#Nigel Bryant

[queer-ragnelle]

It’s here.

#Arthurian legend #Arthuriana #perceforest #Nigel Bryant #did I buy this in part bc Tor is in it #mayhaps but shut up

[themarvellousmichaelbryant]

A commemorative set of stamps celebrating the work of writer Nigel Kneale. On one of the stamps is an image from The Stone Tape featuring Michael Bryant.

#michael bryant #the stone tape #nigel kneale #philately

[rocketrecord]

Creem Magazine “The Elton John Interview” by Jaan Uhelszki and Lester Bangs published May 1, 1975

"I'm the Connie Francis of rock 'n' roll."

Elton John is a man with nothing to hide. Meeting him is instantaneous recognition that his image - puckish but professional, easygoing, tolerant, a gentleman with a flair for sartorial supernova -is simply a totally natural and organic outgrowth of his private self. He is in love with his work, and it is a very healthy relationship. We found him in his hotel suite, cherub in a soccer uniform, snapping his fingers and bouncing while listening, with a self-critical attentiveness that bordered on the ruthless, to his latest single. In spite of being caught between myriad hassles - a new test pressing to okay, a radio station to run to afterwards, a slight case of the flu - we found him polite, charming, unaffected, as smooth as the white German wine he gave us and not even as saccharine. - L.B. Full interview transcript under the cut.

JU: I think that's because a lot of the songs on that first album were really serious love songs and all of a sudden here was this Liberace guy kicking out a piano . . .

EJ: All the songs on EJ were classically morbid. Most of our songs are pretty morbid. Someone once wrote that there's only one happy song on the whole album, "Harmony."

JU: I read once that the contrast between your comical clothes and your serious songs is part of the reason for your success.

EJ: I suppose so. I just don't know anymore. I mean when you look back at those costumes I used to wear - those weren't even costumes! They were Mr. Freedom jumpsuits. People thought they were outrageous. I think the reason we became successful is because we played more rock 'n'roll. A lot of people said, "I don't like rock W roll, you should just sit at the piano," but I think rock appeals to a much wider audience.

JU: The concept of rock 'n' roll used to be that parents weren't supposed to like it. Parents like you.

EJ: I know. Isn't that odd ... I don't mind as long as they buy the records. But it's true. I can see four or five rows when I'm on stage, and the cross section of people is staggering, it never ceases to amaze me. In the front row last night was a couple who must have been in their forties and I thought, "they must be friends of the promoters". . . then you get 13 year old girls and everybody. It's great. Though mothers seem to brood on me.

Lester: One problem you have in terms of image is you have a tough time right now building the mystique of someone who lurks, the phantom of rock or something like that. You've made yourself so accessible and pinned yourself as so positive ... Mr. Nice Guy.

JU: Other stars of your stature like David Bowie want to create a mystique that you can't see beyond.

EJ: That's bullshit. I hate that. It's all bullshit. I mean, why build a mystique? LB: What happened at a certain point is that people decided that the way to become a star besides writing a song is to say "I'm a star!" And stardom became very brutal... the ego had much more to do with it than the music.

EJ: There have been classic examples of people with no musical talent being built up even before their first record. In England that happens a lot. King Crimson was a perfect example. When they first started in England they played a few gigs at clubs like the Marquee and the press on them was just unbelievable and the publicity just sort of fell out from their people, people who surrounded them. And by the time their first album came out there was an unbelievable amount of excitement.

LB: Well, don't you think things have changed? I mean Bowie or Todd Rundgren steps up and says "Well I'm a superstar," and two years later he's still not selling.that many records but he's still saying "Yes, I'm the biggest star in history."

EJ: And what really annoys me is that people believe it. Especially in England, they're so gullible. You pick up the paper in England and you read who are the biggest stars in America and they say Yes, Bowie, Jethro Tull and they never even mention me. That's real bullshit. I can't believe that. You pick up the English papers and read "Steeleye Span Storm Across The States. " Really bullshit! But people believe what they I read. I do tend to laugh about it, it is a bit 11 of a joke.

I hate all that sort of moodiness you mentioned before. There's no reason for me to be moody, it's not all that important, I mean who really gives a shit. So Bowie's inaccessible and he's got a mystique and he's got a great stage presence. But so do people like Marlene Dietrich, who've been around 60 years.

LB: I think it's a very sick sort of personality cult.

EJ: I suppose so. I also know David wanted to be Judy Garland.

LB: It's almost on a Mel Lyman or a Manson level, I mean a Bowie or a Leon Russell. . . the people surrounding them are vicious, and they're supposed to be nice guys.

EJ: Oh yeah. I've always thought rock 'n' roll was people's music. It's always been a thing that everyone should enjoy, as far as I'm concerned, I don't see why they should bring moodiness into it. On stage you can create an image without all the hassles. Who needs it? I can walk into a room and be surrounded by just as many people as David Bowie. You meet John Lennon, he'll talk to you for 25 hours straight and he doesn't give a shit and he's been through the whole scene. Backwards, forwards. He still talks to you. Ringo does. Paul does. George doesn't. . .but I respect George for what he's doing, he's doing it because he really believes in what he's doing and he's not just some moody . . .

JU: He's not difficult, it's just an extension of that whole religious thing he's going through.

EJ: Right. I feel sorry for him in lots of ways and in fact like him. He might be being used. I'm very skeptical about religion. If something's that fanatical it can you for their ends.

