final album, A Single Woman, was released. She variously contended that she married or had a love affair with a Tunisian around this time, but that their relationship ended because, "His family didn't want him to move to France, and France didn't want him because he's a North African." During a 1998 performance in Newark, she announced, "If you're going to come see me again, you've got to come to France, because I am not coming back." She suffered from breast cancer for several years before she died in her sleep at her home in Carry-le-Rouet (Bouches-du-Rhône), on April 21, 2003. Her funeral service was attended by singers Miriam Makeba and Patti LaBelle, poet Sonia Sanchez, actors Ossie Davis and Ruby Dee, and hundreds of others. Simone's ashes were scattered in several African countries. She is survived by her daughter, Lisa Celeste Stroud, an actress and singer, who took the stage name Simone, and who has appeared on Broadway in Aida.
10 notes
·
View notes
Text
MHA: Kiyomi x Todoroki Relationship Timeline (Part 6/FINAL PART)
Here is the SIXTH AND FINAL part of the full story of my canon x OC ship, Shoto Todoroki and Kiyomi Aida. This will run through how they first met, became friends, and fell in love. I'm only gonna go through Season 1 to Season 5 (at least up to the Endeavor Agency arc), as well as cover the two films. As I am writing this, the third movie has just came out in Japan, but I will explain what their relationship status is at that point. :3
This is part 2 of 2 of covering "Kiyoto" during Season 5, including Heroes: Rising! I will also cover the Endeavor Agency arc, which will determine what will happen to Todoroki and Kiyomi. I also planned to go a little into detail with Bakugo and Todoroki's fight right after getting their licenses. Because that was just a cool scene to watch overall! And this will be from Kiyomi's perspective.
Mini Masterlist: Season 1, Sports Festival and Finals, Summer Break and Provisional Licenses, Remedial Course and School Festival, the Rise of the New No. 1, Endeavor and Joint Training
Note that this is canon in my BNHA OC storyline, which is just the canon My Hero plot if my OCs were in it. (I didn't want to make a lot of drastic changes like with TMNT 2012 to fit my OCs)
THE RISE OF SHOTO AND CINEMATIC (S5 E12 p2)
Along with Bakugo and Nori, Todoroki and Kiyomi attend their final class of the Remedial Course and finally get their licenses.
While on their way to return to UA High, Kiyomi also notices the villain attack and joins Todoroki and Bakugo in stopping the villains. She and Nori decide to help All Might get any civilians to safety.
Kiyomi and Nori are confronted by a couple of the villains who are responsible for the attack and swiftly take them out. They then accompany Bakugo and Todoroki to help them finish the battle.
Kiyomi attacks the villain leader to help Todoroki buy time to use Flashfreeze Heatwave. She is immediately fascinated by the attack after Bakugo recognizes it from the Sports Festival.
Back at Heights Alliance, Kiyomi and Todoroki celebrate their completion of the Remedial Course and getting their licenses. They both congratulate each other for not giving up and working hard to catch up with the rest of the class.
HEROES: RISING
While at Nabu Island, performing small deeds for the island, Kiyomi and Todoroki would sometimes accompany each other on their missions to test their teamwork abilities. Some of the citizens jokingly tease the two, mainly Todoroki, about them being in a relationship.
Kiyomi begins to open up about her romantic feelings of Todoroki to some of her friends. Like with Mina, they support and respect Kiyomi's feelings and are hopeful for the possible future (I'll mention that some of Todoroki's friends have noticed that he likes Kiyomi but he doesn't open discuss it as much as her).
While helping some of her classmates evacuate the citizens at Nabu Island during the first villain attack, Kiyomi sees Todoroki battle Chimera and nearly runs in to help him, not caring about her own safety.
Kiyomi is teamed up with Todoroki, Iida, Kirishima, and Tsuyu in their fight against Chimera. After seeing Todoroki freeze Chimera, Kiyomi asks him if they win before they pass out from their injuries and exhaustion. Kiyomi also reaches for Todoroki's hand before they lose consciousness.
On the boat ride back to Japan, Todoroki gives Kiyomi a sea shell from the beach, meaning to give it to her before the villains attacked Nabu Island. He tells himself that he will one day find the right time to tell Kiyomi his true feelings.
ENDEAVOR AGENCY ARC
During the hero interview training, Todoroki notices Kiyomi smiling and laughing when Mt. Lady interviews him, getting a small idea of her comments about "slaying the ladies".
