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waddlesworth · 2 years

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My Main OC’s And Their Fancasts!

Been wanting to share my OCs and their fancasts for many years on this platform, but was too nervous to do so. With all that fear out of the way- here they are!

Peter, a warlock that was turned into a demon through saving another’s life. He now serves the Demon King of Hell as a mad scientist. He’s happily married to an angel, which is strictly forbidden with both Heaven and Hell.

Fancast: David Tennant

Clark, an angelic alienist that also has the unique powers of a faerie. He also has the gift of healing with his angelic powers.

Fancast: Domhnall Gleeson

Valerie, another angel, but this certain angel has a sense of adventure, as she was trained by a shapeshifter to destroy the darkness that surrounds her home. She’s married to Clark (Fun fact: Valerie was based heavily off my best friend because she liked Clark a lot).

Fancast: Emilie de Ravin

Melody, the child of Belial, who was adopted by Clark and Valerie after finding her alone and left for dead. She is a half-demon, as her mother was human. Melody is a bit of a michievious child, getting into all kinds of trouble that lead her into danger.

Fancast: Millie Bobby Brown

Abraham, the shapeshifter. He is Valerie’s mentor (and Uncle), and trains her to the best of his ability. He’s very grumpy, but has a soft side (if you can believe it).

Fancast: Peter Capaldi

Doyle, the morally grey angel. Doyle is someone that isn’t quite sure on which side he belongs on between Heaven and Hell, as he works for a fallen angel with a wicked agenda. However, he sees that his husband Peter brings out the best in him.

Fancast: Jude Law

Henry, the guardian angel. Henry was assigned by the Creator (God, in this case) to be Melody’s guardian angel to protect her from the evils that try to control and even take her powers. Though Henry has a haunting past that even Melody or her family wouldn’t believe. Working for the fallen angel that plans to hurt his only friend? Yeah, he gets emotional about it.

Fancast: Jason Flemyng

Edward, Henry’s personal demon. His Mr. Hyde, if you will. He lives inside Henry’s mind, taunting him day by day.

Fancast: James McAvoy

-Victoria, the assistant scientist. Once working with Henry as a partner in his past life, she developed a romantic relationship with him over time. She now roams Hell in search of an escape to be with her husband once again.

Fancast: Rachel McAdams

~Hope this didn’t bore you guys to sleep. But heck, I’m VERY passionate about them (my characters (and the actors included)). Thank you for getting this far!! 🥺💕~

#UPDATED MY BABIES #oc fancasts #ocs #original character #fancast #david tennant #domhnall gleeson #emilie de ravin #jude law #rachel mcadams #jason flemyng #millie bobby brown

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creativedifferencespodcast · 2 years

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Did Jordan Peele and Henry Selick team up to give us another Halloween classic? Does the Dance of the Dragons all tie back to the break up of two teenage girls? Why is Domhnall Gleeson so good at playing a serial killer? And what tales do you wanna hear about the Jedi? Come hang out with us as we review Wendell & Wild, House of the Dragon, The Patient, and Tales of the Jedi. We're also diving into James Gunn running the newly formed DC studios, Henry Cavill's Witcher exit, and more pop culture news!

You can also find us on Spotify and Apple Podcasts!

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popentertainment-moviereviews · 6 months

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SALTBURN (2023)

Starring Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E. Grant, Alison Oliver, Archie Madekwe, Carey Mulligan, Paul Rhys, Ewan Mitchell, Lolly Adefope, Sadie Soverall, Millie Kent, Reece Shearsmith, Richie Cotterell, Millie Kent, Will Gibson, Tasha Lim, Aleah Aberdeen, Matthew Carver, Gabriel Bisset-Smith, Saga Spjuth-Säll, Glyn Grimstead and Paul Rhys.

Screenplay by Emerald Fennell.

Directed by Emerald Fennell.

Distributed by Metro Goldwyn Mayer. 131 minutes. Rated R.

