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grump-the-deer · 4 years

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stuff about HDM ep 8 + overall season thoughts

in other words.....

FINALE TIME BITCHES

this episode was INCREDIBLE. A+++, perfection.

this is what I expected from the get-go, and what I got a lot of the time.

we got some great exposition + bonding double time with Asriel, some excellent portrayal of Asriel and Marisa’s relationship, plenty of dæmons being cool and adorable respectively (Pan and Salcilia running around playing anyone???), some STUNNING visuals, an epic little fight scene with the fire-hurlers and the zeppelins, some great culmination for Iorek and Lyra’s relationship, good ol’ Thorold development, some more Lyra & Roger development (ESPECIALLY the tent and end scenes - Roger’s death KILLED ME OH MY GOD) - just the perfect fuckin meal.

this was exceptional. round of applause for HDM.

(except the Will being 15 thing. what? why is he so old? he could pass for a tall 13- or 14-year-old. that makes it a little weird. I hope Lyra is supposed to be like 13 now then, idk. that’s still a pretty big difference at that age.)

I really have to wonder though - if they show they can do the above stuff perfectly, why didn’t they do it before???

the Bolvangar episode still leaves a bad taste in my mouth. this episode proves that they can make intercision horrific and emotional, and make it mean something with the dæmons interacting. Salcilia and Roger had good reactions - hell, Lyra reacting to remembering almost being separated from Pan was more emotional than the actual scene itself!! Roger’s death was HEARTBREAKING, thanks to his and his dæmon’s reactions!

they put the dæmons in enough, especially in speaking roles, that even when they weren’t around you didn’t really forget about them. I could always do with more background dæmons, but I can absolutely understand budget restraints - so long as you put them in enough. we need to feel they have an emotional impact on the characters. we need to feel like they ARE characters. not accessories.

Pan was a character in this episode. the things he says and do make an impact on the story. he was not a character in the Bolvangar episode, despite the fact that that was the MOST IMPORTANT episode for him to be around and active in.

they can do it right, but they didn’t. this series would be wonderful if they cut out that episode and reshot it and replaced it with a better take. hell, even just the intercision scene. it wouldn’t be perfect, but it would work.

so, overall:

HDM season 1 was a spectacular ride. the dæmons and bears look fantastic (when they’re actually in the shots), the voices are spot-on, the actors do a phenomenal job, and the writers actually added some interesting extra material and development.

some highlights for me are:

- Iorek and Lyra’s relationship. they got it absolutely perfect, if not better than the original. Iorek is perfectly stoic and bearlike and resolute, but Lyra earns his respect and even adoration, as best a bear can. it feels organic and has plenty of development scenes. just heartwarming.

- Lord Asriel all around. really awesome take on him, James MacAvoy loves him to pieces I can tell. he’s way better than the original, and that’s saying something. he’s got a lot more heart and I feel more connected to him despite him being a complete mad genius.

- Mrs. Coulter, for the most part. she’s got a bit of shaky characterization with Lyra towards the end - I’m not really certain of her motivations at the end - but generally she’s fascinating to watch on screen and absolutely horrible. I love her and I love Ruth Wilson as her. she’s positively uhinged. they did some really bold stuff with her character and her relationship with Lyra and I enjoyed every minute of it.

- Farder Coram ended up being great. he and Lyra are always a pleasure to watch interact. he really grew on me as soon as he started getting characterization, particularly with Serafina and the story of his son.

- the cinematography, lighting, set design, and graphics. I couldn’t ask for anything more. they went above and beyond and the framing and this world and its creatures look AMAZING. 10/10. hats off to the animation team in particular, of course.

- the acting. the acting is absolutely brilliant. particular standouts include Dafne Keen as Lyra, of course, James MacAvoy as Lord Asriel, Ruth Wilson as Mrs. Coulter, the voice of Iofur Raknison, and Farder Coram. honorable mention for Will, because he gets the character down so incredibly well.

- the respect for the source material. we’ve seen it blow up once with the Golden Compass movie, but this production obviously has every ounce of loyalty to the original. well, almost every ounce. the stuff they added ended up working very well and feeling organic to the original, and the stuff they kept, especially the verbatim lines, was delivered exceptionally. it’s clear they really care about the story they’re giving us.

- the opening credits are the most amazing thing I’ve ever seen. a beautiful tribute to the magic of this series’ themes and world.

and some notably bad stuff, a couple that almost come close to ruining it for me:

- Lee Scoresby. an absolute mess. one moment he’s true to the original character and being sarcastic and selfish, and the next he’s stealing pocketwatches for funsies, yelling out his dangerous motivations in the middle of a town infested with armed Magisterium soldiers, and cooing over Lyra like she’s his flesh and blood and he got injected with Mother Hen Juice. he’s genuinely stupid. his characterization is all over the place. his “development” with Lyra is either nonexistent or rushed, and the only thing he actually does for the plot is fly the damn balloon for about 5 minutes tops. Hester is his only saving grace, and even she can’t do it all. I’m sorry Lin, I really love your work in Hamilton, but this was really disappointing. and I have to blame the writing mainly. they wouldn’t let Lin act a character, they had to shape the character around him. and the whole thing suffered for it.

- the intercision, and dæmon relationships. the Bolvangar episode wasn’t terrible overall, but it did not build up well to the intercision scene, and the episodes around it didn’t help either - especially the previous one. Billy’s death was not sad for me, because the middle of the show did not utilize dæmon relationships with their humans and dæmons as actual characters. we didn’t see them interacting enough with their people to matter consistently to us. the first couple of episodes did this bonding beautifully, even with budget restraints to how many dæmons could be in a shot, and how frequently they could come up. they showed us just enough for us to care about them and what they mean to their humans, particularly Pan and Lyra, and conveniently kept them out of frame when they weren’t necessary to the dialogue between humans.

they can do it properly, but they chose to let it fall by the wayside towards the middle, and it really shot the show in the foot. almost irreparably, I’d wager. Bolvangar, for all its masterful horror trope usage and suspense, was not nearly horrific enough nor emotional at all, thanks to the lack of buildup. we did not care about dæmons and their humans beyond knowing the humans are basically dead without them. there was no feeling behind the threat of Lyra and Pan getting split apart, other than Lyra becoming a shell. the focus was on Lyra and Mrs. Coulter’s relationship, which I don’t have a problem with - but not at the cost of Lyra and her dæmon. you know, the very FIRST line of the books? the main theme of the entire book? arguably the whole SERIES? dæmons as souls, as a person’s sense of free will and consciousness? kind of important to develop an emotional attachment to, don’t you think?

