#Jack Jobst

[hannibalcompendium]

Sorry About Bella: The Silence of the Lambs, Thomas Harris and Hannibal, Episode 304, “Aperitivo,” written by Nick Antosca and Bryan Fuller & Steve Lightfoot, dir. Marc Jobst

[goalhofer]

2021-22 Rochester Americans Players By Nationality

American: 13 (Mitch Eliot, Hayden Hawkey, Michael Houser, Mason Jobst, Ryan MacInnis, Sean Malone, Michael Mersch, Ethan Prow, Mattias Samuelsson, Ryan Scarfo, Jimmy Schuldt, Peter Tischke & Brendan Warren)

Canadian: 6 (Brandon Biro, Brandon Davidson, Aaron Dell, Peyton Krebs, Jack Quinn & Josh Teves)

Finnish: 2 (Oskari Laaksonen & Arttu Ruotsalainen)

Czech: 1 (Matej Pekar)

German: 1 (John-Jason Peterka)

Swedish: 1 (Linus Weissbach)

[jorgerisso1]

HANNIBAL

Serie de TV (2013-2015). 3 temporadas. 39 episodios.

Año: 2013

Pais: Estados Unidos

Dirección: Bryan Fuller (Creador), Michael Rymer, Guillermo Navarro, Vincenzo Natali, David Slade, Tim Hunter, John Dahl, Peter Medak, James Foley, David Semel, Marc Jobst, Adam Kane, Neil Marshall.

Guión: Bryan Fuller, Steve Lightfoot, Scott Nimerfro, Chris Brancato, Andrew Black, Jennifer Schuur, Jeff Vlaming, Jesse Alexander, David Fury, Jim D. Gray, Kai Wu (Novela: Thomas Harris)

Música: Brian Reitzell

Fotografia: Karim Hussain, James Hawkinson

🎬 Las novelas de Thomas Harris les dieron a los guionistas una nueva adaptación para la serie de Hannibal. La historia se centra en el asesino en serie, el psiquiatra y caníbal, el Dr. Hannibal Lecter (Mads Mikkelsen).

Lo que veremos serán los momentos antes de que fuera detenido y por tanto antes de los eventos de la película.

La serie tiene factores exquisitos como la iluminación, la puesta en escena, las magníficas actuaciones de todos sus numerosos personajes, una sucesión de suculentos y maravillosamente elaborados platos que el psiquiatra caníbal prepara para su propio goce y el de sus amigos.

Todo acompañado de una banda Sonora estupenda donde nos deleitaremos con Bach , Mozart,

Vivaldi, Chopin, Stravinsky, y mucho mas....todo ese lenguaje musical ayuda a entender la mente inteligente y a la vez perturbada del personaje protagonista en todo momento, así como los actos que lleva a cabo.

Mads Mikkelsen en la piel de Hannibal Lecter, nos hace estremecer brindandonos la mejor de sus actuaciones.

Quien en su infancia fue un niño sufrido, estudió medicina y ejerció varios años en la guardia del hospital, hoy Lecter es un reconocido y apreciado doctor en psiquiatría, parte de sus conocimientos criminalísticos los vuelca en su ayuda al FBI. Extremadamente elegante, un exquisito chef y con conocimientos musicales y de arte no todo lo que cocina es animal, se entiende no?

Son varios los personajes que pisan fuerte dando calidad a la serie pero voy a enfocarme en dos , Will Graham (Hugh Dancy), quien trabaja para el FBI como analista de asesinatos y especializado en psicópatas, él tiene un poder para analizar los crímenes y su jefe el gran Laurence Fishburne como Jack Crawford un policía

del FBI encargado de la ciencia del comportamiento. Estos dos más Lecter unirán fuerzas para atrapar a los asesinos en serie.

Pero porque es tan buena esta serie?

Es que tiene muchos facetas como fotografia, actuaciones, un guión genial y que al unirlas logran la excelencia.