LB: Another thing that you sort of step out of is that rock 'n' roll is so much associated with the burnout syndrome. You're supposed to do that, to live fast and die young. I mean Dylan looked beautiful in 1966 when he was on the edge of death; he looked better than he did the rest of his life. But the whole thing is such ah adolescent dream.

EJ: Well. . . I'm the Connie Francis of rock 'n' roll.

JU: Will you be doing orange juice commercials in ten years?

EJ: Like Anita Bryant (sings a bit of a jingle), no, no way. I've got very strict sensibilities like that. That's why people annoy me when they compare me to Vegas acts. I can't bear show biz.

These people come to my parties, not my idea, it's just a publicity thing. It's nice to meet them, a couple of them I really do like, Steve McQueen and Diana Ross and Cher. You shake hands with 70people. Barbra Streisand came into the dressing room when I was just wearing underpants and she went "OHHH!" I went, "Barbra, you must have seen it before."

JU: You know you make Rona Barrett's gossip magazine. Not many rock stars do.

EJ: She loves me! Well, I'm perfect fodder for her. I'm perfect fodder for everybody. If anyone's gonna say let's pick on somebody, let's pick on Elton. JU: But they can't pick on you.

LB: Not very good fodder for a scandal sheet. You seem to lead a pretty sedate life.

EJ: I'm not talking scandal. I'm talking about like in England with the money situation and everybody moving out. So everybody says... and I never said it in an interview, I mean, Rod says it in interviews... but the big headline will be "Elton Leaving England; Deserting a Sinking Ship. Well We Don't Need Him!" And if anyone's gonna be picked on it's always me. I take the can back from so many people.

LB: Do you ever find yourself in the syndrome of being on the road so much that the graph of your alcohol intake just goes up and up until you're just reeling and you lose control?

EJ: Yeah, that happened to us last year. We went to Australia and Japan and then we had a crisis . . . we'd been on the road for four and half years and we all looked like just unbelievable zombies, felt like death warmed up, and we were just at the point of breaking up. So we cancelled everything from there on. We had a big tour of England planned, a big tour of Europe, and cancelled both. And we just took time off. I went to a tennis ranch and I read in English papers that I was huge and they were right ... I'd put on about 45 pounds because I was drinking at least half a bottle of scotch each day. I just felt awful and I looked at myself-at 27 your hair's going, body's going, you're going. Also I'm the director of a soccer team. People connected with soccer do drink a lot, and I was beginning to drink like ... I mean I was just becoming an alcoholic. It was just ridiculous, so I just had to say no. I just started drinking again. I don't drink spirits, just wine and... The worst thing is the next day. I got to the point where I was taking things to get me over getting up. After two weeks of getting up and feeling like that you just feel like, "Ahhh." So I thought that's it, it's gonna be health from now on.

JU: So how's your romance with sports? I've heard you call yourself a sports groupie?

EJ: Oh I am, I'm an absolute sports groupie. I played doubles with Jimmy Connors, that was great; every time I hit a winning shot he used to sit on the floor and laugh. I'm not a bad tennis player and when you play with someto play better anyhow.

JU: Weren't you in a tennis tournament with Bill Cosby?

EJ: You know they have World Team Tennis now. Well, Billy Jean's team is in Philadelphia and I might get involved with that next year. I came over on the SS France to the States and went straight down to Philadelphia cause I had arrangements to play with Cosby, in an exhibition game. Usually they get 3,000 people at the Spectrum. They had 9,000 that night. It's one thing to go out there and play rock 'n' roll but to play tennis like a schmuck is another. I lost the first two games . . . but I knew I could beat him.

JU: You beat Bill Cosby?

EJ: Yeah.

LB: Do you think on one level being a rock star is like being a frustrated sports star?

EJ:It's been said that there's a parallel between sports people and rock people because they come from the same background. No way. Sports people go through hell. You have to be far more dedicated.

It's not a question of physical ability, because if you've got it you've got it, like playing the guitar; it's a matter of concentration. If a tennis player loses his concentration for one minute it can blow the whole game. I actually think it's more of a mind thing than it is a skill.

I was never any good at sports and I remember one year at school everybody had houses and on Sports Day they would compete against one another, and because I was fat they used to put me into the shotput. And the first time they put me into the shotput, I went to it it and the ball spun off my chin and fell on my foot and broke my toe . . . that was so funny . . . But I was never any good at sports except tennis and soccer.

Tennis has exploded here. Someday soccer will just explode. But I love American sports too. I love the Monday night game; if I have a gig that night, I'm distraught. Hockey I love, and baseball.

I can't find any Americans who like baseball. I hate the fucking Oakland A's and they win it every year. I'm a Mets fan. I really wanted them to win last year.

JU: Mets used to be on the bottom. EJ: I always felt sorry for the team on the bottom. Texas'll do all right this year ... We were up in Montreal when they got back from Russia. We got into the airport at the same time.

JU: Montreal is a hockey town.

LB: Canada's a hockey town - what else have they got?

EJ: They've got Anne Murray.

LB: Do you like Anne Murray? s EJ: She's great . . . reminds me of « Dusty. I used to have pictures of Dusty stuck on my wall... about 400 of them. She was my idol. Dusty had a desperate desire to be needed.

LB: We hear that you're the Santa Claus of rock. Like Elvis. Like giving John Reid cars.

EJ: Well, its' just that I like giving away presents. My whole philosophy is ... / could be dead tomorrow or something gruesome. I've met so many people who are so miserable with their success. They never have any fun, they stay in their houses. I've got enough money. Really I don't think I'll ever be able to spend all my money. I very rarely buy things. I buy paintings. I have a great art deco collection. I buy a lot of clothes. LB: Do you think there's an element of compulsiveness in the spending and the way you push yourself to be prolific?