- the Gyptian leads (sans Farder Coram). Ma Costa was passable. she did a lot of crying and a lot of being desperate and pining for her son, and not a lot of kicking ass, proportionally. she didn’t come off as a strong boat mother at the center of her family with sway in her community. she came off as a wiry and lost soul who is somewhat capable but more interested in being depressed and worried. she did get to shine when she killed the Bolvangar doctor, but that wasn’t enough for me.

John Faa was boring. he was a hardass and only every so often came across as the original jovial, caring, but no-nonsense King of the Gyptians. most of the time he was just telling someone not to do something or insisting someone do something. no real personality other than being serious.

Billy Costa had no real character. a waste, considering we’re supposed to care about his death.

Tony Costa was alright. he was kind of a loser, which I guess is okay. I liked capable Tony and his gobbler-fightin’ gang from the books better though. he had a couple good moments with Lyra, and Benjamin was a good addition.

- the themes of belonging. I don’t like how they changed the message about Lyra belonging in different groups. the point isn’t that she can “be anyone she wants to be” - that’s not how real life works, or should work. she can live with the gyptians and like them, but Ma Costa in the books asserts that she can’t be a gyptian, because she’s not part of their ethnic group. a similar message was overlooked with the bears - Iorek gave her the name Silvertongue because of his deep respect for her and what she had done for him, not because she was “one of us bears” now. she isn’t a bear, she’s a human.

the point is that she doesn’t have to be something to find an emotional home with the people themselves. it’s about what she builds, surpassing what she is - which is a product of two twisted, misguided people - taking what’s given to her and making it into something beautiful of her own volition. it’s a very nuanced theme and it’s basically thrown aside in this adaptation in favor of pseudo-colorblindness theory that origins don’t matter and you can stuff yourself anywhere you please. it’s not a deal-breaking point and most people probably won’t pay attention to it, but it’s worth mentioning anyway.

so overall, the show was really really spectacular. a ton of fun, beautifully crafted, with a few hiccups and one major major issue. the dæmon thing gouged out a good chunk of the enjoyment for me, and the integrity of the actual story too. a huge huge blunder on Jack Thorne’s part. I’d like to say they recovered from it, because they did do a pretty great job wrapping things up, but it still lingers in the back of my mind as a big blemish on an otherwise incredible work.

I have high hopes for the future seasons though, when dæmons aren’t around as frequently and less characters are on screen, so there will be more time and budget available to be devoted to them, particularly Pan as a character. they’ve shown they can handle this material skillfully, and I have a good amount of faith in them. I can’t wait to see what else they do with the concepts I’ve come to adore so much.

#hdm #hdm spoilers #his dark materials

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newstfionline · 4 years

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Headlines

Trump Threatens to Send Federal Law Enforcement Forces to More Cities (NYT) President Trump plans to deploy federal law enforcement to Chicago and threatened on Monday to send agents to other major cities—all controlled by Democrats. Governors and other officials reacted angrily to the president’s move, calling it an election-year ploy as they squared off over crime, civil liberties and local control that has spread from Portland, Ore., across the country. With camouflage-clad agents already sweeping through the streets of Portland, more units were poised to head to Chicago, and Mr. Trump suggested that he would follow suit in New York, Philadelphia, Detroit and other urban centers. Governors and other officials compared his actions to authoritarianism and vowed to pursue legislation or lawsuits to stop him. “I’m going to do something—that, I can tell you,” Mr. Trump told reporters in the Oval Office. “Because we’re not going to let New York and Chicago and Philadelphia and Detroit and Baltimore and all of these—Oakland is a mess. We’re not going to let this happen in our country. All run by liberal Democrats.”

Chicago restaurateur joins mission to feed America’s hungry (AP) Before coronavirus arrived, Manish Mallick’s trips to this city’s South Side had been limited to attending graduate classes at the University of Chicago. Now Mallick is a South Side regular—and a popular one. He regularly arrives bearing food for the hungry from his Indian restaurant several miles to the north, in the city’s downtown. “Thank you, sugar, for the meals. They’re so delicious!” one woman recently shouted to Mallick outside a South Side YWCA. “God bless you!” she added, raising her arms for emphasis. Mallick has personally delivered thousands of meals cooked and packed by his staff—among them, chickpea curry and tandoori chicken with roasted cottage cheese, sweet corn, peas and rice. Volunteers from neighborhood organizations then take them to children, retirees and the multitudes who’ve been laid off or sick during the pandemic. “We all need to help each other,” Mallick says. “That’s the best way to get through a crisis.”

American tourists are banned from the Bahamas as coronavirus cases spike (Washington Post) One of the few countries to welcome U.S. tourists has changed its mind, citing soaring infection numbers. The Bahamas will close its borders to most visitors from the United States starting Wednesday, Prime Minister Hubert Minnis said Sunday. While commercial flights from Canada, Britain and the European Union will still be allowed to land, all visitors must show proof that they tested negative for the coronavirus at an accredited lab in the past 10 days. Other international flights will be banned.

More and more countries are making masks mandatory (Washington Post) As countries around the world reopen their economies amid ongoing novel coronavirus outbreaks, governments are increasingly embracing what remains in some places a divisive public health measure: mandatory masks. In France, face coverings will be required in all public enclosed spaces as of Monday. England is set to begin enforcing new rules that make masks mandatory inside supermarkets and other shops, effective Friday. In the U.S., there is no national mask requirement. But at the state level, a growing number of mask requirements have come into force.

EU agrees on $2.1 trillion deal after marathon summit (AP) After four days and nights of wrangling, exhausted European Union leaders finally clinched a deal on an unprecedented 1.8 trillion-euro ($2.1 trillion) budget and coronavirus recovery fund early Tuesday, after one of their longest summits ever. The 27 leaders grudgingly committed to a costly, massive aid package for those hit hardest by COVID-19, which has already killed 135,000 people within the bloc alone. “Extraordinary events, and this is the pandemic that has reached us all, also require extraordinary new methods,” German Chancellor Angela Merkel said. To confront the biggest recession in its history, the EU will establish a 750 billion-euro coronavirus fund, partly based on common borrowing, to be sent as loans and grants to the hardest-hit countries. That is in addition to the agreement on the seven-year, 1 trillion-euro EU budget that leaders had been haggling over for months even before the pandemic. “The consequences will be historic,” French President Emmanuel Macron said. “We have created a possibility of taking up loans together, of setting up a recovery fund in the spirit of solidarity,” a sense of sharing debt that would have been unthinkable not so long ago.