La primer temporada nos introduce en la mente de cada personaje , las escenas y los diálogos son exquisitos, se disfruta del sillón tanto del psiquiatra Lecter como del paciente su perturbado amigo policía Will. La mesa de los forences es un manjar visual y de descubrimientos.

Los crímenes son a la vez elaborados y verdaderas obras de arte. El trabajo que nos va mostrando los asesinatos que se suceden están estudiados por el personaje al milímetro y jamás cometiendo un error. Las dudas que nos presenta el guión se mantienen hasta el último y excelente episodio. Y la comida plagada de manjares elaborados sólo por el maestro al que sus comensales halagan.

La segunda temporada es horrenda y no apta para estómagos y mentes flojas, hay escenas bastantes desagradables y explícitas que pudieran alterar la sensibilidad. Cada crimen sera despiadado, el

doctor tendrá seguidores, admiradores que trataran de imitarlo, se van desvelando las dudas de quien o quienes están detrás del horror, crecen los personajes y las actuaciones son sublimes, el final es apocalíptico, enorme, deslumbrante.

Pasamos a la última tercer temporada, la mas floja y menos creíble pero conservando las buenas actuaciones y parte del misterio. El dragón rojo será el protagonista principal.

En 2015, NBC tomaría la decisión de cancelar “Hannibal” debido a las bajas audiencias que se habían presentado en su último año de emisión, es que ya no será lo mismo, demasiadas incongruencias.

En el balance general nos quedamos con una de las mejores series en donde el drama, el thriller psicológico, los horrores de los fallos humanos y las pasiones nos atrapan a lo largo de sus 39 episodios y nos dejan pensando; seremos tan sabrosos si nos cocina Lecter.

⭐ Muy Buena

Reparto

Mads Mikkelsen, Hugh Dancy, Laurence FishburneLaurence Fishburne, Caroline Dhavernas, Kacey Rohl, Lara Jean Chorostecki, Hettienne Park, Aaron Abrams, Dan Fogler, Eddie Izzard, Gillian Anderson, Gina Torres, Anna Chlumsky, Raúl Esparza, Scott Thompson, Vladimir Jon Cubrt, Mark Rendall, Torianna Lee, Ellen Muth, Demore Barnes, Lance Henriksen, Chelan Simmons, Michael Pitt, Cynthia Nixon, Katharine Isabelle, Jonathan Tucker, Chris Diamantopoulos, Jeremy Davies, Richard Armitage, Zachary Quinto, Tao Okamoto

Análisis, crítica, sinopsis y post realizadas por Jorge Domingo Risso.

#amantesdelcinedejorgedomingorisso

[hcbraziliansfans]

Eu queria estar lá! Ver de perto tudo acontecendo! ... #Repost @witcherflix ・・・ Another busy day... 😄 Showrunner @laurenhissrich paid the subreddit r/netflixwitcher another visit! She posted awesome pics from the set at Ogrodzieniec Castle in Poland. We see a whole gang of mages and sorceresses surrounding director Marc Jobst. . Who can we see on pic 1? Let's start with the sorceresses (from left to right): Yennefer (Anya Chalotra), Sabrina Glevissig (Therica Wilson-Read), Coral (Rhianna McGreevy), Tissaia de Vries (MyAnna Buring, only the top of the head), Triss Merigold (Anna Shaffer) and Vanielle of Brugge (Judit Fekete). The mages (from left to right): Jack Bandeira (young alderman), Jim Caesar (unknown mage) and Vilgefortz (Mahesh Jadu). . Picture 2: Jim Caesar, Mahesh Jadu, Therica Wilson-Read, Anna Shaffer, Lauren Hissrich, Anya Chalotra, MyAnna Buring, Jack Bandeira, Rhianna McGreevy. . #thewitcher #witcher #netflix #hexer #thewitchernetflix #gwent #Ведьмак #wiedzmin #gaming #heartsofstone #geralt #geraltofrivia #cirilla #bloodandwine #ciri #polish #yenneferofvengerberg #sapkowski #henrycavill #anyachalotra #kaermorhen #henrycavill #cdprojekt #netflixwitcher https://www.instagram.com/p/B5LofxYBDui/?igshid=lo33i6gdpviz