While out Christmas shopping, Kiyomi receives a message from Biohazard (one of my Pro Hero OCs and where Kiyomi did her internship) saying that Endeavor requested to have her at his Agency for the upcoming Work Studies.
Todoroki also finds out that Endeavor has requested Kiyomi to be at his Agency, and he decides to tell his father his feelings for Kiyomi.
After Kiyomi tries to tell him about the sudden change of Work Studies location, Todoroki promises her that he'll protect her if Endeavor tries something, just as before. This motivates her to one day tell Todoroki how she really feels.
For Christmas, Todoroki gives Kiyomi a necklace during the class party.
Kiyomi and Todoroki sit together on the bus ride to meet with Endeavor for the first day of the Work Studies (beyond this point, Midoriya and Bakugo both know that Kiyomi and Todoroki have feelings for each other).
When Todoroki confronts Endeavor about his convictions of being a Hero (after talking with Midoriya, Bakugo, and Kiyomi about what they need to work on), he refers to Kiyomi as "the girl I love", thus confessing his love in front of her.
Throughout the first week of the Hero Work-Study with Endeavor, Kiyomi thinks about how she will tell Todoroki her mutual feelings. During a break, she almost confesses, but decides to wait when the two are alone together.
On Friday night (the day before Fuyumi invites Endeavor and the work study students for dinner), Kiyomi visits Todoroki's room and confesses her mutual feelings to him. After a sweet (and awkward) exchange, the two propose to make serious decisions on their new romantic relationship after completing their Work Studies.
Kiyomi is surprised to learn that Fuyumi is already familiar with her, and the two seemed to bond a bit during dinner (big sis Fuyumi is grateful for both Midoriya and Kiyomi for being her baby bro's friends).
While helping the family clean up, Kiyomi admits to Midoriya and Bakugo that she knew about the family drama (and how she also overheard part of Midoriya and Todoroki's conversation during the Sports Festival). She also tells them how she's been supporting Todoroki, explaining how close the two have gotten after the Sports Festival.
After Midoriya tells Todoroki to take his time for forgiving Endeavor, Kiyomi also adds how his previously mentioned kindness is one of the many things she loves about Todoroki (this happens when Midoriya and Fuyumi are still in the dining room).
While Ending's rampage, Kiyomi helps Todoroki fight and trap the villain, both showcasing their improvement to Endeavor.
Following Ending's arrest and before heading back to U.A., Kiyomi and Todoroki both comment on their teamwork. Todoroki decides to (awkwardly) ask Kiyomi out to a noodle shop that's downtown from U.A. High, with her responding that "it's a date". The two then share a kiss before joining Midoriya and Bakugo back to U.A. High.
After arriving back to the Heights Alliance dorms, Todoroki notices Kiyomi collapsed on top of her bed and softly smiling before heading to his room for the night (think of this as a post-credits scene).
And.... THAT'S IT! That's the story of how Todoroki and Kiyomi became friends to lovers. To be honest, I'm not entirely sure when World Heroes' Mission will be set in terms of the anime timeline, but for now, let's say that Kiyomi and Todoroki would've started dating. They would continue being a couple as of now in the manga. I will say that s5 e19 would have a focus on what happens now they're dating and where their relationship can go. These six posts was all I planned to write for the timeline, but I hope you guys liked it!
2 notes
·
View notes
Text
Welcome Back to my Uncle Reacts to AoS--Season 3
It has taken my Uncle months to watch season 3 as his schedule is super busy and what not. But we have finally watched it all and are on to Season 4. Anyway, here are some of his reactions to the third season of Agents of Shield
3x1
*Fitz comes to the lab after his excursion in Morocco* Coulson is like a father waiting in the dark kitchen. Where’ve ya been, Fitz?
*After the Do something scene* Ouch.
Is she on another planet? She’s on another planet. Guys, she’s on another planet!
3x2
He got her back! Oh my god, he got her back. Fitz is the man.
Hunter is the best.
Bobbi is the best.
Fitz is the best.
Oh, Coulson.
*About Jemma* What the hell happened there? What did she eat? She was there months right? Holy shit.
*Fitz sitting by her bed* Oh, Fitz.
3x03
My aunt: you two seem sad. What happened.
Steve: Lincoln, Kate. Lincoln killed his friend and he didn’t mean to. And Jemma has ptsd. It was a lot of emotion.
My aunt: ...
3x04
Yess May. Great timing. That’s all you needed.