Breached levees trap thousands as flooding in China worsens (AP) Breached levees have trapped more than 10,000 people in an eastern Chinese town as flooding worsens across much of the country, local authorities said Tuesday. High waters overcame flood defenses protecting Guzhen, a town in Anhui province, on Sunday, the provincial government said on its official microblog. Flood waters rose as high as 3 meters (10 feet), the official Xinhua News Agency quoted Wang Qingjun, Guzhen’s Communist Party secretary, as saying. About 1,500 firefighters were rushed to carry out rescues in the province, where weeks of heavy rains have disrupted the lives of more than 3 million people, Xinhua said.

Britain suspends extradition treaty with Hong Kong (NYT) Britain on Monday suspended its extradition treaty with Hong Kong amid worries about a new national security law that Beijing imposed on the former British colony. The suspension comes as London and Beijing find themselves at increasing odds over a variety of issues, including Britain’s move to bar Chinese tech giant Huawei from its 5G wireless networks and growing public anger in Britain over the treatment of the Uighur minority in Xinjiang, an autonomous territory in China.

Japan helps 87 companies to ‘exit China’ after pandemic exposed overreliance (Washington Post) Japan is paying 87 companies to shift production back home or into Southeast Asia after the novel coronavirus pandemic disrupted supply chains and exposed an overreliance on Chinese manufacturing. Alarm bells started ringing in Japanese boardrooms as soon as the virus emerged in the Chinese city of Wuhan, a major hub of the auto parts industry. Japanese automaker Nissan was forced to temporarily halt production at a plant in Japan in February over shortages of parts from China, while a Japanese consumer goods company, Iris Ohyama, found itself unable to meet surging local demand for masks after supplies to its factory in China were disrupted and export controls out of China were tightened. In March, Prime Minister Shinzo Abe said the government wanted to bring production back home and diversify into Southeast Asia. The following month, the government set aside $2.2 billion in its coronavirus economic recovery package to subsidize that process. China is Japan’s largest trading partner, but Japan’s Ministry of Economy, Trade and Industry (METI) has been trying for several years to reduce the country’s dependence on its giant neighbor. The 2008 global financial crisis, the 2011 northeastern Japan earthquake and the coronavirus pandemic all disrupted supply chains, while U.S.-China trade tensions are also a factor.

Jordan to reopen airports to tourists in August (AP) The Jordanian government says it will begin reopening airports to international travelers in August after sealing its borders in March to help halt the spread of the coronavirus. Travelers from a list of approved, low-risk countries must pass a coronavirus test at least 72 hours before departure and will get a second test upon arrival in Jordan, Transportation Minister Khaled Saif says. Jordan will require incoming tourists to download Aman, the government’s contact-tracing mobile application, for the duration of their stay in the country.

Swapping the stage for a deli: Israel underemployment rises (AP) A year ago, Cijay Brightman was doing sound and lighting for a Madonna performance in Israel. Now, after the coronavirus wiped out live events, he’s making sandwiches, slicing cheese and serving customers at a Tel Aviv deli. Brightman spent the last 15 years perfecting his craft and doing what he loves as a stage technician. But in the wake of the pandemic, he has been forced to abandon his passion and profession—like thousands of others in Israel—and find any job that will pay the bills. Underemployment is plaguing workers around the world. Although there are no global statistics yet, the phenomenon is expected to grow as the economic crisis around the world deepens, said economist Roger Gomis of the International Labor Organization.

King Salman hospitalized (Foreign Policy) Saudi Arabia’s King Salman bin Abdulaziz has been admitted to hospital with gallbladder problems, state media reported on Monday. The 84-year-old monarch is the second aging Gulf leader to seek medical attention recently, after 91-year-old Kuwaiti ruler Emir Sheikh Sabah Al Ahmad Al Sabah underwent surgery on Sunday for an as yet unnamed ailment.

Uganda’s Museveni seeks re-election to extend rule to four decades (Reuters) Uganda’s long-serving President Yoweri Museveni has collected papers to seek nomination as the ruling party’s candidate in next year’s presidential election, the party said on Tuesday. Securing a new term would potentially extend the 75-year-old former rebel fighter’s rule to four decades. Though no date has yet been fixed for the 2021 vote, it is typically held in February. The strongest opposition presidential aspirant is pop star and lawmaker Bobi Wine, 38, whose music endears him to the young. In power since 1986, Museveni’s tenure is only surpassed in Africa by Equatorial Guinea’s Teodoro Obiang, who has ruled since 1979 and Cameroon’s Paul Biya, who has ruled since 1982.

#headlines #news

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miragerules · 6 years

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The 15 Best Current TV/Streaming Series

Well we are closing in on the end of 2017 and with most series having had or are soon going to have their mid-season finales I thought I’d update what I believe are the best current TV series airing or have ended this year. Now I don’t watch a ton of television as I have not seen Outlander, Legion, The Man in High Castle, American Gods, Star Trek: Discovery, Runaways, and among others that people have recommended to me. Anyway here are in what my opinion are the best current TV series.

1. The Expanse: Some have called The Expanse “Game of Thrones in space”, and it does have some of the same vibe, but The Expanse has surpassed Game of Thrones as the best show on TV or streaming. Through two seasons, The Expanse has been excellent with a detailed mostly realistic compelling story about the near future with a diverse cast of characters with interesting stories that brings each characters journey to life, beautiful effects, a wonderful soundtrack and some intense action. For more read Brian Tallerico of the Rolling Stones article Why ‘The Expanse’ is the Best Sci-fi TV Show You’re Not Watching.

Rating: 10/10

2. Westworld: Westworld is based on the sci-fi western novel by Michael Crichton and film starring Yul Brynner. Jonathan Nolan brother to Christopher Nolan and creator of the underappreciated and excellent Person of Interest created the series. Westworld brilliantly expands on the ideas and concepts from both Crichton’s novel and the film delivering a thrilling and mysterious story that stars the likes of Anthony Hopkins, Jeffrey Wright, Thandie Newton, James Marsden, Thandie Newton, Ed Harris, and Tessa Thompson.