[fathersonholygore]

Tin Star - Season 1, Episode 4: "Jack"

Tin Star – Season 1, Episode 4: “Jack”

Sky Atlantic’s Tin Star Season 1, Episode 4: “Jack” Directed by Marc Jobst Written by Rowan Joffe * For a recap & review of the previous episode, “Comfort of Strangers” – click here * For a recap & review of the next episode, “Bait” – click here North Stream Oil is pumping out commercials, priming the town and everybody else for…

[930club]

ALBUM REVIEW: GoldLink - At What Cost

GoldLink is unafraid of tackling the popular approaches of contemporary popular music and turning them on their head to put together At What Cost. The hometown star echoes the voice of a city that has a deep history in musical and cultural development, but as of recent has been left in the shadows. He is able to take his unique flow and melodies to a whole new level by running them through different iterations of tonality, cadence, and lyrical content. As Einstein once famously said, “The definition of insanity is doing the same thing over and over and expecting different results.” Every track is GoldLink expanding his artistic expression by working with artists of many different genres in a calculated fashion. It’s almost as if he’s making a hit for a lover from most, if not all, popular genres of music with the simple motive of getting the listener to groove. Taking a step back from the hip-hop/pop standard of 808 drums, GoldLink pulls influence from the sophisticated syncopation of Go-Go music into the digital era of music production. It is clear how important of an influence Go-Go music was on this record, in a way that GoldLink pushes the sound of the city, as well as brings it back to cultural relevance. My intention for this review is to highlight the important songs that build an ethos through the culture of Washington, D.C. and the current state of the city’s music scene.

The record opens up with a dystopian soundscape reminiscent of the familiar sounds of D.C.’s metro, chopped up samples from what sounds like a Go-Go show, and other eerie industrial tones. It feels like a palate cleanser preparing the listener for something different; a change of pace in the District. Whether it’s politically or culturally, GoldLink is trying to say things are changing and he’s helping us see and embrace that change.

Ciscero - local D.C. rap artist previously featured on hit singles of GoldLink’s – gets the opening words of the record. GoldLink is strategic in who he uses for features, which shows how attentive he is to the local scene and builds his credibility of being a tastemaker for the future artists of the city. This seems to be his intention by having Ciscero open up the record on “Same Clothes As Yesterday.” As much as GoldLink references Go-Go music and other famous D.C. styles, jazz is something he subtly slips in. Get your charts out and get to transcribing these far from modal changes. It is bold to build a melody like GoldLink does with confidence over this track, really laying back into the pocket, but picking just the right notes with which to familiarize the listener to a western melody over some chromatic changes. GoldLink has always been one to develop strong melodies in his songwriting and truly hones in on this skill in the first two proper tracks of this record.  

It’s clear GoldLink spent some time learning from the legends of D.C. to build this record, and first is infamous D.C. Grammy nominated producer Kokayi. This brings the listener back to a dancehall vibe that’s almost irresistible. From the disco strings that are sampled to Kokayi acting as an emcee, it’s clear we’re in the Go-Go. To my surprise, there is no sign of GoldLink on the track, instead standing as just a pure dance track. This adds to the theme of capturing Go-Go culture sonically for the whole world to hear. Kaytranada pushes the sounds of Go-Go into a futuristic context in “Mediation” - one of the big singles to emerge from this record. It’s funny how GoldLink connected with Kaytranada, originally stealing one of his beats from SoundCloud for his own. Of course there was beef, but it turned into a connection for collaboration. Jazmine Sullivan, famous R&B singer who broke out with the single “Need U Bad” produced by the one and only Missy Elliott, is featured on the track as well. GoldLink did his fair share of D.C. R&B research, as he featured D.C. raised, Grammy award-winning singer Mýa, who gained critical acclaim in the early 2000s, on “Roll Call.” I digress, but the club beat is the foundation that GoldLink uses to build an archetype of women in the DMV, from his own perspective, through the lens of a prior lady with whom he was involved. The two meet at the Go-Go, but find out they’re from rival neighborhoods, spurring a fight that breaks out and someone pulls out heat, an oftentimes relatable circumstance for true District locals. More importantly, it paints a picture of the social aspects of D.C.