3x05
Dammit, Will is hot.
She’s talking to Fitz? Cute!
3x06
Pauses the show uhh, Andrew turned into lash and kicked some ass. Calling it.
*Later* Called it.
3x07
“He does have a hog face.” Bwhahahaha. That’s amazing.
Well that episode was emotional. The Fitzsimmons thing was so heart warming. And poor May.
3x09
Ward, you asshole. Why can’t they let Phil be happy.
3x10
Shit that’s not Will.
*At Ward’s death* Finally!
*Wards back* Freaking knew it. God dammit
3x11
What is Fitz 3d printing back there? Cool inhuman conversation but what’s he making?
*Anytime the subtitles are wrong on Netflix* That’s not what she said. That’s not what he said. That’s not what they’re saying.
*Steve understanding the Spanish and knowing what they’re saying without subtitles.* That is not what she said, subtitles.
*About Elena* she’s a badass.
3x12
Thank god for Hunter.
Ward is just creepy as hell. I know that’s not Ward, but it’s his stupid face.
3x13
Amadeus Ravenclaw Hunter. That’s fantastic. Is that really his name? Wait, no. Forget I said that. Ravenclaw is not his name.
Wait, so Bobbi and Hunter are just gone? But they can’t do that. They come back right? They’re the best, they can’t leave.
Mack’s crying the hardest.
That guy that’s supposed to be tailing them is very bad at his job.
Now I’m sad.
3x14
*Mack mentions friends being transferred” Aww, Bobbi and Hunter.
Repeats “It’s a building.” In Scottish accent. *laughs* that’s great.
Uh oh Fitz does not like Daisy’s methods of interrogation. He looks so uncomfortable.
A shotgun ax. Holy shit that’s amazing.
That dudes a hologram! Coulson knew. He’s a genius.
3x15
Holy shit we’re seeing the future.
*Hive melts the business men* Eeww, ugh that’s horrific. Aaah!
*Andrew becomes lash permanently* Oh no! Poor May. That’s so sad.
Wait, I bet you it’s not snow. Bet you it’s ash.
*Snow is actually ash* Called it.
*Quinjet vision* That vision is familiar. Where have we seen that? Wait, that was at the beginning! Oh shit, that’s the future! Shit!
3x16
*Young Malick and Nathaniel appear on screen.* Maggie tries not to freak the frick out at Nathaniel so as not to spoil season 7.
Steve: oooh, does his brother get volunteered as tribute or something?
*Daisy explodes the mines in front of James house.* Badass.
*Reveal that Malick betrayed his brother* That’s why Ward had the stone! He knew! He remembers the betrayal! Oof, not looking great for Malick.
I hate Ward. Whatever he is.
Shit! Is he killing Malick daughter! That’s way more brutal than killing Malick! Ooooh, evil.
*Lincoln’s past is explained* See, I’m glad he’s sharing, but how do you bring something like that up in conversation normally. Glad their talking, but I get it.
*Giyera escaping from the containment pod* Fitz, please get away from the guy trying to escape. Please. Oh crap he’s got a seatbelt.
*Mack gets knocked out* Oof, Mack. Poor dude.
*Secret Warriors Assemble* Yes! I’ve got to put the baby to bed but then next episode!
3x17
Sorry Joey, I don’t think you’re going to finish that date. You’ve got to go fight people.
Whoa! Lincoln’s powers got even cooler.
That felt a bit too easy.
*Fitzsimmons flirting* They’re cute.
*Mackelena flirting* He’s speaking Spanish. Kay, that’s sweet.
I don’t think Joey is okay. He did kill that Medusa dude.
*reveal that one of the inhumans are swayed* That’s what he meant by someone on the inside! That’s not good. Now they’re all looking suspicious.
*Fitzsimmons find Malick’s body* Is he dead? Holy shit, was there a bomb! Shit!
“Aren’t you a spy, learn Spanish” Hahahahaha! Yes! That line is genius!
Okay, they are pushing for it to be Lincoln waaaay too hard.
*Fitzsimmons soft kiss in the bunk* *Steve Fist pumps* Yessss!
Uhhh, why is Daisy out of her cell. It’s her! Oh no.
Way to go Lincoln on the character growth. Staying for SHIELD!
Is Daisy going to fly? Oh no, she’s destroying the base. And she ruined Fitzsimmons make out session. And she’s bringing the base down. Also that.