EJ: I've got tremendous drive. What you said before, Lester, about spending money now because you can make more tomorrow - that's true to a certain extent. I believe that I'll be around for quite some time. But I'm quite willing to admit that if something happened I could be the world's biggest bomb. I quite like that, that uncertainty. If our record comes in number one in England, great; when our Hits album went straight to number one, beat Bowie's album, I was absolutely delighted. We don't sit down and write something to go to number one but I'm always on the phone saying how's it going . . . especially with Rocket, the label, it's just murder. I worry more about that than I do about me at the moment.

LB: Don't you think there's an element of the ephemeral intrinsic to rock, very few rock stars sustain over the years, they become hacks like Elvis or Jerry Lee or Chuck Berry.

EJ: I don't want to be like them at all, appearing at the big hotel in town in 15 years doing "Crocodile Rock" for 40 old ladies. I know the time will come when I have to say "enough is enough. " LB: You think you'll be able to pack it in?

EJ: Yeah, there's lots of other things I'm very interested in. I'm very interested in the supper club at this time.

JU: What about film?

EJ: "Pinball Wizard," you're gonna die when you see Tommy, Ken Russell made me pull more faces in that bloody movie than I'd done in my whole life. Pulling the worst faces of all time. I get beaten in the movie.

LB: About the ephemerality, don't you think there's a point at which they know they've peaked? I think Lennon's at that point now, but people can't throw in the towel. They can't admit they're not as good as they were, that they've passed their prime and it's a very pathetic syndrome.

EJ: I suppose so. I don't agree with you about Lennon. He's got himself out of those two or three years of chaos. He was surrounded by chaos, John. And / he's got himself out of that and is on the verge of doing some really good things.

But I know what you mean ... I love reading a review that says "Well, Elton John is finished." I must say there was a review in CREEM of Caribou, and it was the worst review (by Billy Altman, November, 1974 - Ed.) It was great. It made me laugh. I don't mind reviews like that because it was very comical. When the guy said that I pinched "Honky Cat" from Lee Michaels that really finished me off.

One magazine printed a letter to the editor from a Kim Sand in Montego Bay, Jamaica, I'm sure John Lennon wrote it, that says "I'm tired of seeing this tired old closet queen and he doesn't even move around on stage anymore. Elton John belongs in one." It was worse than that. But I love those. LB: After we had Wayne Robins review Yellow Brick Road and he said "he doesn't have sufficient heterosexual good looks blah blah blah," we got this deluge of letters, "the girls at Beaver College think he's sexy and peachy keen." They're absolutely serious.

JU: How do you feel about being a sex symbol?

EJ: I can't understand it. I've always said that rock stars are supposed to be skinny and wasted. I think (with me) with a female it's very much a mother image, "Oh, hey, can I cuddle you. " It's a very subtle thing. In England it isn't. I can't walk around the streets there for fear that I'll get clothes ripped off. They're not subtle at all in England, they just go crazy.

LB: You had a turnover of fans at a certain point in your career which I would place at the release of Madman Across the Water. That's the point where I think a lot of the old Elton John fans decided you were jiving, weren't a serious artist, that you were finished. That's the point I began to like you. You took on a whole new audience at the very point where your initial audience split.

EJ: Like when I say at a show, "This one's from Tumbleweed Connection," there's hardly a ripple. I know exactly what you mean and I think you're quite right. Adding a guitarist made a difference; we've been a band ever since. LB: Did you consciously burn your bridges behind you?

EJ: I'd made my records with session musicians. We had a band but weren't making records together; it was ludicrous. They were getting uptight and I could see their point, and after Madman Across the Water we began to use other musicians more. I thought, "I've gotta start using the people I play with all the time. I've gotta start writing some different types of songs. " That album was Elton John stuck on a bridge. Luckily we went across.

Someone once said to me that I make the funniest records. He said it as a compliment. I mean, "Grimsby?" Grimsby is a pretty atrocious town. Singing a song about it that just makes it sound wonderful.

LB: Do you intend to make your records funny?

EJ: Yeah ... all these people spend all this time creating masterpieces, hours and hours really into things that are just five .chords. I could never believe that they thought they were creating, that they took themselves so seriously . . . I'm serious about some of my songs. "Don't Let The Sun Go Down On Me", is a serious pop song, but "Grimsby" -how can you be serious about Grimsby? That's the whole point of rock and roll.

LB: One last question. Perhaps you can clarify something I've been wondering about for a long time. Why is it, do you think, that there are all these acts like Slade, and Gary Glitter, the Sweet, probably Suzi Quatro, certainly Alvin Stardust - all those teeny tigers who are such a rage in Britain, and they all bomb in the States?

EJ: You have a more sophisticated audience over here. We have a better educational system, but your kids are much more advanced by and large. An English 14 year old boy who buys a Gary Glitter record is simply younger and more naive than a comparable American 14 year old who spends his money on, say, the Allman Brothers. You must remember that you have so many more media outlets over here, more radio stations and television channels and all the rest of it, so the poor dears are bombarded constantly; consequently they become a bit more callous, or at least less gullible. They grow up so fast I sometimes suspect they're older than I am.

LB: They’re certainly more jaded than you seem to be.

EJ: Faugh. Pity, isn't it?