Rating: 10/10

3. Black Sails: Black Sails has officially come to a conclusion with the wrapping up of the excellent fourth and final season this past April. Black Sails through four seasons took audiences on somewhat of a historical look at the life of pirates in the Caribbean during the early 18th century. The writers delivered compelling characters helping the audience root for these criminals even though we shouldn’t, and the writers didn’t hide from showing the good, the bad, and the downright ugly that was the life of a pirate. Unlike any other film or show Staz’s Black Sails showed the viewer what it was like to be a pirate. Obviously there was the violence, action and nudity that helped make the show great, but really it was the stories, and characters that made Black Sails so good throughout its four seasons

Rating 10/10

4. Game of Thrones: Game of Thrones though out its seven seasons has always been excellent, but this past season with its shortened season had some issues mainly with continuity and plot holes. What I mean is that time and distance seem to have no meaning this past season. I know Westeros is a long continent from north to south, but why has it taken so long for the White Walkers to get to the wall. Another is how even though it just seemed like a day or maybe two did the Dothraki go from Dragonstone (at least that is where the Dothraki were at the time) and cross all of Westeros in what seemed like a day. Yes, Westeros is short from east to west, but not that short across. I loved the battle and the scene of Jamie charging at Daenerys on horseback, but thinking about how Daenerys and the Dothraki just does not make sense. These are still minor criticisms in what is otherwise an excellent show with just one more season left. Sadly, it sounds like we are going to have to wait to early 2019 to see who ends up sitting on the iron throne if anyone.

Rating: 9.75/5

5. 12 Monkeys: The final season of 12 Monkeys is coming up in 2018 with its fourth and final season, and from how quickly the Scfy channel aired season 3 the network will be happy to see the series go. Scfy may be happy to see the series go, but that doesn’t change the fact that 12 Monkeys is one of the best shows around. The show is obviously based on the Bruce Willis and Brad Pitt starred film with the same name. Only the series follows James Cole and Cassandra Railly as they travel through time trying to stop the rise of the group The 12 Monkeys and stop the plague that nearly wipes out the human race from happening. The series has some outstanding writing, and action sequences, but perhaps one of the best elements of the show is the friendship/relationship between James and Cassie. Their relationship is most likely going to be doomed, but is beautiful to watch thanks to that acting and chemistry of actors Aaron Stanford and Amanda Schull.

Rating: 9.75/5

6. Godless: The first of four Netflix shows on this list. Godless is technically a mini-series so it won’t be on a similar list like this next near, but Godless is still a compelling series neither the less. Godless mainly takes place in a small mining town of La Belle where the majority of its men died in a mining accident leaving the women to run the town. The series follows the lives of Roy Goode, Alice Fletcher, Bill McNue, and the antagonist of the series Frank Griffin played brilliantly by Jeff Daniels. In modern Hollywood, westerns are a risk, but thankfully, there is a streaming service like Netflix that took the chance and writer/director Scott Frank who brought Godless to life with a compelling story, riveting characters, great cinematography and some great action sequences.

Rating: 9.75

7. Jessica Jones: Technically Jessica Jones wasn’t on air this past year, but season one was excellent and the second season is premiering in early 2018.

Rating: 9.5/10

8. Daredevil: Like Jessica Jones, Daredevil wasn’t on air this year, but the first two seasons were great and the third season probably premiering in late 2018.

Rating: 9.5/10

9. Rick and Morty: I know most wouldn’t expect an Adult Swim cartoon to appear on a list of the best shows on TV or streaming, but Rick and Morty is the exception to the rule. What Dan Harmon has helped to create with Justin Roiland is truly something special as Rick and Morty is one of the most funny, tragic, complex and fascinating cartoons….no Rick and Morty is simply one of the most funny, tragic, complex and fascination shows on TV or streaming.

Rating: 9.5/10

10. The Punisher: The Punisher could have easily failed as a series with the climate we live in today with all the gun violence and mass killings in the United States today, but Netflix’s The Punisher is pretty much a rousing success that’s mainly thanks to Jon Bernthal as Frank Castle and Steve Lightfoot, and the rest of the writers that shied away from glorifying violence and guns. There are many elements of the series that are good from the story and relationship between Frank and David Lieberman and between Frank and David’s family as well as the action sequences, but for me one of the best elements of the series was the growing friendship between Frank and Karen and the will they won’t they vibe. Sadly, we don’t get enough of the two, and I am hoping for former and Frank and Karen end up getting together and the writers steer away from so-called “canon” when it comes to Karen from the comics.

Rating: 9/10

11. The Shannara Chronicles: Like The Expanse, The Shannara Chronicles is a show very few people watch and judging by the ratings on Spike I doubt the series will get a 3rd season, but through two seasons The Shannara Chronicles has been great. The Shannara Chronicles series is loosely based on the fantasy novels by Terry Brooks, and you’d think with the first season airing on MTV and the second on Spike that there wasn’t much to the show besides a simply story and hot characters getting it on and you would be wrong. Yes, the series follows the formula of the fantasy genre, but The Shannara Chronicles has a fascinating cast of characters, a pretty well developed story, and some good set pieces for the obvious limited budget the series has. I highly recommend everyone check out the series.

Rating: 9/10

12. Last Week Tonight with John Oliver

Rating: 9/10

13. Marvel’s Agents of S.H.I.E.L.D.

Rating: 8.75/10

14. The Orville: Going into the series premier with Seth McFarland staring I thought The Orville was going to a half hour Sci-fi comedy after all McFarland is the mind behind Family Guy, The Cleveland Show, American Dad, and Ted, so I was pleasantly surprised when The Orville turned out to be much more than that. McFarland’s The Orville is an hour-long sci-fi dramedy. The first season does have some issues mixing comedy with sci-fi drama, but overall McFarland with the rest of the cast and the writers do a good job with mixing the two elements creating a fun and compelling hour-long series that honors Star Trek.

Rating: 8.75/10

15. South Park: After what is now, 21 seasons you’d think South Park would end up like The Simpsons in that South Park wouldn’t be funny anymore and only relying on their name and nostalgia for what they once were, but South Park continues to be a hilarious show. This past season Matt and Trey Parker tried to move away from the season long story, and focus from episode to episode. You can tell Matt and Trey are just as frustrated with the current state of affairs in America and dealing with Trump/President Garrison as the rest of us as often times they didn’t know what to do in each episode or tried to cram to much in a single episode, but the two handled it well. The best episodes of the 21 first season were "White People Renovating Houses", "Holiday Special", "Doubling Down", "Super Hard PCness" and the season finale "Splatty Tomato" that introduced us to the conservative White family and the hilarious use of the term “Thank god for the whites”.