Noooo! That’s it? That cliffhanger! *upset that we have to wait to watch the next episode*
3x18
“It’s risky, and irresponsible” Hahaha, May smiles.
Nice flying May!
*FS talking about sex* “I’ll see you in the quinjet” Hahahahahahahaha. That’s amazing.
*Hive talks* That’s not creepy. You know what happened to the last girl Hive kissed. Daisy run.
“Because all you are is big and strong.” Hahaha, Fitz is all pissy about it. Amazing.
Oof, Lincoln just can’t get Coulson’s approval.
Maggie: Fitz is so handsome
Steve: He really is
*FS ending scene* Yessss!!!! Finally!!!
3x19
Inhuman backstory!!
Why are they all such jerks to Lincoln? Like, he just cannot win with Coulson and May. No one is nice to him. Except Fitzsimmons, they’re nice to him. Okay, and Mack.
*Piper is introduced* Red shirts aren’t red shirts! That’s awesome!
Oh, Mack, what are you doing? Please don’t get hurt. Daisy please don’t hurt him. Mack noooo!
Wow, Shield is just struggling on all fronts. Daisy’s missing, Mack’s injured, Lincoln’s sick—Wait no after credit scene?! Dammit!
3x20
Okay, they seriously need to lay off Lincoln. Like, he is not a bad dude!
Now I see why they can’t get help from the avengers.
Yo yo is awesome.
Fitz having to play whack-a-mole with security. Gosh, they’re going through it.
Lincoln, nooo! You’re smarter than this! Your character growth! Oh, thank god it was part of the plan.
Yes! Lash! Badass!
Oh my god he’s saving Daisy! Yeah!!!
No!!! Lash!!!!
He couldn’t just have killed Hive? I guess we need a finale.
Andrew saved Daisy!
Shit, he’s got a warhead. Ward’s trying to destroy the world again.
What’s Elena giving Mack? No! Mack put that down! Put the cross down!
3x21
That’s right, Shield is good at what they do.
They done pissed off an alien.
Fitz is amazing.
Fitzsimmons should go on that vacation. Take a break.
Oh no the cross! The jacket! Fitz put it down!
Wait, she wants to go back?! Daisy, nooooo!
3x22
Ooh Yo Yo no!!! She took a bullet for Mack. Yeah, she is not okay.
Shit, they’re going to use the torch to cauterize the wound. That’s majorly going to scar.
Why do I kind of like Radcliffe?
Oh, May was about to be super nice to Daisy and she gets hit over the head.
“You were a murderous wank before all this” Okay, that line’s amazing
Did Fitz cloak a gun?! That’s amazing!
Aaaah, the jacket! Can they stop freaking me out with the jacket?!
I like how they pan from the window so they don’t have to break it for real.
Don’t get rid of Daisy!
“Help me Obi Wan Kenobi” Oh my god, that’s incredible.
Badass shield team is badass.
You know the person who plays Daisy is a great actress.
Wait. wait. Wait. Lincoln. Lincoln? Noooooo! They can’t kill Lincoln. They’re not going to—they can’t. But I loved Lincoln! Nooo!
*Steve is quiet for a long moment* I loved Lincoln.
*Flash forward* Is Daisy on the run?
Director? What? Phil’s not the director??
“No Aida that’s not what we’re celebrating” It’s your birthday. “Today’s your birthday.” CALLED IT! Wait, are we going to have robots?
Shit, we lost a lot of people that season.
Crap, I want to watch the next episode!!
12 notes
·
View notes
Text
In Two Minds: the polymorphous proficiency of Jonathan Miller
Sir Jonathan Miller was precocious polymath. Pretty much all the tributes to Jonathan Miller, who died aged 85 on 27 November 2019, end up using the term “Renaissance Man” at some point. Miller had a mastery of arts and science that few achieve. He was a doctor who specialised in neurology, a satirist, comedian, television broadcaster and writer, and theatre and opera director in which his transformative productions of classic plays and operas made him one of the most admired, as well as one of the most controversial, figures in the late-twentieth century theatre and opera.
Jonathan Wolfe Miller was born in 1934 in London. His father, Emanuel, was a child psychiatrist and his mother, Betty, a novelist and biographer. He had a sister, Sarah, who died in 2006. He attended St Paul’s, an independent day school, where he formed an intellectually precocious triumvirate with Oliver Sacks, later renowned as a neurologist and author, and Eric Korn, the writer and antiquarian bookseller. The three remained firm friends until Korn died in 2014 (Sacks died a year later). At Cambridge, Miller was a member of the Apostles, an exclusive intellectual club, as well as Footlights, the dramatic society.