#elton john #1975 #interview #Jaan Uhelszki #lester bangs #!!! #ANITA BRYANT DISSING!!! #sports groupie #creem magazine #mine #nigel olsson

[chalkrevelations]

I'm rummaging back through footage of old SYTYCD performances, as I am wont to do when I can't focus too hard on anything, and every single time it amazes me how much the entire trajectory of this show from S3 onward becomes Nigel Lithgow working as hard as he can to make up for the travesty of Travis Wall's S2 loss to Benji Schwimmer, That Smirking Asshole.

I mean, 1) yes, they only start pushing Travis to the forefront as a choreographer in S5, but they're laying the groundwork for it from S3, if you pay attention. And 2) sure, I'm glad Nigel realizes what bullshit that S2 final outcome was, but it's almost funny how much the show becomes a vehicle for Travis's career in response. Because fuck America and their horrible taste, that's why! (lol)

But maybe most importantly, 3) from S3, they clutch so tightly to their chosen narrative on everyone - from Las Vegas onward - that it SQUEAKS in DISTRESS several times when strong performers can't be contained and end up breaking free of their assigned edit. This is, in fact, why Brandon is the top contestant of all time, (followed by Joshua, who they tried to frame as some kind of dancing bear instead of the cross-trained performer he actually was) because even though Brandon didn't win his season, he (with the help of Janette, who deserves AWARDS for how she backed up her partner in the only way that mattered - on the DANCE FLOOR) shoved their chosen edit for him back at them and down their throats, where I continue to hope they choked on it.

Anyway, don't get me wrong, I completely agree with the decision to bully the entire course of a 17-year-series toward bolstering Travis Wall, because I love his work. Bravo, Nigel - it's the best decision you ever made on this show, besides shading Mia for opening her homophobic mouth about Brandon. But it's still kind of fk'n funny.

#sytycd #travis wall #brandon bryant #janette manrara #joshua allen #not going to actually put benj* in the tags because that would be a dick move but UGH #nigel lithgow

[ulrichgebert]

Wie schön ist die Prinzessin Salome! Man soll sie ja aber nicht ansehen. Als Stummfilm funktioniert Oscar Wildes unmoralischer biblischer Einakter nicht ganz so schön wie als Oper, obwohl sie reizende Dekorationen nach Aubrey Beardleys Illustrationen verwenden, und es einige recht kesse Bürschchen zu sehen gibt. Trotzdem wirkt alles etwas statisch, unsinnigerweise auch Alla Nazimovas Schleiertanz. Der Film ist allerdings jetzt auch 100 Jahre alt und in keinem besonders guten Zustand, da wollen wir sie doch eher für ihren frühen Anfall von exzentrischem künstlerischem Gestaltungswillen loben.

#Salome #Alla Nazimova #Nigel De Brulier #Mitchell Lewis #Rose Dione #Film gesehen #Charles Bryant #OScar Wilde #Aubrey Beardsley

[fibula-rasa]

Salomé (1922)  

[letterboxd | imdb]

Director: Charles Bryant & Nazimova

Cinematographer: Charles Van Enger

Performers: Arthur Jasmine, Nigel De Brulier, Nazimova, Mitchell Lewis, & Rose Dione

Art Director & Costume Designer: Natacha Rambova (inspired by Aubrey Beardsley's Salomé illustrations)

#1920s #1922 #Nazimova #alla nazimova #natacha rambova #Salomé #my gifs #classic film #classic movies #film #american film #independent film #silent film #silent cinema #cinema #classic cinema #silent movies #silent era #filmblr #film gifs #queer film

[sarcasticsciencefictionwriter]

List of Actors in Sanctuary who Also Appeared in Stargate (Spanning Entire Franchise).

Main Cast (Counting Regular Major Appearances):

Amanda Tapping. Sanctuary: Helen Magnus. Stargate: Sam Carter.

Christopher Heyerdahl. Sanctuary: John Druitt, Bigfoot. Stargate SG-1: Pallin. Stargate Atlantis: Halling and Todd the Wraith.

Ryan Robbins. Sanctuary: Henry Foss. Stargate Atlantis: Ladon Radim.

Agam Darshi. Sanctuary; Kate Freelander. Stargates Atlantis: Novo and Athosian 2.

Jonathon Young. Sanctuary: Nikola Tesla. Stargate Atlantis: Dr. Parrish.

Peter Wingfield. Sanctuary: James Watson. Stargate SG-1: Hebron and Taneth.

Jim Byrnes. Sanctuary: Gregory Magnus. Stargate SG-1: Documentary Narrator (Heroes Part 2). Stargate Infinity: voice (no character listed).

Significant Stargate Actors Not in Main Cast of Sanctuary:

Michael Shanks. Sanctuary: Jimmy (one episode). Stargate: Daniel Jackson.

Tom McBeath. Sanctuary: General Villanova. Stargate SG-1: Colonel Harry Maybourne.

Vincent Gale. Sanctuary: Nigel Griffin. Stargate SG-1: Deputy - Agent Cross. Stargate Universe: Morrison. (he was significant in Sanctuary and had a high episode list for Stargate, so no arguing)

Colin Cunnigham. Sanctuary: Gerald (one episode). Stargate: Major Paul Davis.

Paul McGillion. Sanctuary: Terrance Wexford (four eps + webisodes). Stargate Atlantis: Carson Beckett.

David Hewlett. Sanctuary: Larry Tolson (webisodes). Stargate: Rodney McKay.

Kavan Smith. Sanctuary: Joe Kavanaugh (two episodes + webisodes). Stargate: Evan Lorne.

David Nykl. Sanctuary: Strickland (one episode). Stargate Atlantis: Radek Zelenka.