Rating: 8.5/10

Honorable mentions: The Big Bang Theory, Arrow, The Gifted, Brooklyn Nine Nine, The Defenders, Iron Fist, and Lethal Weapon.

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pietropatrol · 7 years

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Breaking the One Damn Rule (Pt. 6)

Read Part 5

[A/N: Second job has started, almost officially have my promotion at my regular job, applied to grad school and waiting for a response, and wedding planning has me pulling my hair out]

Constant monitoring and bed rest is what the doctor ordered. With the fate of yours and cel mic’s health in Bruce’s hands, and growing boredom, you need a distraction. Nothing like a Netflix marathon to pass the day and quell the cabin fever.

Pairing: Pietro x Reader

Warnings: Mentions of dying

Words: 1, 648

Previously on BTODR:

“I don’t think she’s going to wake up right now. We picked her up and she was unresponsive. But Wanda looked in her head. She’s okay.” Natasha reassured him as Bruce navigated the transducer over your stomach.

Bruce paused. “You were only expecting one right?”

“What do you mean?” Pietro shot over to the ultrasound image, and sure enough there were now two. He froze.

Bruce examined the image, his jaw tight. “It’s more serious than we originally thought.”

“Results are in Banner. This is in your ballpark.” Tony’s voice entered the room.

The screen pulled up videos of your blood cells and your DNA structure.

“I see.” Bruce cupped his chin.

“See what?” Pietro ran a hand through his hair, tugging at the ends.

“Dr. Cho only saw the one fetus, and I have a sneaking suspicion there isn’t really a second one.” Bruce took a snapshot of the ultrasound and put the equipment away.

“But possibly there was a second one she missed or that one split into two.” Pietro made his way back to your side. He instinctively laced his fingers through yours.

“It’s highly unlikely in both cases.”

“I am a twin—“

“Identical twins tend not to be hereditary. It’s most often spontaneous and that is what you’re suggesting. However, that happens early in the pregnancy. Now, Dr. Cho is competent to catch this. So, something else is going on and you have a feeling as to what is. That’s why you’re deflecting.”

“Bruce!” Natasha frowned at his tone.

“Your cells and genes are mutated and you those on to your child. The cells are abnormal to Y/N’s body, which causes her body to go into overdrive; creating anti-bodies as the mutant cells infect her. I can only speculate when she is under duress, like she was today, the child’s mutant cells are released as a form of protection. Thus, it’s ability lies in biological duplication, because we’re seeing two now.”

“Next time we—“ Natasha thought out.

“There may not be two.” Wanda’s voice strained.

“There may be one or more than two. We don’t know what could happen, but we do know her body isn’t strong enough to handle the surge of mutated cells.” Bruce took off his glasses and rubbed his eyes.

“What do we do?” Pietro squeezed your hand.

“Find a person who can travel back in time, keep this from happening or you two from even meeting.” Bruce chuckled without humor. “Your relationship was doomed from the start. A disaster waiting to happen.”

Pietro forced himself to keep grounded by your side, imagining that you’d tell him not to let it get to him.

“Her family hates her and you’ve signed her death certificate, either by Hydra or your own spawn. Does disobeying orders feel great now?” Bruce couldn’t help himself. Maybe it was his own self-loathing for the monster he had made himself. How he could never really be with anyone without fear of hurting them. It felt a little satisfying to spread the pain.

The problem was that Pietro didn’t feel pain, no, he was seeing red. It was never about disobeying orders. It was about the way the corners of your mouth would twitch as he tried to make light of all the near-death situations he had been in; and you fought the laughter because you had to act mad at him for putting himself in unnecessary danger. But he was such a show off, and a god damn hero that saved the world. You broke so quick.

It was about how even when you fought, mostly about finally making your relationship public or you working to much when he was home, you never broke eye contact and five minutes into the stare down you both broke into fits of laughter or tears, sometimes both. Depending on the day.

The only thing that mattered at the end of the day was having each other to turn to and love, unconditionally. So, no matter how long Pietro would be gone on missions, your love never faltered. And although you worked to the brink of exhaustion, Pietro adored your devotion and passion for the business you had worked so hard to build. He could feel the beams radiating off of you as you spoke about all the crazy events you coordinated, even the challenging ones. You lit up when recounting insane budgets, weird requests, and bridezillas.

It was the stories and you glowing energy that captured Pietro on your first date; and when your face began lighting up the same way when you saw him, there was no turning back.

He would leave the Avengers for you if he had to. Wanda would be okay, she had Vision. You brought a part of him to life that he didn’t even know was dead.

Pietro had been ready to get serious. Marriage serious. But the last mission had put his possible plan of leaving the Avengers—if only temporarily—on hold and then your pregnancy had thrown a wrench into the secrecy of your relationship. Pietro had the ring, he’d had it before cel mic. Now he didn’t want it to seem like he was only proposing for the baby’s sake.

“That’s what I thought.” Bruce tucked the small amount of regret of his words away. Pietro had put you in this situation. His mutated genes were a parasite to your ordinary ones. Pietro shouldn’t even be able to reproduce with his mutation. Bruce couldn’t.

“Seriously? Don’t make this about you. It sucks, yes but move on. It happened. Your mutation process was completely different. We have another problem at hand. Y/N’s life is at risk. Help her, she shouldn’t be a consequence of your jealousy,” Wanda snapped.

Bruce recoiled, realizing the literal and figurative green monster had been rearing its head. “Right, sorry Pietro, that was uncalled for. I’ll get to work on finding a treatment.”

Bruce had let go of his jealousy and had become a trusted friend. He was gentle and explain the science behind was going on with you. Yet, at the same time he could be brutally honest and you were thankful for it.

“What’s the probability?” You shifted on the couch, trying to get comfortable as Bruce hooked up all of your monitors and reinserted your IV. You were tired of sitting in the “infirmary” and had made a decision to relocate to the living room for the day to binge watch on the big screen.

You had sent Pietro out on errands and to get something for your second-in-command because there was an important event to coordinate for an A-list client coming up soon. It was a bit of relief; Pietro’s concern was surpassing bearable levels and you didn’t think that he would calm down until cel mic was here.

“The probability of what?” Bruce produced a vial and hooked it up to the IV tube.