Miller studied medicine at Cambridge University where he was a member of the Apostles, an exclusive invitation only intellectual club (past members included Bertrand Russell, Wittgenstein, John Maynard Keynes, Rupert Brooke, E.M. Forster, as well as more notoriously the infamous Cambridge spies, Anthony Blunt and Guy Burgess).
It was at Cambridge that he also joined the Cambridge Footlights, the university’s legendary theatrical comedy club, and performed in the club’s Footlights revues. Miller’s success as a Footlights star in the 1950s brought him to the attention of the producers of a new comedy stage revue, Beyond the Fringe, which opened in Edinburgh in August 1960. Subsequent transfers to London’s West End (1961) and to Broadway (1962) made Miller and his three Oxbridge educated co-stars - Alan Bennett, Peter Cook and Dudley Moore - instant celebrities.
Beyond the Fringe was in the vanguard of a new generation chipping at the walls of the establishment and poking fun at the rigid pomposity of british class and society in the 1960s. In many ways Beyond the Fringe pioneered a path for the next generation of Oxbridge satirists, Monty Python, to take up the baton and beat it over the head of the establishment.
Miller, who qualified as a doctor in 1959 and maintained a special interest in neurology and neuropsychology, returned periodically to the practice of medicine, but spent most of his working life as a stage and opera director.
Miller’s first directing assignment was John Osborne’s Under Plain Cover in 1962. Miller made his U.S. directing debut in 1964 with The Old Glory, a play by poet Robert Lowell that inaugurated Off-Broadway’s American Place Theater.
Within a few years, Miller’s work at Nottingham Playhouse and other venues brought him to the attention of Laurence Olivier, then the head of the National Theatre. Miller’s memorable productions at the National, where he was an associate director during the Olivier years, included The Merchant of Venice, set in nineteenth-century Venice with Olivier as a top-hatted Shylock, and The School for Scandal. In 1974, Miller directed a season of three thematically linked plays at London’s Greenwich Theatre, presenting Hamlet, Ghosts and The Seagull as “Family Romances” and using the same actors for each play. Miller later served a two-year term as artistic director of the Old Vic in London (1988–90).
At his best, Miller had no equal for wit, originality or sheer invention as a director, especially in pieces that engaged his passion for storytelling fully; Miller’s universally admired brilliance as a conversationalist made him a coveted talk-show guest in both the U.K. and the U.S.
Miller was also a compelling television writer and presenter, with the documentary series The Body in Question (1979) and Madness (1991) among his credits. When he was in mid-career, Miller began to balance his work in the theater with directing opera—despite the fact that he never learned to read music. Miller’s opera productions were manifestly intelligent and well-informed, but occasionally overbusy, loaded with cultural references and staging touches that did little to advance the action—or support the music.
Miller’s first opera production was the 1974 British premiere of Alexander Goehr’s Arden Must Die at Sadler’s Wells Theatre in London; Alan Blyth, writing in Opera, called Miller’s production “severe, and in the end, debilitating.” The Goehr opera was to be one of the few contemporary pieces that Miller directed: in opera, as well as in the theater, he preferred to work on the production of classic works or the occasional rarity. Miller made his Glyndebourne debut in 1975, with the company premiere of Janáček’s Cunning Little Vixen.
He had especially fruitful working relationships with Kent Opera, where he directed a wide variety of repertory, including Così Fan Tutte, Falstaff, La Traviata, Eugene Onegin and Monteverdi’s L'Orfeo.
The British company with which Miller was most closely associated was English National Opera (ENO), which offered a gala celebration of his work with the company in 2016. At ENO, Miller’s vividly detailed stagings included La Bohème, Aida, The Barber of Seville, Carmen, Der Rosenkavalier, La Traviataand The Elixir of Love. Miller’s biggest ENO successes were his popular “Little Italy” staging of Rigoletto (1982) and a re-imagining of The Mikado (1986) that set Gilbert and Sullivan’s Japanese-themed operetta in an English resort hotel; both were presented in the U.S. and have been have been revived in London and elsewhere numerous times. Miller bowed at Covent Garden in 1993, with a modern-dress staging of Così Fan Tutte.