Sarah Strange. Sanctuary: Allison Grant (one episode). Stargate: Morgan Le Fey.

Dan Shea. Sanctuary: Transit Cop 2 (one episode). Stargate: Sergeant Siler.

Gary Jones. Sanctuary: George (one episode). Stargate: Walter Harriman.

Peter Flemming. Sanctuary: FBI Agent Bruce Tanner (one episode). Stargate: Agent Barret.

Martin Christopher. Sanctuary: False Priest/Father Clark. Stargate: Kevin Marks.

Barclay Hope. Sanctuary: Security Force Commander (one episode). Stargate SG-1: Col. Lionel Pendergast.

Peter DeLuise. Sanctuary: Ernie Watts (one episode/webisodes). Stargate SG-1: Sal's Diner Customer, Wormhole X-treme Replacement Actor, plus 20 other roles. Stargate Atlantis: Dr. P. Smith (uncredited). Stargate Universe: Peter. (<- also directed all four shows)

Significant in Sanctuary but not Stargate:

Shekhar Paleja (Credited in both as Shaker Paleja). Sanctuary: Ravi Ganapathiraman. Stargate SG-1: Jaffa. Stargate Atlantis: Doctor (uncredited, six episodes).

Ian Tracey. Sanctuary: Adam Worth. Stargate SG-1: Smith.

Pascale Hutton. Sanctuary: Abby Corrigan. Stargate Atlantis: First Officer Trebel. (<- almost/should have been main cast in Sanctuary)

Carlo Rota. Sanctuary: Richard Feliz. Stargate Universe: Carl Strom.

Other Actors in Mostly Minor Roles in Both (but often more significant in Sanctuary, for obvious reasons) Listed in Order of Sanctuary Appearance:

Lauren K. Robek (Credited as Kirsten Robeck in both). Sanctuary: Maryanne Zimmerman (three episodes). Stargate SG-1: Lieutenant Astor.

Sheri Rabold (credited as Sheri Noel in all). Sanctuary: Molly (two episodes/webisodes), Helen Magnus Stand-in. Stargate SG-1: Physiotherapist. Stargate Atlantis: Scientist, Lab assistant.

Laura Mennel. Sanctuary: Caird (one episode/webisodes). Stargate SG-1: Mary. Stargate Atlantis: Sanir.

Alex Zahara. Sanctuary: Carver (one episode). Stargate SG-1: Motion Capture Warrior, Warrick Finn, Iron Shirt, Eggar, Shy One, Alien Leader, Alien #1, Micahel Xe'ls.

Peter Bryant. Sanctuary: Cabal Team Leader (two episodes). Stargate SG-1: Hoskins and Fro'tak.

MacKenzie Gray. Sanctuary: Mr. Jones (one episode). Stargate Infinity: Pahk'kal, Napoleon Bonaparte (voices).

Matthew Walker. Sanctuary: Oliver Braithewaite (one episode). Stargate SG-1/The Ark of Truth: Merlin/Roham.

David Richmond-Peck. Sanctuary: Jake Polanski (one episode). Stargate SG-1: Jaffa Leader. Stargate Atlantis: Toran.

Panou. Sanctuary: Sylvio (two episodes). Stargate SG-1: Lt. Fisher.

Katherine Isabelle. Sanctuary: Sophie (one episode). Stargate SG-1: Valencia.

Chuck Campell. Sanctuary: Two-Faced Guy. Stargate: Chuck the Technician.

Gabrielle Rose. Sanctuary: Ruth Meyers (one episode). Stargate: The Ark of Truth: Alterean Woman #2.

Daryl Shuttleworth. Sanctuary: (one episode). Stargate SG-1: Commander Tegar, Commander Rigar.

Rukiya Bernard. Sanctuary: Kayla Bradley (one episode). Stargate Universe: Airman Richmond.

Alex Diakun. Sanctuary: Doctor (three episodes). Stargate SG-1: Tarek Solaman.

Chris Gauthier. Sanctuary: Walter (two episodes). Stargate: Mattas and Hertis.

Anne Marie DeLuise. Sanctuary: Rachel (one episode). Stargate SG-1: Amy Vandenberg, Farrell.

Aleks Paunovic. Sanctuary: Duke (one episode). Stargate Atlantis: Rakai.

Ryan Kennedy. Sanctuary: Darrin Wilson (one episode). Stargate Universe: Dr. Williams.

Terry Chen. Sanctuary: Charles (three episodes). Stargate SG-1: Monk.

Nimet Kanji. Sanctuary: Pili (two episodes). Stargate Atlantis: Doctor.

Ron Selmour. Sanctuary: Kanaan (three episodes). Stargate Atlantis: Jannick.

Raquel Riskin. Sanctuary: Cheryl (one episode). Stargate Universe: Mindy.

Eric Keenleyside. Sanctuary: Det. Michael Bronson (one episodes). Stargate SG-1: Fred.

Michael J Rogers. Sanctuary: Stanley O'Farrel (one episode). Stargate SG-1: Major Escher, Col. Richard Kendrick, Colonel John Michaels.

Fabrice Grover. Sanctuary: Father Nathaniel Jensen (one episode). Stargate: The Ark of Truth: Amelius.

Allison Hossack. Sanctuary: Lillian (one episode). Stargate SG-1: Zerina Valk. Stargate Atlantis: Perna.

Scott McNeil. Sanctuary: Birot (one episode). Stargate SG-1: Kefflin, Townsperson.