The temporary solution. A bit of Wanda’s mutant blood to mix with your own. The magic in her blood was the universal mutation blood type. Or type “M” as Pietro joked. Bruce and Dr. Cho were hard at work to find a treatment that didn’t require Wanda giving blood every day. It helped, but you remained week and bed ridden. You were only allowed to get up to go to the bathroom—with assistance, annoying and embarrassing—and get one small walk in a day. It was getting old really fast.

“Dying.” Your voice didn’t falter and you held your gaze steady. Bruce took a moment to deliberate. “There’s a small chance, right? Both me and cel mic?”

“Forty-five.” Bruce squatted down next to you, empathetic.

“That is lower than I thought. So, silver lining.”

“And that’s without me finding a treatment for you. I think I’m close.” Bruce patted your arm.

“I believe in you.”

“I will get back to work then. Do you need anything else?” Bruce pushed off of his knees.

“The remote is all.” Bruce pushed the coffee table next to the couch so you had access to the touch pad and your drinks. “And thank you.”

Bruce nodded and went back to the lab. You found something to watch, but the move from the infirmary to the living room had actually taken a toll on you. It was only a matter of minutes before your eyelids got heavy.

Steve wandered into the living room and stopped at the sight of you passed out on the couch. Your arms curled over your stomach. Protecting it. He reached over you and pulled the blanket down over you.

Steve looked to the TV and recognized the show, he settled unto the end of the couch and watched over you. You were one of them now, so it was his duty as your captain to make sure you were okay.

Two hours later Steve was still there as you stirred and felt a presence. You looked at him through bleary eyes.

“Oh, hey. Am I in the way?” You tried to sit up and make more room on the couch. Steve rushed to stop you, and you gladly slumped back into the couch. What wouldn’t you give for coffee right now. It was the worst being tired all the time.

“Band of Brothers, huh?” Steve motioned to the TV.

“Yeah, my great-grandfather fought in World War II and I used to watch this with him before he passed away a couple years back.”

“Now that makes me feel old.” Steve shook his head.

“Well, you kind of are. I wonder if he ever met you. He was in Europe on the front-line. He probably was a fan, he too liked to punch Nazis.” You grinned.

“Doesn’t everybody?”

“True, give me the opportunity I would gladly do so and make it a tribute to my great-grandfather.”

“Should I recruit you?�� Steve joked.

“Pietro would try to kill you. The last thing he wants is me to be anywhere near a Nazi, AKA Hydra.”

“You’re not wrong.”

You slipped into a comfortable silence, that was until your stomach groaned. “Do you know an authentic Mexican place that has killer tamales and delivers?”

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lashandrahcanatoliamp43insu-blog · 5 years

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insurance zanesville ohio

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insurance zanesville ohio

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nightmareonfilmstreet · 6 years

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[Exclusive Interview] SUMMER OF ’84 Directors Talk Serial Killers and Sundance

I feel a certain pride when talking about directors from Quebec; Xavier Dolan and Denis Villeneuve are a few names that come to mind, but recently my attention has shifted to RKSS (RoadKill SuperStar). The trio, consisting of Anouk Whissel, François Simard and Yoann-Karl Whissel, started off making low-budget horror shorts with their friends, but later gained international recognition for their 2015 feature-length debut Turbo Kid.

Last week, RKSS premiered their second feature Summer of ‘84 at this year’s Sundance Film Festival. Produced by Gunpowder & Sky, Summer of ‘84 is a dark thriller set in an American suburb. Although it’s not fantastical like Turbo Kid, the movie still carries the signature style of RKSS that I’ve come to love. I got a chance to speak to two thirds of RKSS before their final screening at Sundance. Being a huge fan of Turbo Kid, I tried to set aside all my nerd excitement and keep my cool over the phone.

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Chris Aitkens for Nightmare on Film Street: What’s it like returning to the Sundance Film Festival now that you’re more established as directors? Do you feel like rockstars?

Anouk Whissel: Not really, but we feel less like impostors, because we felt like we were out of place the first time, that we wouldn’t belong here.

François Simard: The first time we were a bit more shy. My English wasn’t that great. But we did it! This year, we felt more pressure, mainly because we’re returning with a very different movie than Turbo Kid. We were very nervous with the expectations from people who had loved Turbo Kid. This movie is very grounded, it’s the most serious movie we done so far, so we didn’t know how people would react to it.

NOFS: You had the world premiere on January 22nd, what are some of the things you’ve been hearing back from audience members and critics?

FS: The premiere has been insane, it really surpassed my expectations. So we’re very happy. The fans seem to love it. And we knew that some would love it, some would hate it, but nobody is indifferent. We’re happy about that. We were surprised by some of the critics who were really mean, but we don’t do this for them, we do this for the fans, because we’re fans too.

AW: And we got some nice critics as well, but the crowd is really showing us a lot of love, and they’re staying for the Q&As and we got some super cool questions and they’re hanging out with us after, they really love it, so we’re really thankful.

FS: It was the same with Turbo Kid, you can’t please everyone. It’s part of the game. But so far, we’re so grateful to be here and it’s been a blast. Every screening has been sold out and I think the one tonight (the last screening) is sold out too.

NOFS: From what I read, you got the script before this whole 80s nostalgia craze hit its peak with Stranger Things. How did you come across the script and how long ago was this?

AW: We came across the script in the summer of 2015, it was before we knew Stranger Things was happening. When they released the first poster, we were really bummed out. We thought “Oh no, they did it first!”

FS: And we were working on the project for one year at the time. But we saw that there was an audience for that kind of nostalgia and we got the greenlight soon after, very easily.

AW: Yeah, the popularity of Stranger Things really helped with launching our project. I was refusing to watch it for some time because I was so afraid that they would be too much alike. When I actually watched it, I was surprised because it’s really different. I was happy, I could relax and enjoy it.

FS: The only thing we changed was the reference to Dungeons & Dragons. But the kids are older, they drink, they swear, they only talk about sex, like we did in the 80s. It’s an indie thriller, there’s no supernatural stuff. It’s grounded in reality, which for us, makes it more scary. The tone is very different, so it’s its own entity. We’ve gotten good feedback from fans of Stranger Things, they wanted to see something different and they were grateful for that.

NOFS: I’m curious; did you grow up in the suburbs?

AW: Yeah, we did, actually. That’s why we felt so compelled by the script, because we recognized our friends and we recognized our games. We really felt attached to them because these kids are us.