Miller made his U.S. opera debut in 1982, directing Così Fan Tutte for Opera Theatre of Saint Louis. His other North American productions included Bach’s St. Matthew Passion at BAM; La Traviata at Glimmerglass Opera and New York City Opera, Eugene Onegin at Santa Fe Opera, La Bohème at Cincinnati Opera, Così Fan Tutte in Washington, D.C. and Tristan und Isolde in Los Angeles. In Europe, Miller directed La Traviata for Paris Opéra, Der Fliegende Holländer in Frankfurt and a Fascist-era staging of Tosca in Florence. On Broadway, Miller directed Jack Lemmon and Kevin Spacey in Long Day’s Journey Into Night (1986) and Christopher Plummer in King Lear (2004).
Miller directed four operas for the Met. His 1991 staging of Janáček’s Kát’a Kabanová was an unqualified success - a stark, stylized vision of the opera’s harrowing emotional world, designed by Robert Israel and Gil Wechsler. The critical and response to Miller’s other Met stagings—Pelléas et Mélisande (1995), The Rake’s Progress (1997) and Le Nozze di Figaro (1998)—was generally positive, but Miller’s outspoken criticism of what he saw as the Met’s lack of support for him damaged his relationship with the company, and he was never given another new production there.
His style of directing especially opera revolved around two maxims, “One is constantly fighting a battle between two forms of idiocy,” he said of the business of opera directing, the first being “mindless traditionalism” and the second the requirement that “the work be relevant to our time”.
As a theatre director, mostly at the National Theatre in London, he sought to avoid those two forms of idiocy when directing Shakespeare, which he did for the BBC in the early 1980s. A production of a Shakespeare play, Miller thought, should not try to preserve it in the aspic of spurious authenticity.
Miller was a lifelong atheist and in 2006 he was appointed president of the Rationalist Association. Accepting the appointment, he said: “There is a large unrepresented constituency of people for whom religion doesn’t enter their heads.” But while his atheism was unbending, it was not militant. Miller maintained that the job of this “community” of unbelievers was not to extirpate religious beliefs but to “analyse them with an objective curiosity and a kind of anthropological attitude to what people do”.
Miller displayed that intellectual humility and profound curiosity in everything he did. Indeed he once said, “I wasn't driven into medicine by a social conscience but by rampant curiosity.“ The same drive he said for his artistic pursuits. Kate Bassett called her informative 2012 biography of Miller In Two Minds, which captured this split in his life. Miller was haunted by his decision to abandon the medical profession where he had hoped to excel.
Ironically Miller rejected the oft-applied title “Renaissance man"as a “vulgar journalistic slogan”. He would argue that, “What they’re really saying is I’m a jack of all trades and a master of none.” He may have felt that “this footling flibbertigibbet world of theatre” was a distraction from higher pursuits - which is to say, the use of his Cambridge medical degree but these twin artistic and scientific interests seemed less opposed than complementary. If, as is said in “The Body in Question,” “by acting in and upon the world we remodel our own image in it,” everybody’s in show business, anyway.
To my mind, Miller’s arts and science background enabled him to cross disciplinary boundaries and make exciting connections and open new creative possibilities. He was the perfect riposte to that very British Two Cultures intellectual debate (1959-62) between F.R. Leavis and C.P. Snow, which focused on the lack of conversation between arts and science. If we consider how scholars now embrace interdisciplinarity, we should note that Miller blazed the trail. Miller should also be viewed as one of the architects of liberal Britain in the post-war period. He rejoiced in being an irreverent free thinker. And we should rejoice at having had the privilege of peeking into the polymorphic proficient mind(s) of one of this century’s creative and most curiousity driven of men.
I had the privilege of having meeting him on one or two occasions. Twice over dinner through my parents who were active patrons of the arts.
One of my older sisters is a neurologist and we were placed either side of him. Jonathan was ever so affable and down to earth. He immediately set about making us laugh with his forensic wit and life observations. Between courses he would flit (not a typo, he didn’t flirt) between my sister and myself. With her he would talk shop about neurology and the latest scientific breakthroughs and with me we talked about opera, theatre, and the classics.
The funny thing was as the evening wore on his kinetic mind was a speeding race car and he suddenly forgot which lane he was driving in i.e. he forgot to whom he was speaking to between the two of us. So he would speak about realism theatre of Euripides with my older sister and neurological disorders with me. My older sister - I hate to admit this in print because she will lorde it over me until the end of days - was educated and eloquent enough to keep the conversation effortlessly flowing.