Screened at the 2023 Philadelphia Film Festival.

Saltburn: PFF Closes With a Gem

For three consecutive years, the Philadelphia Film Festival has allocated some of its most coveted slots to vehicles that showcased Irish talent. In 2021, the festival’s opening night film was Belfast, the loosely autobiographical work, penned and directed by Kenneth Branagh. It recounted his childhood in Northern Ireland’s capital city. In 2022, the festival kicked off with The Banshees of Inisherin. The tale was set on a fictitious island in Galway Bay, off the western coast of Ireland. It starred the estimable duo of Colin Farrell and Brendan Gleeson as life-long friends, whose relationship becomes abruptly truncated. This year, in its 32nd edition, the festival’s closing night film was Saltburn. Dublin native, Barry Keoghan, is cast as the film’s protagonist.

Set in 2006, Saltburn is at once a jocular, albeit scathing, satire of the British ruling class and a psychological thriller. It centers on Oliver Quick (Keoghan), an incoming freshman at prestigious Oxford University. Unlike his posh classmates, Oliver hails from a modest background and is a socially maladroit dweeb. His parents are apparently addled with alcoholism and drug addiction. He has no siblings or other familial support to speak of. Oliver is an obvious candidate for ostracism by his more privileged peers.

In the film’s prologue, Oliver speaks retroactively of the ambivalent, tortured, and unrequited feelings that he had harbored for Felix Catton (Jacob Elordi). Felix is a strikingly handsome alpha male, whose family boasts a centuries-old aristocratic pedigree. Felix is accustomed to people fawning over him. In particular, wherever he goes, he is avidly pursued by a bevy of pulchritudinous coeds. Meanwhile, Felix remains totally oblivious to Oliver’s homoerotic longings for him.

The two lads meet serendipitously, when Jacob experiences a flat tire on his bicycle. He is distressed by the prospect of being tardy for a meeting with his new faculty advisor. As Oliver rides past, he notices Felix’s predicament. Oliver veers from the pathway and graciously offers to lend his own bicycle to help the immobilized stranger. Felix expresses his deep-seated gratitude.

Felix defies audience expectations, when he actually takes pains to incorporate Oliver into his elite social clique. As summer break beckons, Felix magnanimously invites Oliver to sojourn at his family home, the eponymous Saltburn. It turns out that the family residence is a sprawling Medieval castle from a bygone era. Drayton House, an edifice situated in Northamptonshire, afforded an ideal site for location shooting. Construction of the spectacularly opulent estate began around 1300 and was repeatedly revised thereafter. Shortly after the house was erected, the original owner of the magnificent structure was issued a license to build ramparts and crenellations as part of a protective wall around the residence.

When Felix gives a tour of the estate to Oliver, he parenthetically references family lore. As a vestige of a tryst that the notoriously licentious Henry VII once had while visiting the estate, the monarch’s desiccated seminiferous fluids are reputed to remain embedded in the mattress in one of the guest rooms. Imagine living in a home with such a juicy historical tidbit attached to it.

Oliver soon meets the residents of Saltburn, a menagerie of well-drawn and altogether eccentric characters. Felix’s immediate family consists of his mother, Elsbeth (Rosamund Pike); his father, Sir James (Richard E. Grant); and his sister, Venetia (Alison Oliver). They are augmented by Felix’s snide biracial cousin, Farleigh Start (Archie Madekwe), who also matriculates at Oxford, and a non-family hanger-on, literally known as "Poor Dear" Pamela (Carey Mulligan). All of the thespians convincingly embody the solipsistic sense of entitlement that is routinely exhibited by upper-class British twits.

However, ultimately it is Keoghan, who delivers a particularly delicious performance that anchors the film. He adroitly captures the evolution of his screen character over the course of the film’s protracted narrative trajectory. Last year, Keoghan as well as his cast-mate, Brendan Gleeson, each scored a supporting Oscar nomination for their respective roles in the aforementioned The Banshees of Inisherin. Keoghan portrayed a cognitively impaired villager in the film. Here, Keoghan demonstrates his versatility, while enlivening a far different role. He establishes that he is capable of carrying a feature film as its lead.