Jody Thompson. Sanctuary: Fallon (three episodes). Stargate Atlantis: Hospital Nurse.

Nels Lannarson. Sanctuary: Commander Tollan, Praxian Guardsman. (two episodes). Stargate SG-1: Major Green. Stargate Atlantis: Captain Holland.

Sean Rogerson. Sanctuary: Castor (one episode). Stargate Atlantis: Nevik.

Richard de Klerk. Sanctuary: U.S. Sergeant (one episode). Stargate SG-1: Dominic, Joe.

Aaron Brooks. Sanctuary: Lieutenant Hallman (one episode). Stargate SG-1: Nisal.

Collen Winton. Sanctuary: Anna (one episode). Stargate SG-1: National Security Advisor, Dr. Greene.

David Milchard. Sanctuary: Garris. Stargate Atlantis: SGC Technician.

Greyston Holt. Sanctuary: Lt. Coxswell (two episodes). Stargate Universe: Corporal Reynolds.

Brian Markinson. Sanctuary: Greg Addison. Stargate SG-1: Lotan.

Lara Gilchrist. Sanctuary: Cassidy (one episode). Stargate Atlantis: Dr. Hewston.

John Novak. Sanctuary: Thug Boss (one episode). Stargate SG-1: Colonel William Ronson.

Martin Cummins. Sanctuary: Brad Sylvester (one episode). Stargate SG-1: Aiden Corso.

Kurt Evans. Sanctuary: Agent Gavin Crealy (two episodes). Stargate SG-1: Col. Johnson.

Sage Brocklebank. Sanctuary: Canadian Press Photographer (one episode). Stargate SG-1: Rand Protectorate Tech.

Kwesi Ameyaw. Sanctuary: Colonel Bosh (one episode). Stargate SG-1: Olokun. Stargate Atlantis: Technical Sergeant.

J.C. Williams. Sanctuary: SCIU Agent (one episode). Stargate SG-1: Jaffa (uncredited), Stargate Universe: Marine (uncredited).

Caroline Cave. Sanctuary: Sheila Delacourt (one episode). Stargate Atlantis: Dr. Cole. Stargate Universe: Dana.

Brent Stait. Sanctuary: Finn Noland (one episode). Stargate SG-1: Major Louis Ferretti.

Richard Stroh. Sanctuary: Orin (one episode). Stargate Atlantis: Genii Soldier #2.

Venus Terzo. Sanctuary: Capt. Franklin (one episode). Stargate SG-1: Dr. Francine Michaels.

I spent entirely too much time on this, but I really got going. I also probably missed a few people (and didn't even start on the crew because of so much overlap). I'm not sure if this is just Vancouver film industry at work or what, but I am done.

#sanctuary #stargate sg1 #stargate atlantis #stargate universe #please someone care #i spent so much time on this

[eldcrow]

Just over halfway through reading the Nigel Bryant translation of Perlesvaus and to be honest, so far I've found it kinda normal for an Arthurian romance, if it leans more into the religious stuff (like, really leans into it, like with the first chapter we have King Arthur listening in on a debate between angels and demons over a dead hermit's soul and later Mary Mother of Christ and Christ himself physically appearing during Mass).

Then it gets to the halfway point when Perceval drowns an enemy lord in a vat of blood, which, even though I kinda already knew that was coming from previous discussions I've read, it still surprised me. Like that's something you'd see more in an Elizabethan revenge tragedy than a chivalric romance (or maybe I need to read more chivalric romances).

Still, we'll see where this goes.

#arthuriana #perlesvaus

[liminalpsych]

My collection groooows

Left to right:

The Complete Arthurian Encyclopedia

Gallant & True (an Arthurian zine I think I backed on Kickstarter at some point, it’s BEAUTIFUL)

The Mabinogian (Sioned Davies translation)

Black Book of Carmarthen

Geoffrey of Monmouth’s History of the Kings of Britain (Faletra translation, also includes Vita Merlini and a bunch of excerpts from various texts eg Nennius)

The Lais of Marie de France (Waters translation)

Lanzelet (I tried reading it. I’ll try again. It’s so dry)

Chretien de Troyes: Lancelot, Erec and Enide, Yvain, Cliges (Ruth Harwood Cline verse translation, I only just now realized they’re out of order, it’s gonna bug me but not enough to fix it and take another picture)

Perlesvaus (Nigel Bryant)

Lancelot-Grail books 1-10 (including Post-Vulgate and chapter summaries)

Silence (Le Roman de Silence)

An Introduction to the Gawain Poet (Putter)

Le Morte d’Arthur (Keith Baines version)

Of Giants (look, Cohen posted some beautifully gay Galehaut/Lancelot and Green Knight and Gawain commentary excerpts on Tumblr and I couldn’t resist)

Arthurianism in Early Plantagenet England (recommended to me by someone who almost did her doctoral thesis on this topic until learning she’d been beaten to it by this text—a history of Arthurianism including the larping that a bunch of nobility did. It just arrived in the mail, I haven’t read it yet)

The Goddodin (Gillian Clarke version; not pictured on the shelf because it’s on my poetry shelf instead. It’s so beautifully translated though, highly recommend Clarke’s version)

Also not pictured: anything I have in ebook format (Tolkien’s translation of Sir Gawain and the Green Knight, various modern fiction)

And then there’s the Arthurian adjacent and medieval and Renaissance stuff that isn’t really Arthurian but it’s related, so same shelf.