Track six comes as a trap-influenced surprise, featuring a newly-emerging trio out of Ireland, Hare Squead, who capture the movements of Northern Soul (infamous in Ireland in the ‘60s) and contemporary hip-hop to create their very own sound. “Herside Story” was a breakout single for the trio and was released before GoldLink presented it on this record. It takes the essence of a lot of trap music, but puts a light touch to it as opposed the heavy, hard, and aggressive iteration with which we are familiar. A strong auto-tuned melody carries through the song, weaving together GoldLink’s verse about a love-interest who’s likely from the west coast, as evidenced by the lyric “when the sun don’t shine on the west side.” D.C. isn’t necessarily known for it’s trap music, but GoldLink sees this as an opportunity to create his own take on it, achieving a sound that’s unfamiliar, yet recognizable in the context of popular music.

What is an important hip-hop record from D.C. without a feature from Wale? “Summatime” stands as almost an ode to GoldLink’s time in California, which he references in his single “Rough Soul” as the spot he went to decompress from his international tour. Referencing the Gold Rush, which is both a play on words with the D.C. MC’s stage name and the California Gold Rush, he indicates why he went to California in the first place. The irony is the mutual love for California between Wale and GoldLink, almost as a honeymoon paradise that is “a second home.” It is interesting to think that two of the biggest names out of D.C. in recent years created a hit single that is all about their second home. Personally, I see many artists emerge in the city, then quickly departing to live in larger musical hubs. These artists will always be rooted in D.C. and call it home, but many stray away from uplifting the city with them. I’d like to think this is part of the point that GoldLink is making about D.C., clearly utilizing rising artists as well as D.C. legends to unite the city musically with At What Cost.

GoldLink takes an experimental turn on “The Parable of a Rich Man,” featuring April George, an up-and-coming artist in D.C. best known for her work with mattVISTA in their genre-bending project, April + Vista. This song, arguably his most creative on the record, takes harsh tones and puts a groove to it. GoldLink tells a story of a previous love-interest, whom he portrays as Lucifer (“Lucy”), who has returned to collect what she provided for him when he was struggling. It’s a story of mistrust and blackmail, putting GoldLink in a pickle as far as relationships, stuck in confusion muddled by young love as well as his recent fame and fortune. The song cuts out into an existential anthem, fading out with sounds of the metro arriving:

“In this world mother, no one can love me In this world they do not know how to love me In this world mother, no one can love me In this world they do not know how to love me Where is that pure loving love Where is that truly loving me Where is that pure loving love Where is that truly loving me Their white song longs to me Their white song longs to me”

“Crew,” the standout hit of this record, originally released as a single, ties heavily to R&B as well as trap, which is a stretch, but let me explain. The world loves self-conscious and timid melodies that much of the trap world has created as a genre standard, though much of this song has more of a dance vibe. GoldLink pairs up with two rising D.C. rappers, Brent Faiyaz and Shy Glizzy, to put together this track. XXL commented on the track, saying, “perfectly blend[ing] each artist's’ unique styles into one awesome party record.”

At What Cost is a record for D.C. and for those who have missed out on what is happening in a city experimenting with new sounds and textures. This record is representative of D.C. taking an important step in the right direction of becoming a musically relevant city that is progressing a sound that could one day influence national acts. It has been a long time coming, with punk and Go-Go being the most recent highlighted movements within D.C. We are on the brink of the city getting the attention it deserves, and it’s GoldLink who’s leading the charge.