Saltburn is the sophomore venture of Emerald Fennell. In 2020, she made a successful transition from actor/showrunner to screenwriter/director/co-producer with her debut feature, Promising Young Woman. The film generated an Oscar for Fennell’s Best Original Screenplay along with nominations culled for Best Picture, Best Director, Best Actress (Carey Mulligan, who as noted plays a juicy supporting role in Saltburn), and Best Editing. Here, Fennell shows impressive growth as a filmmaker. Her screenplay is chocked full of plot twists and apt metaphorical constructs. Fennell makes efficacious use of dramatic foreshadowing and misdirection. Following a faux denouement, Fennell uses a double epilogue to mount a startling montage of events, juxtaposed with a memorable true finale. In her role as director, Fennell evokes strong performances from her entire ensemble cast and handles the film’s frequent tonal shifts with dexterity.

The production values of Saltburn are superb. Cinematographer, Linus Sandgren (La La Land), makes adroit use of light, mirrors, and reflections to fashion a litany of mindboggling images. His use of a 1:33:1 aspect ratio creates the sensation that the viewer is a voyeur, who is surreptitiously spying on the most intimate machinations of the film’s onscreen characters. The editing by Victoria Boydell keeps the pacing taut and the audience guessing what will transpire next. The evocative score by Anthony Willis (M3gan) provides an excellent complement to the visual text of the film. The choice of period pop hits buttresses the film’s sense of time and place.

For all my enthusiasm for Saltburn, I would be remiss if I did not provide a caveat to prospective viewers. The film includes explicit dialogue as well as repeated depictions of drug use and decidedly twisted psychosexual expression. One vignette involves a libertine, who is ruefully disparaged as “sexually incontinent,” and her liaison with an accommodating paramour. Another scene depicts more “mundane” intercourse. These carnal interludes are not gratuitously ribald. Instead, they capture the sublimated urges of various screen characters as well as the intolerant deprecations of their more priggish detractors.

After appearing at the Philadelphia Film Festival, both Belfast and The Banshees of Inisherin each went on to accrue a plethora of Academy Award nominations as well as other accolades. Although Saltburn is a far more polarizing film, it is richly deserving of similar recognition.

Nathan Lerner was a syndicated Film Critic for the Montgomery Newspapers Chain and its corporate successors for twenty years. He welcomes feedback at [email protected].

Nathan Lerner

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#Saltburn #2023 #Movie Review #Barry Keoghan #Jacob Elordi #Nathan Lerner #Philadelphia Film Festival #PFF32 #Youtube

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krunchycrispy · 2 years

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Comfort character headcannons, lets go!!🏃

Nico di Angelo

He had a massive greek mythology phase back when he was still fully into Mythomagic. In fact, it led him to get into other mythologies too. Like Roman and Egyptian. The few people who know this may or may not go to him with questions. Sometimes out of genuine curiosity, sometimes just to ease into a possible friendship with the guy. His head still perks up at the very mention of Anubis

“Ra has a falcon head, he’s not a hawk or a literal bird-“

He used to crack his knuckles only a bit. But Will told him to stop and it would give him joint pains, which led him to do it out of spite, which then led him to do it out of habit. Combined with his intimidating godly parent and power, some campers mistaken his habit for the beginning of a fist-fight.

Adding onto the last one:

He sometimes annoys people he’s grown onto. He could leave a door ajar when leaving a room after talking to hazel, or pick up a drink with his fingers in the glass as Coach Hedge covers Mellie’s eyes, or bite into a Kit-Kat by the side as Jason nearly sobs. Don’t worry, its one of his ways of showing affection :)

Nico actually babysit’s Chuck. At first, Gleeson and Will had to encourage him to give it a go. The first time, he was beyond confused, and a bit stressed since it’s well, a baby.