I would like to say that I too upped my game and rose to such elevated heights of scientific discourse but alas I fell like Icarus...but faster, as my mind felt like lead balloon tied to a one ton dead weight. I fell hard. He could see the tumbleweeds rolling across my vacant mind through my clueless eyes. Ever the gentleman he steered me to more friendly topics like the psychology of killing as I was seriously torn between going Sandhurst to become an army officer or returning to Cambridge to do a PhD. I saw him once or twice after that in other private settings and I always came away glowing because I learned some new curioisity about our human condition and the artistic ways we express the human condition in all its foibles and pathos.
RIP Jonathan Miller.
30 notes
·
View notes
Note
ALL (supervillain laugh) take your time tho :D
Oh no WHY alright I submit *sighs, shakes my head, and briefly regrets all my life choices*
here we go! (#9 and #19 are pending specific opera submissions)
I wrote an overly long post here in response to this question a while back
Don Carlo!!!
Just started Halka. Not very far in, but I’m liking it so far.
In full, Cavalleria rusticana (yesterday)
Die tote Stadt (specifically the one recording conducted by Erich Leinsdorf)
Sopranos, with baritones in a very close second.
I will keep advocating for a Belle Époque Simon Boccanegra until it actually happens. Also Paris Commune Le prophète.
*see the 2017 Paris Opéra cast, except very reluctantly swap in Furlanetto for Abdrazakov*
pending submission of a specific opera
really tough...the ROH 1985 one was my first, so it may be my favorite for sentimental reasons, although I also LOVE the current ROH/Met coproduction (with the exception of some details), the Salzburg 2013, and that Liège production from not too long ago
well, based on several factors (including roles I’ve played in musicals, choir assignments, and stuff from voice lessons in the past), I’ll say Poppea (Agrippina), Zerlina (Don Giovanni), and Urbain (Les Huguenots)
Yes, my answer is Don Carlo
Depending on the day, either ‘Dio, che nell’alma infondere’, ‘Nuit d’ivresse et d’extase infinie’, or ‘Ô ciel! où courez-vous?’
my HOMEGIRL Princess Éboli
any really good rendition of ‘Depuis le jour’. that aria SLAPS.
I’m cheating and doing a play instead BECAUSE I FEEL LIKE IT anyway we need Ibsen-based operas and I nominate Hedda Gabler with Sonya Yoncheva and Lisette Oropesa as Hedda and Thea there I said it if you want further casting ask me again later
I don’t know if there’s any one character I have the same personality as??? although I was recently told by someone else on here that my personality is a cross between Figaro and Marguerite de Valois so... make of that what you will (and tell me what you think!)
we all know my answer to this (it’s Carlo/Rodrigo)
also pending a specific opera submission
depends on...a lot of factors, but I adore both Jonas Kaufmann and José Carreras (he is the best of the Three Tenors; no, I am not accepting criticism at this time)
going with Carmen for the sake of argument here, definitely Carmen
...I am not a fan of Puccini’s Manon Lescaut
probably Die tote Stadt, which is seriously bizarre but incredibly amazing (possibly because of its inherent bizarreness?)
not sure if this is in reference to characters or singers; I’ll assume this is about characters and say (of course) Carlo/Rodrigo, with Marie/Tonio and Fenton/Nannetta very close behind.
Renato needs love and hugs and just deserves so much better (he just needs to learn to not be a Jealous Baritone Husband). Other than that drama, he has a proven track record of being a good friend.
waaaaaaaaaaaayyyyyyyyyyyyy too many. for the sake of being concise, five I love: Callas, Popp, Benackova, Oropesa, Rebeka.
Verdi ❤️ no one else has written so many great operas I love so much over such a long period of time
waaaaaaaaaaaayyyyyyyyyyyyy too many (again). first one that popped into my head just now was Sophie from Werther, so we’re gonna go with her.
Act III finale, La bohème.
how has there not been a good opera version of Twelfth Night? that is operatic comedy gold WAITING to happen
a) I hate these singer questions because I have way too many, and b) among many, many others, Milnes, Gobbi, Zancanaro, Keenlyside, and Tézier.