FS: The only difference was that we were talking French, but it’s pretty much the same suburb, the same life. I would add that the reason this story is set in the 80s, it’s not because it’s trendy, we’re not trying to capitalize on the success of IT or Stranger Things, it’s because in the 80s in the suburbs, feelings of safety started to fade away. There were more abductions.

AW: Yeah, they were talking more about it in the news, so people started being paranoid and locking their doors. In the mid-80s, that shift started to happen. That theme is at the core of the story, that’s why it’s set in the 80s.

NOFS: Being in the suburbs, did your imagination ever run wild because there’s nothing better to do there?

FS: Yeah, we had no internet, no Facebook or social media. We had to hang out outside.

AW: I think everyone has had that weird neighbor who nobody really knows, who usually doesn’t like kids.

FS: Yeah, your dog would bring you a bone and you would think “Oh my god! There’s a body buried somewhere.” And when we read the ending (we won’t spoil it), that’s why we jumped into the project. And we didn’t plan for our second feature to be set in the 80s. It’s really because it’s so hard to have a movie financed so you need to be working on different projects. Turbo Kid 2 is one of them. But we didn’t want to do a sequel right after the first, because then we would have to do the third and the fourth, and we didn’t want to be only known as the Turbo Kid guys. We’re happy to have something different and to explore. That being said, Turbo Kid is our baby and we can’t wait to work on the sequel.

NOFS: Going back to Summer of ‘84, I noticed a lot of 80s references like the punk bands and the kids talking about Gremlins. Did you have to do research to make sure it was as historically accurate as possible or were the references all from memory?

AW: I think at first, it was from memory, but we double-checked everything to make sure there weren’t any references to bands or anything that came after the summer of ‘84.

FS: Even for the cars, we had to check if the cars were made before ‘84. So everything is legit.

NOFS: I really liked the mood of the movie, it’s very haunting and uncertain, you never know what’s going to happen. I feel the mood comes across very well thanks to the soundtrack provided by Le Matos (who also did the soundtrack for Turbo Kid). What’s your relationship with Le Matos?

AW: JP Bernier is one of the members of Le Matos, and he’s one of our best friends and our director of photography as well. We started working with him in 2007, I think. It was a while back, and at that time, he didn’t have his band. He created that band with Jean-Nicholas Leupi later on, and from that moment, they started to score our short films as well. We have a very strong relationship with him. It’s natural for us to bring them on board, and because JP is involved in the early process as a DP, I think the music is so connected to the image.

FS: He’s actually the fourth member of the band (RKSS). We’re so happy to have him. When we were younger, in the early 2000s, we started making shorts and we didn’t know anything about the technical side. We met JP because of Despised Icon (the death metal band from Montreal) and he made music videos for them and I was a huge fan. He saw our shorts and he said the only thing we need is a good DP. Since then, he’s been with us and he’s a good friend and we’ll try to bring him on board for every project.

Photo by David Sidaway of the Montreal Gazette. Notice the NAILS and Full of Hell tuques

NOFS: I noticed the Full of Hell patch on François’ hat and I think I saw Anouk wearing a NAILS hat in another picture. Would you ever consider making a movie with a grind or extreme metal soundtrack?

FS: I would love to, but I don’t know if there’s money for that because extreme music is not for everybody.

AW: If we could find a project that fits, it would be crazy, for sure.

FS: We did a short called Le Bagman back in 2004, and all my favorite bands were in that movie. It’s very DIY, though.

NOFS: When it comes to the three of you acting as directors, have you figured out a system where each person has a separate job, where nobody is stepping on each other’s toes? How do you organize working with three directors?

AW: When we write, we write together and we argue a lot and we fight, but nobody sees it. That’s the only time we fight, behind closed doors. When we’re with our team, we don’t want chaos. We’re very strict with our preparation, we have our storyboards and we show up overprepared. So when we’re on set, we can split. Yoann-Karl is with this actors.

FS: He’s the one with the loudest mouth, so it’s a shame he’s not here.

AW: François edited all our short films. He sticks to the storyboard and he’s with JP the DP, just to make sure we’re not missing any shots for the edit. I’m the head of departments and the overseeing eye to make sure everything is following our vision and that we’re on the right track.

FS: On set, if somebody has a question and they don’t know who to ask, or if there’s a problem, we can take care of it, that’s why we split. Rich Sommer (who plays Officer Wayne Mackey) did test us, just to see if we have the same vision and the same answers. He asked the same question to each of us, without us knowing, but we gave him the same answer.

NOFS: As directors from Quebec, do you ever feel there’s a language barrier when you’re talking to the cast?

AW: Not really. I think it’s been going very well. I don’t think we’ve ever had problems getting people to understand us, even if we don’t have the best words every time, it’s never been a problem.

FS: But like I said, at first I was the one struggling with my English. We spent three weeks in New Zealand for the post-production of Turbo Kid and that really helped. Now I can express myself. But we always have storyboards, so at least we can explain what we want very easily to the whole crew, it’s the best way to go.

NOFS: I know you don’t want to be known as the Turbo Kid guys, but are there any details you can tell me about the next Turbo Kid movie?

FS: It’s at the writing stage right now. We want to work on it more to be sure that it’s the best script ever. I think we owe this to the fans, some have tons of tattoos and fan art and cosplay, so we need to take our time.

AW: What we can say is that it’s going to be a sequel, so we’re going to follow The Kid as he travels through the Wasteland after what happened with Apple.

FS: He wants to know what’s on the other side of the Wasteland and that’s where the story takes place. Like I said, we’ll do it once the script is good and when we have a decent budget to be able to take our time with it. Last time, every day we had to cut and we had to sacrifice. It’s a good thing to learn, but we had to cut on the gore, on the action, on the set pieces and the stunts, and we preserved the love story. I know for the sequel, it needs to be bigger, so we’ll need a much bigger budget.

Summer of ’84 had its world premiere at the 2018 Sundance Film Festival. Keep your eyes peeled for future film festival announcements.

Poster for Summer of ‘84

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brothersezmoving1 · 7 years

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brothersezmoving · 7 years

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These Happy Reviewers Were Able to Move on a Budget

It Can Be Affordable to Hire a Local Moving Company

Here are some ways that we are able to help make moving an affordable experience.

Being Flexible

Staying Competitive

Being Budget-Conscious with Our Time

How do you save money on a move? Let us know in the comments below!