But Gleeson Hedge was one of his first friends he felt was genuine, the statue of Athena being proof of their adventure together with Reyna. Nico couldn’t deny it, he cared for this guy so he wanted to try. The next two nights went smoother, the more Nico took care of Chuck, the more confident Nico became with the babe overall, and the more reassured Hedge and Mellie feel when they wave goodbye as they go out for date night.

Adding to this one (again):

When Chuck gets older, Nico becomes the cool uncle, and he would raise the dead for this kid, or spend an entire afternoon taking him to mcdonalds. Maybe both happened once, but don’t tell Gleeson and Millie, or Will, or Jason and Hazel and Reyna and Chiron- even better, how about that stays between Nico, Chuck, and the 27 guys who died where that McDonalds was built, yea?

#nico di angelo #chuck hedge #pjo #heroes of Olympus #hoo spoilers #The half blood chronicles

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anniesarthistoryblog · 3 years

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A Review of three works from the ‘Shape and Form’ Exhibition at @heartofthetribe Gallery, Glastonbury

As our final assignment for our Art History module for @strodefad we were required to write an essay discussing eithere an art history movement or a recent exhibition visited. Always up for a challenge i chose to write about the brief opportunity I got to see an art gallery between lockdowns in the new gallery that i am fortunate to have just a few minutes walk from my home here in Glastonbury.

What made it a really special experience was that i managed to contact two of the three artist I chose to include in the essay and they very generously answered my questions about their exhibit pieces to give me some context and process insights as first-hand accounts and it was wonderful to be able to ask the creators quesitons about their work and how they made it. The exhibition had high quality contributions from over 30 Somerset artists, so it was hard to select just 3 works, but I managed and got the essay completed in time.

This is an analysis of three selected works from the ‘Shape and Form’ exhibition at the Heart of the Tribe Gallery in Glastonbury. The gallery only opened in September 2020 and despite the restrictions caused by the COVID pandemic, this was the third exhibition that the gallery has managed to stage since then.

Following a core artist group launch exhibition ‘Diversity’, and solo exhibition ‘Beauty and Truth’ by John Minshull, this exhibition was a collation of works submitted by 30 Somerset artists following an open call for contributions from the gallery core artists and online directory members.

Curated by gallery manager Kim von Coels (aka artist ‘The Krumble Empire’), the aim of the exhibition was ‘to explore the fundamental building blocks of visual art, both geometric and organic’. The exhibition was open from 3rd December -26th January and I managed to see it twice before lockdown restrictions came into force. A virtual tour (1) is also available here

1. Millie Gleeson: ‘All We’ll Know’

The Painting was displayed in a prominent position on the last wall as you exit the exhibition, directly opposite a canvas featuring an abstract female form in greyscale graphite, and the scale of this canvas (60 x 48 inches) made it really stand out.

I saw Millie’s solo show also entitled ‘All We’ll Know’ at the Red Brick Building in June 2019. She uses reference photographs to help with composition and is heavily influenced by her time in Berlin and Mexico.

Many of her works feature masks painted on the (mostly nude) female subjects, so what I found fascinating about this piece was that the face was illuminated and prominent and she is swathed in billowing robes.

I contacted the artist for more information on the context and process of the painting.

She told me this is a self-portrait, painted from a 'still' of the artist performing in a music video her friends (the Hics) produced, also called "All We'll Know"( 2 )

Gleeson started began painting this in 2014, but it was put into storage until she revisited to complete it in 2019.

She commented ‘it was a huge time of transformation and the end of an era and perhaps I had to return to the painting when I felt I'd fully transformed.’