I see a sweet trouser role, I adopt him. also Annina from La traviata deserves WAY more credit than she gets. love her to death.
since I try to be optimistic or at least neutral when going into a new opera, none
cannot gender swap names in my head at the moment, so Carlo becomes a standard mid-late Verdi soprano role, Elisabetta becomes a baritone (YOU THOUGHT SHE’D BE A TENOR BUT NOOOOO), Rodrigo is the Good Mezzo who gets the Basically Non-Existent Mezzo Death Scene, Éboli is a tenor, Filippo goes full dramatic mezzo, and the Grand Inquisitor becomes a nearly-impossible-to-sing contralto role with a few extremely powerful high notes thrown in because why not. Tebaldo remains a coloratura soprano.
slightly cheating, but Berlioz’s Les Troyens (not directly based on myth, but kinda?)
‘We really gotta hurry-‘ ‘But first, let’s sing about our feelings!’ or ‘death scene with lots of blood and sadness’ or ‘death by singing’ or party gone wrong (I’m a sucker for good opera tropes)
For baritones: Onegin, don’t go to the name day ball. Just don’t. For tenors: either Otello re: trusting Iago over Desdemona or...pretty much Hoffmann’s entire life.
Again, I hate these questions, but here are five anyway: Cossotto, Troyanos, DiDonato, Garanča, and Rachvelishvili.
FILIPPO (I would DIE to be able to play Filippo. also can I just say that bass and bass-baritone roles in (at least originally) French operas are...*chef’s kiss*.)
Éboli’s outfit in Act IV, Scene 1 of the 2017 Paris Don Carlos.
I really, really want to like Aida as much as everyone else seems to, but I still think that while the plot is good and the music is good, it somehow just doesn’t work and is also massively overrated.
so I don’t talk about Lucia di Lammermoor much but it’s awesome and the mad scene is one of my favorite things ever and ALSO THE OPERA SHOULD HAVE ENDED WITH THE MAD SCENE WHAT THE HELL CAMMARANO so yeah there’s that
well, I’ve been in love with Carmen since I was 7, so...
so many! Figaro seems like he’d be a pretty awesome BFF
Three words: Così. fan. tutte
La gioconda, which has okay music overall (although ‘Stella dal marinar’ is good and the Dance of the Hours is an absolute BOP) but I like the plot a lot better (imagine how it would have been if Verdi or even Boito wrote the music!). also ‘Cielo e mar’ is the third-most overrated tenor aria of all time and you can fight me on that.
way too many (again), but I gotta say it: especially in Verdi, Furlanetto simply cannot be beat.
so many ridiculous roles...you know what’s ridiculous? Hélène in Les veprês siciliennes. At least she gets a scene off, but other than that it’s *high notes* *low notes* *coloratura* *declamation over a huge orchestra and chorus* *sassing the French* *cadenza* *repeat for three hours*
I have been meaning to watch Boris Godunov in its entirety for a while and I WILL THIS WEEK (thanks, Met Opera!). Also literally any Wagner. I was going to see the Met HD of Höllander but you know what happened.
Tosca for tragedies, Barbiere di Siviglia for comedies, Don Giovanni for everyone.
4 notes
·
View notes
Text
BIG LONG POST LOTS OF PICTURES
Works to date, and pattern if available:
I don’t really want to SELL any of these, cause most are not mine- but if you like them and you use them I made a Kofi....
6 INCH DESIGNS:
Papyrus Pattern
Should you choose to make him and post about it please credit @spookii-buggii
Pattern not for resale, created patterns not to be sold.
Won by @patiencecyansoul
Papyrus Pastel Pattern
Should you choose to make him and post about it please credit @spookii-buggii
Pattern not for resale, created patterns not to be sold.
Dating Start! Pattern
Credit to kokoclown of DeviantArt
The orignal artist did not give approval for pattern sharing.
(Hearts are optional. pictured without hearts - using white aida with a light pink heart as a BG)
Won by @aerialsquid
Home and Hearth
Pattern not for resale, created patterns not to be sold. (Please credit me <3)
(Husband called dibs)
(small suggestion for hearthstone pattern- use one string for the inside swirl, and 3 or 2 for the ‘rock’ gives it a cool effect of depth.)
3inch designs:
He's with you pattern
Pattern not for resale, created patterns not to be sold. (Please credit me <3)
1
2
(Made for my very good friend @lucius-sin-dream-bar an +18 blog)
12 notes
·
View notes
Last Seen Blogs
speck-ofdust
Servant of Allah
kakapoto1
Kakapoto_1
xreadertheater
HetaliaxReader Masterpiece Theater
xmarixi
Mari
ravenslanding123-blog
RavensLanding