-Jack Jobst

[goalhofer]

2021-22 Rochester Americans Roster

Wingers

#10 Brandon Biro (Sherwood Park, Alberta)

#13 Linus Weissbach (Göteborg, Sweden)

#22 Jack Quinn (Whitewater Township, Ontario)

#23 Lukas Craggs (Elmhurst, Illinois)

#28 Michael Mersch (Park Ridge, Illinois) C

#45 Brendan Warren (Ash Township, Michigan)

#77 John-Jason Peterka (Munich, Germany)

Centers

#12 Matej Pekar (Turnov, Czech Republic)

#14 Mark Jankowski (Hamilton, Ontario)

#17 Sean Malone (Buffalo, New York)

#19 Peyton Krebs (Okotoks, Alberta)

#26 Mason Jobst (Zionsville, Indiana)

#72 Ryan MacInnis (St. Louis, Missouri)

#91 Ryan Scarfo (Chelmsford, Massachusetts)

Defensemen

#2 Oskari Laaksonen (Tampere, Finland)

#4 Jimmy Schuldt (Minnetonka, Minnesota)

#5 Casey Fitzgerald (North Reading, Massachusetts) A

#7 Ethan Prow (Sauk Rapids, Minnesota)

#24 Mattias Samuelsson (Voorhees Township, New Jersey)

#44 Josh Teves (Calgary, Alberta)

#52 Mitch Eliot (Detroit, Michigan)

#88 Brandon Davidson (Lethbridge, Alberta) A

Goalies

#1 Ukko-Pekka Luukkonen (Espoo, Finland)

#80 Aaron Dell (Airdrie, Alberta)

[spryfilm]

“Tin Star” (2017)

Drama

10 Episodes

Produced & Created by: Rowan Joffe

Featuring: Tim Roth, Christina Hendricks, Leanne Best, Christopher Heyerdahl, Roark Critchlow

Episodes:

Fun and (S)Laughter

Directed by: Rowan Joffe; Cinematographer: Dale McCready

The Kid

Directed by: Marc Jobst; Cinematographer: Paul Sarossy

Comfort of Strangers

Directed by: Alice Troughton; Cinematographer: Dale McCready 

Jack

Directed by: Marc Jobst; Cinematographer: Paul Sarossy 

Bait

Directed by: Alice Troughton; Cinematographer: Dale McCready 

Exposure

Directed by: Grant Harvey; Cinematographer: Paul Sarossy

Exposure

Directed by: Giles Bannier; Cinematographer: Dale McCready

This be the Verse

Directed by: Grant Harvey; Cinematographer: Dale McCready 

Fortunate Boy

Directed by: Craig Viveiros; Cinematographer: Dale McCready

My Love is Vengeance

Directed by: Giles Bannier; Cinematographer: Dale McCready

There is a popular term being used at the moment, that this is the ‘Golden Age’ of television, which is a ridiculous thing to say, as that age was in the 1950s, when the idea of what television could be started to take shape. That was when some of the most original and cutting edge television was made, watching some of those programs can be very refreshing. There is also the attitude that we are in the best time of television where writers are the kings of the medium – this might be truer, but it is not a new idea. One thiing is for sure, there are more scripted shows than ever with a few of them being great, a larger number being very good, but a large amount being a complete waste of time. The trick is of course knowing which ones to start viewing as well as when to give up or stay with them. The beauty is that many of these series are only normally up to ten episodes so its not a long term commitment if they do not follow through on their initial promise.

That brings us to the latest drama featuring Tim Roth in the main role as an English police officer who has been transplanted to the Canadian Rockies, something that is already an original idea. Couple that with the opening ten minutes of the first episode, this is a show that digs its hooks into you and will not let go for its first season.