The Painting has lots of movement, which is representative of the video it is sourced from, the performers are in an industrial setting and are either submerged under water, or as captured in this image, rising up and breaking free. The robes are flowing and there is a sense of movement in the arms and legs. Her website (3) describes how the work was developed as part of a series developed during an Artist Residency at Arquetopia in Mexico.“The residency applied Levanasian ethics to the artistic process, teaching to respect the integrity of differences and question the desire for totalisation. Questioning whether you can truly know the other and if you only know the self, how can you respect the space between?” “Any creative project I have embarked on at the core has revolved around the topic of identity or identification. Following the residency lectures my project became entirely introspective, leading me on a journey of self-discovery. I began to look at my own shadow, distortions, fractions, mirror images, deep and dark aspects of myself. Using the vibrant colours that surrounded me I began to explore my own conflicts and duality through a series of self-portraits, in an exploration to “All we’ll know.”I really resonated with this piece as it reminded me of the Salvador Dali painting ' Christ of St John of the Cross’ I saw at the Glasgow Kelvingrove museum. Light comes from above and the arms are widely placed. The pale blue colour palette and rich drapery in the dress against the dark background is similar to that shown in ‘The Countess of Southampton’ ( 4) (Anthony Van Dyck 1599-1641), seen at the Cambridge Fitzwilliam museum.

Ruary is an Edinburgh-born artist who has lived and worked all over the world and is a gallery core artist working in an attic studio above.

He is inspired by nature and psychedelic culture (6) and another of his works ‘Sacred Chaos’ was chosen as the exhibition feature image.

I interviewed the artist to learn more about the context and process behind these works. Ruary explained that “Trap Dance was a process-oriented piece, created as an experiment using masking tape to create random abstract geometric forms”.

The piece depicts two females and a male dancing, with Cubist and Italian futurists-influenced segmentation and distortion of the figures. The artist noted that the title ‘Trap Dance’ is a pun, as the two female figures appear to be being pressed together by the male dancer (Allen quipped it should have been called ‘Tape Dance’). The experimental process with repeated randomly placed masking tape and paint until the forms emerged, resulted in an abstract image.

The artist saw the forms of the dancers appearing and added them at late stages of development. It is more narrative in comparison with the cover piece ‘Sacred Chaos’; which was another process oriented, straight-edged construction using platonic forms, mathematical constructions, intersecting circles and combining them to make a striking abstract image. The artist has a lifelong interest in Alchemy in art and alchemical symbolism, and this is evident in the works presented here (7).

The colour palette is cooler at top and has more vibrant and darker tones at bottom, with a spotlight in the top left corner, which the artist suggests is reminiscent of a stage or nightclub scene. There is lots of movement as the figures are interweaved amongst the abstract shapes.

This painting is hung in a long narrow corridoor directly opposite the toilets (another ‘trap’ reference?) and adjacent to the exit door to the garden space. The works surrounding the piece are smaller in scale and have less visual impact, and I think that having to stand so close to it makes it more of an experience as the viewer is drawn into the movement and abstract forms on the canvas. There is no opportunity to stand back and see the work in a wider context so one is trapped like the dancers in the image.

3. ‘Lost Toys’ by Julie Ackerman .

This is an installation assemblage sculpture piece selected from a collection of 10 museum themed boxes. (8). The work is inspired by the ‘cabinets of curiosities’ or ‘Wunderkammer’ (as described by Anastasiya Gutnic from the Metropolitan museum of art here with an example from the German artist Nicolaus I Kolb) (9).

The cabinet is displayed with a second piece called and ‘Science Lab’ and both are relatively small in scale requiring the viewer to lean in close to see the details.

Key elements of a Wunderkammer are:

· Naturalia (natural, found objects),

· Artificialia/Artifacta (mand-made, abstract objects), and

· Scientifica (scientific instruments and technological items)

The cabinet contents are carefully considered to reflect the message that the artist is trying to express, and fits the categories described above.

I chose this piece as the lockdown period has made many of us question what is important to us and question our consumerism and its’ environmental impact.Using upcycled packaging and materials has been a theme of my own creative practice this year.