Return to Avalon (short story collection, modern, found at a used book store, why not)

The Book of Chivalry of Geoffrey de Charny (picked this up as a larpwriting reference forever ago, it’s a fascinating read)

Various editions of the Compleat Anachronist, the SCA’s publication

Life in a Medieval City by Gies (I don’t actually remember where I got this or why I have it or if it’s any good. I’m guessing it was another larpwriting reference)

The Book of the Courtier - Castiglione (larp prop and larpwriting reference, actually a really neat read)

Prism Knights by Winter J Kiakas (queer knight short story collection)

Letter Writing in Renaissance England (got this used as a larpwriting reference and it has been SO USEFUL and so fascinating!)

#reading list #arthuriana #Arthurian literature

[gawayne]

Hi! So I've been dying to read Perlesvaus for one million years but am never sure which translation is best (though I know "best" is subjective)/the best way to get my hands on it for less than the $25-30 it usually retails for. Do you happen to have any suggestions? 🙏

so i believe there are two translations that are most commonly read, i've only ever gotten my hands on the nigel bryant one and it seems like most other ppl also read that. i scanned it, it's kinda nasty, i'm in the process of cleaning it up and making it an ebook but if you're willing to put up with a pdf there is that. i found it thru my uni library so if you happen to have access to an academic library i bet you could request it, i can't buy it where i am at all so that's my best suggestion!

[cypherdecypher]

Animal of the Day!

Brown Pelican (Pelecanus occidentalis)

(Photo by Bryant Olsen)

Conservation Status- Least Concern

Habitat- Gulf of Mexico; Pacific American Coastline

Size (Weight/Length)- 3 kg; 1.4 m; 2 m wingspan

Diet- Fish; Crustaceans

Cool Facts- Brown pelicans are constantly on the wing. Flying dozens of miles with their flock, they skim coast lines in search of food. Unlike other bird species, brown pelicans fly in a single file line instead of a ‘v’ formation, maximizing the spread of the flock looking for food. Upon spotting a school of fish, the pelican climbs to 20 meters above the surface of the ocean. Tucking their wings, they dive into the water head first and mouth open. Once their throat pouch opens, they can fit three gallons of water and fish inside. The water spills out and the brown pelican is left with an easy meal.

Rating- 12/10 (Nigel’s on his way.)

#Animal of the day #Animals #Birds #Pelicans #Sea birds #Tuesday #December 13 #Brown pelican #biology #science #conservation #the more you know

[queer-ragnelle]

Perlesvaus has arrived

#Arthurian legend #Arthuriana #nigel bryant #the high book of the grail #perlesvaus #made available to Arthurian enthusiasts? #das me

[ludmilachaibemachado]

Jane in the movie The Stone Tape. British television horror drama in 1972. Film written by Nigel kneale and directed by Peter Sasdy, starring Michael Bryant, Jane Asher, Michael Bates and Lain Cuthbertson. It was broadcast on BBC Two as Christmas ghost story🌺🌺🌺🌺🌺

Via @janeasherdaily on Instagram🌺🇬🇧

#60s icons #girlsofthesixties #jane asher #british actress🇬🇧 #1972

[talesfromtheenchantedforest]

one of my very favorite forms of medieval intertextualism is authors getting salty about other authors’ interpretation of the same story, directly or indirectly:

“If we carry on like this,” said Gawain, “we’ll accomplish nothing. Let’s follow Perceval’s advice.”

And they all said: “We agree.”

So they went their separate ways, each following the path he fancied most, and so embarked on the quest of the Grail. But of Gawain and his companions, and the adventures that befell them and the hardships they endured, I can tell you nothing; I will tell you only what matters for this book.

Perceval, Robert de Boron, trans. Nigel Bryant

like ... surely this is at least some shade towards Chrétien’s Perceval, which is like 2/3 Gawain content??? surely.

#perceval #various percevals I guess #chretien de troyes #robert de boron #arthurian authors throwing shade at each other #arthuriana

[ao3feed-danganronpa]

bribbleronpa

read it on the AO3 at https://ift.tt/fDALKzb

by caikbloxian

basically a silly bribbleco danganronpa au idk

Words: 285, Chapters: 2/2, Language: English

Fandoms: bribbleco, robot 64, purple skittles, robot 32, life of bryant, cleaning simulator, Roblox, diecia (bribbleco), sno day, Danganronpa, super cube cavern, cube cavern

Rating: Teen And Up Audiences

Warnings: Major Character Death

Characters: todd the turnip, Beebo (Robot 64), timothy (purple skittles), roland (diecia), nigel (Life of bryant), carlito (bribbleco), dweller (cube cavern), tempo (robot 32), melody (robot 32), mr bribble, monobribble

Additional Tags: Killing Game (Dangan Ronpa), kinda off character tbh, Fanganronpa, aromantic asexual timothy (bribbleco), he/she pronouns for beebo, protagonist todd

read it on the AO3 at https://ift.tt/fDALKzb

#IFTTT #ao3feed #fanfic #dangan ronpa #danganronpa #dr

[fibula-rasa]

Lost, but Not Forgotten: A Doll's House (1922)

Direction: Charles Bryant; assisted by Albert Kelley

Scenario: Peter M. Winters (pen name of Nazimova)

Original Play: Henrik Ibsen 

Camera: Charles Van Enger & Neal Jack (2nd camera); assisted by Paul Ivano & Lewis Wilson

Cutting: Lou Ostrow; assisted by Samuel Zimbalist

Wardrobe: Lilliam Turner

Studio: Nazimova Productions (production) & United Artists (distribution)

Performers: Nazimova, Alan Hale, Wedgewood Nowell, Nigel De Brulier, Florence Fisher, Clara Lee, Philippe de Lacy, Barbara Maier, Elinor Oliver

Premiere: Opening week: February 11-18, Strand Theatre, 1579 Broadway, Manhattan, NY and the Strand Brooklyn Theatre, 647 Brooklyn, NY.