There is little real need to explain a plot with this show as it would remove any mystery or drama as this is show that really shouldn’t be spoiled at all.

“Tin Star” is based around former London police detective Jim Worth is the new police chief of Little Big Bear, a small town in the Canadian Rockies, where he has moved with his family to escape his past. The influx of migrant workers because of a new big oil company, headed by the mysterious Mrs. Bradshaw, forces Worth to confront the resulting wave of crime that threatens the town. Worth’s stand against the criminals results in vigilante groups attacking him and his family, leading Worth to slip into the violence of his past.

Many modern police dramas, particularly those on pay sites or cable channels will touch on family matters as well as any home life – this is mainly to broaden the main character’s appeal, as well as give depth to his life, making him three dimensional. The show may even create some kind of drama at home, making this an integral part of the plot. What “Tin Star” has done is to integrate the home and work life, making them interwined in a very natural way that causes almost all of the players to, at some time, interact with everyone else. It also negates the reason for the main character to have some kind of double life separating his work and home. This also means he can be as honest as he can be with the people most important in his life – this is something many stories will not do. Honesty in a television drama is something that is normally not used as a narrative device, in fact what this main character finds is that honesty is all he has left after the first few episodes. This is a person that has made some mistakes as well as lied to many people, this show illustrated in a stylised way what can happen when the chickens come home to roost.

“Tin Star” involves many different genres, it is political, it is definitely nourish, has action, involves minorities and uses its landscape as a fully fledged element that is rarely seen in this kind of show. What it doesn’t do, which many many shows do, is make the actual story a ‘slow burn’, the narrative moves along at a surprising pace. I found this refreshing, not only did it keep me interested but it also helped to maintain the point of the story – which I can say is very good. The main part of the story is completely resolved by the end of the last episode, as well as many of the subplots are fully explained. What is done, however, is that if there was a second season (which I believe there is) there is enough in the closing minutes to continue some kind of story – which is pretty fantastic.

The casting of the show, in part due to the nature of the transplanting of an English family to Canada is just great, and it may be in part due to the juxtaposition of many English accents around so many Canadian, as well as Native American, accents that seems to keep the show fresh each episode. With Tim Roth in the lead as the Sheriff you get immediate legitimacy as well as an actor that knows his craft, can play many different emotions as well as someone who is extremely physical both being able to inhabit a space specifically as well as not being afraid to really commit to a part in a unique way. The cast is expansive but I loved seeing Christina Hendricks playing someone who is more than the she seems, particularly in the first few episodes. In fact she has such a good story arc that I hope she returns at some point for any subsequent seasons. Lastly, there is the Canadian charater actor Christopher Heyerdahl, who genre fans will know from his years of work on many different science fiction and horror shows, here he plays a man who has secrets that are revealed slowy and as such subtle changes in performance is required, Heyerdahl is more than capable of showing us these.

Rowan Joffe the creator of “Tin Star” is an experienced writer/director, who has worked with many top talents as well as being behind some pretty good movies. He has created a show that is compelling, as well as fitting in with his previous work. His work often involves people that have become isolated for a variety of reasons, that incorporate a variety of genres, which is unique in itself. This is probably why “Tin Star” has been such a success in terms of the finished show – he has also used the location as well as showing how this landscape affects the characters as well as the motivations behind some of the arrivals to the town. Some of the same themes that are presened here are also in the new film “Wind River” (2017) to a lesser or greater extent – I am sure that is a coincidence.

I recommend this show highly, it is ten episodes of well written, directed and acted drama you will see this year. There are top performances, especially from Roth who shines here in a role that seems like it was written for him, but that’s just how good an actor he is. Seek this out now.

Streaming review: “Tin Star” (2017) “Tin Star” (2017) Drama 10 Episodes Produced & Created by: Rowan Joffe Featuring: Tim Roth, Christina Hendricks, Leanne Best, Christopher Heyerdahl, Roark Critchlow…