The artist states on her biography (8)

“I was compelled to take on the challenge of using unwanted objects and materials as an art medium. Raising awareness of a world in crisis through art is paramount in my work. By transforming waste into beautiful works of art, I hope to inspire and encourage the 'Art of Recycling' turning a negative situation into a positive one.”

The artist goes on to state “The impact of overpopulation means greater demand on natural resources and an escalating waste problem. We need nature to thrive by reducing our demand for new materials, leaving nature intact.”

In the ‘Lost Toys’ cabinet a collection of sticks and a pine-cone (Naturalia) are surrounded by a plastic ‘monster’ (Artificialia) and assorted toy animals. A green butterfly rests on a branch with a wooden ’tribal style’ peg and a ‘protective’ dragon flying overhead and a lurking toy hairbrush in the background.

The second cabinet has scientific paraphernalia (Scientifica) and a skull with glasses, references to the impact of sanitary waste and plastic pollution on marine life. There are also humorous touches, like the small creature and drawing pin on top of the skull.

This fits with the exhibition theme as it invites the viewer to examine how the items relate to each other and to our own experiences. Viewers will respond to the individual elements and interpret their relationships differently.

The placing of the cabinets in a transition space between two rooms containing large paintings is also an interesting variation in form and requires a different type of interaction by the viewer.

Summary

The aim of the exhibition was to explore the fundamental building blocks of visual art, both geometric and organic, and the curator has selected a broad range of 2D, and 3D exhibits to really allow this theme to be represented. I found it quite difficult to select only three works for this essay as there was such a high quality to choose from.

These three selected artists have interpreted the theme in quite different ways, but one gets a sense of shape and form from all of their works shown.

References

1. Shape and Form Exhibition Virtual tour: https://www.infohost360.com/heart12/

2. Millie Gleeson – The Hics reference video "All We'll Know" https://youtu.be/RB2MweTwfQY.

3. Millie Gleeson website: https://milliegleeson.co.uk/all-well-know

4. Van Dyck Image reference found in Fitzwilliam Museum Cambridge guide, p37. 2016 ISBN: 978-0-9574434-9-5

5. Image sourced from https://artuk.org/discover/artworks/rachel-de-ruvigny-countess-of-southampton-as-fortune-5613

6. Ruary Allen Artist Bio: https://heartofthetribe.com/portfolio_page/ruary-allan/

7. Ruary Allen Artist website: https://artalchemist.com/

8. Julie Ackerman Artist Bio: https://heartofthetribe.com/artist-directory-view-by-artist/user/77/

9. Cabinet of Curiosities reference video: https://youtu.be/j6q10euArks Nicolaus I Kolb (German, 1582–1621). Apothecary Cart, 1617–18. Veneer: ebonized pearwood (Pyrus communis), ebony, partially gilded silver; carcass: conifer; interior: protective quilted cushion covered in red silk, drawers and chest lined with red silk velvet; gold, trimming; mounts and fittings: brass, partially gilded; thirty-two (32) vessels and utensils: glass, partially gilded silver, low carbon steel, leather, 11 x 11 x 9 1/16 in. (28 x 28 x 23 cm). The Metropolitan Museum of Art, New York, Purchase, Anna-Maria, and Stephen Kellen Acquisitions Fund, 2019 (2019.229.1a–c–.32a, b)

10. Cabinet of Curiosities reference description: https://en.wikipedia.org/wiki/Cabinet_of_curiosities

11. Dr. Beth Harris and Dr. Steven Zucker, "How to do visual (formal) analysis," in Smarthistory, September 18, 2017, accessed January 28, 2021, https://smarthistory.org/visual-analysis/.

#artists on tumblr #art history #glastonbury #ruary allen #millie gleeson #julie ackerman #heart of the tribe #strodecollegeartdepartment #anniesartthings #anndimentartist #artalchemist #the hics #wunderkammer #all we know #local gallery #shape and form #ual art and design

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