Status: presumed entirely lost

Length: 7 reels or roughly 77 minutes

Synopsis (synthesized from magazine summaries of the plot)

In a comfortable flat, Nora Helmer (Nazimova) keeps house for her husband, Torvald (Hale), and their three children. Nora works hard to keep Torvald happy by playing the role of his “little squirrel.”

from Moving Picture World, 18 February 1922

Things were not always so comfortable for the Helmers, however. Three years prior, Torvald was gravely ill and the doctor ordered special treatment and a trip south to save his life. Nora secretly approached a money-lender, Krogstad (Nowell), to pay for Torvald’s treatment and forged her now-deceased father’s signature on a bond. In the intervening years, Nora has scrimped, saved, and taken in extra work to pay off the loan—still keeping the secret from her “principled” husband, who doesn’t approve of money-lenders.

Now, Torvald has fully recovered his health and Nora is one payment away from paying the loan in full. Torvald gets promoted to an official position at the bank and Krogstad now works under him. Upon learning that Krogstad has an unsavory past, Torvald decides to fire him—planning on offering his position to Nora’s childhood friend, Mrs. Linden (Fisher), who is now a single mother in need. 

from Exhibitors Herald, 28 January 1922

Krogstad reveals to Nora that he knows she forged her father’s signature and that he will expose her to her husband if she doesn’t get Torvald to reinstate him at the bank. 

Nora desperately tries to keep a cheerful, playful demeanor with Torvald. When Torvald sermonizes to her about moral turpitude due to bad mothers, she panics and feels her downfall is imminent. 

Nora determines that she may be able to pay Krogstad off, and asks a family friend, Dr. Rank (De Brulier), for a loan. Unexpectedly, Rank takes this moment to confess his feelings for Nora. Nora rebuffs him, but now feels as though she has nowhere to turn.

from Motion Picture Magazine, May 1922

On Christmas Eve, Nora knows that there is a letter from Krogstad in their post box, but only Torvald has a key. Nora frantically distracts him from opening the box before they leave for a holiday masquerade party. Torvald notices Nora’s frenetic energy in how she dances at the party, but doesn’t know the cause. 

When they return home, Torvald retrieves the mail. Before he can open the letter from Krogstad, Nora confesses that she deceived him to save his life. Torvald is furious that Nora has endangered his reputation and questions if she is fit to be a mother while in the same breath stating that he will pay Krogstad off.

However, when Torvald opens the letter, his mood turns on a dime. Krogstad has had a change of heart due to the influence of Mrs. Linden, who also happens to be an old sweetheart of Krogstad’s. The letter contains the cancelled note. Torvald grabs Nora and dances her around the room, overjoyed that his reputation is no longer in danger.

Nora realizes all of her acrobatics (literal and metaphorical) to keep Torvald happy have been pointless. She has sacrificed so much of her energy and independence to merely become “a toy of a selfish man.” The mask has fallen. While Torvald is ready to pretend that nothing has changed, Nora knows that she cannot go back to being his doll. Nora packs up her belongings and leaves the flat—intent on becoming her own person.

Final title card: “The End, or, Rather the Beginning.”

---

Points of Interest:

A Doll’s House (1922) was Nazimova’s first independently produced film after her contract with Metro ended. 

Some of Nazimova’s first roles on the American stage were Ibsen plays (“Hedda Gabler,” “A Doll’s House,” & “The Master Builder,” to be specific), so this film was an attempt to capture some of that work on film.

Only 8 out of Nazimova’s 18 silent films survive today and only 3 have been made available on home video or streaming. [I recently re-watched Salome (1922) on the Pioneers: First Women Filmmakers set and I can’t recommend picking up this set enough!]

All Nazimova Silents:

“War Brides” (1916, presumed lost)

“Revelation” (1918, extant at MGM)

“Toys of Fate” (1918, extant at Národní filmový archiv)

“A Woman of France” (1918, short, presumed lost)

“Eye for Eye” (1918, extant at Gosfilmofond)

“Out of the Fog” (1919, presumed lost)

“The Red Lantern” (1919, extant at Cinémathèque Royale de Belgique, Gosfilmofond)

“The Brat” (1919, presumed lost)

“Stronger than Death” (1920, extant at MGM & Eastman House)

“Heart of a Child” (1920, presumed lost*)

“Madame Peacock” (1920, extant at Cinémathèque Royale de Belgique)

“Billions” (1920, presumed lost)

“Camille” (1921, extant)

“A Doll’s House” (1922, presumed lost)

“Salome” (1922, extant)

“Madonna of the Streets” (1924, presumed lost)

“The Redeeming Sin” (1925, presumed lost)

“My Son” (1925, presumed lost)

*The Women Film Pioneers Project website has this film listed as extant at Cinémathèque Royale de Belgique, but LOC lists it having no known archival holdings.

[Survival status checked via LOC’s Silent Feature Film Database, and re-checked at relevant archives when available]

Transcribed Sources & Annotation over on the WMM Blog!

Buy me a coffee!

#Nazimova #Alla Nazimova #henrik ibsen #1920s #1922 #silent era #silent movies #silent film #american film #independent film #charles bryant #a doll's house #film #movies #classic film #classic movies #film history #lost but not forgotten #lost film