The post These Happy Reviewers Were Able to Move on a Budget appeared first on Brothers EZ Moving.

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larryland · 7 years

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Maestro Brian Garman, Artistic Director and Co-founder of the Berkshire Opera Festival, and Jonathon Loy, General Director and Co-Founder, started off slowly in 2014 and spent the first two years of their collaboration on the infrastructure – paperwork, fundraising, and logistics – for their new company before staging their first production last summer.

And Madama Butterfly was a smashing success, both critically and financially.

Maestro Brian Garman, Artistic Director and Co-founder of the Berkshire Opera Festival.

Poster for the 2017 production.

Jonathon Loy, General Director and Co-founder of the Berkshire Opera Festival

“What’s amazing when you fund raise is you discover that there are people who believe in you even before you have a product to show them,” Loy explained. “We believed in what we were doing, so it was wonderful to discover there were other people who loved what we wanted to do, and they were ready to support us. Even though it’s our job to ask for it, when the check comes across the table it is always a wonderful surprise and a welcome endorsement of our vision.”

“It was easier raising money this year, now that we have a production behind us,” Garman added.

This year BOF Board member Barbara McCullough has made a matching gift challenge, dollar-for-dollar, up to $100,000. “We have until September 1 and are halfway there already, so we very are hopeful,” Loy explained.

Now both in-demand artists with thriving careers, Garman and Loy met 18 years ago when Garman was the principal conductor at the Pittsburgh Opera and Loy interned there while a student at the University of Pittsburgh.

“We realized we had similar tastes in operas and singers, which led us to become friends,” Garman explained. “We discussed starting a project like this, and put together some numbers back then, but nothing came of it until 2014 when we reconnected after I moved back to New York City following an engagement in Seattle.”

“I have been coming to the Berkshires my entire life,” Loy said, recalling an uncle who has lived in Stockbridge for 60 years. “The Berkshires is the most culturally rich place in the country in the summer, and we had everything but opera. So I called Brian and said ‘Let me show you the Berkshires!’”

It was love at first sight, and although Loy and Garman make their permanent homes in New York City, they rent houses for themselves and their cast and staff members in the summer and both agree they would love to buy up here once the company takes off. The BOF rents office space at St. James Place in Great Barrington.

For their second outing Loy and Garman have selected Ariadne aux Naxos by Richard Strauss (1864-1949), with a German libretto by Hugo von Hofmannsthal. BOF will perform the piece in German with English supertitles. Cori Ellison, a former colleague of Garman’s, will give a talk at 6:30 pm before the show on August 26. Performances are scheduled for August 26 & 29 and September 1 at the Colonial Theatre in Pittsfield, MA.

“We knew when we opened with Madama Butterfly our first year that we wouldn’t follow it up with another ‘top ten’ opera,” said Garman, who is once again conducting. “We decided on Ariadne auf Naxos to fulfill our goal and mission of exploring work outside the core repertory. And Ariadne… made good sense programmatically and financially. With an orchestra of only 37 it falls within our budget, it is very funny, and it contains some of Strauss’ most beautiful music.”

While the musicians in the BOF Orchestra come from all over the country, almost half of them are local.

This slideshow requires JavaScript.

Loy is directing. “My vision as a director is to make the story as clear and concise as possible for audience. I’m going to make this as funny as it is heartbreakingly beautiful, with a smile and a tear in the eye,” he explained. “Ariadne… asks the questions ‘What is art? What is high-brow and what is low-brow?’ There are so many layers. The piece is in two parts, called the prologue and the opera. I have set the prologue in the present day, backstage in the theatre. We will have the orchestra on stage and use the actual open stage area at the Colonial, there will be no masking. Then in the second part we transition to ‘opera period’ with traditional costumes so everyone is satisfied.”

“We are lucky to have such a wonderful cast,” Garman beamed. The company had just started rehearsals the day before this interview took place. “When you hire singers you know that they can sing, but you don’t know until the first day how everything will work together. Yesterday was the kind of a first day a conductor dreams of. Our cast surpassed our expectations and Jonathon and I are thrilled!”

(Scroll down to see cast headshots accompanied by Charles Caine’s costume sketches.)

Like last year, the BOF schedule included two recitals. Gods & Monsters took place on August 8 at St. James Place, and Reluctant Revolutionary: Songs of Richard Strauss on August 16 at Ventfort Hall in Lenox. The first included a set of songs commissioned by BOF from the young composer Evan Jay Williams and featured the BOF chorus.

“Ariadne… doesn’t have a chorus,” Garman explained, “So this recital allowed us to show off our ensemble.”

The second recital featured songs by Strauss performed by the cast of Ariadne…

“The recitals are a wonderful introduction for people completely new to opera,” Garman said. “Lots of our supporters who were new to opera last year came to recitals and were converted. And Ariadne… is a great first opera because it is very funny with a timely story set in the present day. People will find so much of the music just breathtaking.”

Loy explained his and Garman’s hopes and plans for the future. “We want to have a full festival with productions as well as other programming. We want to explore the whole operatic repertoire of major works, and have a second stage where we can present lesser known works or new works commissioned just for the BOF. We also envision launching a young artists program, where singers on the brink of their careers will get their own production.”

“But we need to do this very slowly and carefully, as we’ve done all along,” Garman cautioned. That young artists program is maybe five or six years down the line. Right now we plan to continue the current scale of programming, looking towards a tiny bit of expansion in 2019. We are always striving to be fiscally responsible. We’ve seen other companies do too much too soon and it courts disaster.”

Ariadne auf Naxos by Richard Strauss German libretto by Hugo von Hofmannsthal Translation by Cori Ellison Sung in German with projected English translations

Directed by Jonathon Loy Conducted by Brian Garman Saturday, August 26, 2017 at 7:30pm Tuesday, August 29, 2017 at 7:30pm Friday, September 1, 2017 at 7:30pm

Tickets: $98, $63, $38, $20 The Colonial Theatre, 111 South Street in Pittsfield, MA 413-997-4444 https://www.berkshireoperafestival.org/

Berkshire Opera Festival Launches Second Season with “Ariadne auf Naxos” Maestro Brian Garman, Artistic Director and Co-founder of the Berkshire Opera Festival, and Jonathon Loy, General Director and Co-Founder, started off slowly in 2014 and spent the first two years of their collaboration on the infrastructure - paperwork, fundraising, and logistics - for their new company before staging their first production last summer.

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