#OCHOA DANIEL | Explore Tumblr Posts and Blogs

callmebrycelee · 6 months

Text

9-1-1 REACTION

This reaction is for the season 7, second episode “Rock the Boat” which originally aired March 21, 2024. The episode was written by Lyndsey Beaulieu and Juan Carlos Coto and directed by executive producer and Glee and American Horror Story director Bradley Buecker. Spoilers ahead!

“Stay calm and nobody will be hurt.” – Boris, the pirate

We begin the episode by picking up where we left off. Bobby, Athena, and Norman Peterson (played by Daniel Roebuck) are taken hostage along with Captain Ochoa (played by Mercedes Colon). We learn the reason the pirates have come aboard is because the ship has been turned around due to the approaching tropical storm. The lead pirate, Boris (played by Nikita Bogolyubov), asks Norman to hand over the dongle in exchange for Lola (played by Romy Rosemont). Another pirate walks over with a bound and gagged Lola. Norman insists he doesn’t have the dongle and Boris gives him to the count of three to turn it over. Bobby and Athena intervene on Norman’s behalf and for a moment Boris accuses them of having the dongle. He tells them that he’s only messing with them and then he shoots Norman.

Cue title card.

Bobby goes to assist Norman while Athena tries to talk Boris down. Athena deduces that Lola is having an affair with the cruise director, Julian (Rick Cosnett). She explains that when Norman called Julian over to their table a few nights ago, she noticed Lola wouldn’t look him in the eye. Turns out, Julian is the one with the dongle and after he gets roughed up a bit, he turns it over along with the password. Norman is heartbroken by all of this and asks to die. Boris and the other pirates flee the ship now that they have what they need and Athena escorts Lola away. Bobby carries Norman to a nearby casino and places him on a craps table so he can access his injuries. The ship’s doctor (played by Eddie Jemison) is brought over but he immediately gets nauseous upon seeing Norman’s gunshot wound. Athena tells him to go help Julian who only has minor injuries. Athena asks her husband what he needs. Bobby tells her he needs his team.

“Why is that drunks always come out of these things without a scratch?” – Hen Wilson

The 118 are called to the scene of an accident involving a young girl and her mother. Lexi (played by Jadah Marie) and her mother are trapped in a car after being struck by another vehicle. While Eddie accesses the mother’s injuries, Chimney goes to talk to the other driver involved in the collision. The driver (played by Ricky Martinez) refuses to be checked out and gets rough with Chimney. Hen comes over and asks the driver if he is refusing care. The driver says, he does not consent to being checked out. Hen asks Officer Williams (played by Chris Wu) to detain the driver. Chimney tells Hen that they should still evaluate the guy but Hen says ‘no’.

Lexi and her mother are safely extracted from the vehicle and loaded into an ambulance. Officer Williams calls out to Hen; the other driver has stopped breathing. Chimney checks his pulse but there isn’t one, so he immediately starts with compressions. Officer Williams says one moment the guy was fine and then he started speaking gibberish. Then he collapsed. Hen switches places with Hen and asks Buck and Eddie to call for another ambulance and also call the hospital to have a neurologist standing by.

“Better than finding out your wife of 36 years, the mother of your only child is an international smuggler … and a strumpet?” – Norman Peterson

We head back over to the cruise ship where Athena and Bobby have transformed into their first responder alter egos. Bobby tends to Norman. The latter is still coming to terms with his wife of 36 years and the mother of their only child is an international smuggler. He tells Bobby that he and Lola got rid of their home and sold all their possessions at a yard sale. They only made $2800. $2800 for 36 of memories. Norman asks Bobby how long he and Athena have been married. Bobby tells him they’ve been married for four years and that it’s the second marriage for the both of them. Norman asks Bobby if he’s happy and Bobby, without hesitation, says ‘yes’. Meanwhile, Lola asks Athena if she can be by Norman’s side, but Athena asks her if she really thinks Norman wants to see her right now. Athena goes to Bobby and asks him how Norman is doing. Bobby tells her Norman is stable but needs a surgeon. Bobby suggests contacting the Coast Guard so that Norman can be airlifted to safety. Athena and Bobby go to find Captain Ochoa but as leave, Athena notices Julian is gone.

“His name was Kyle Ortiz. His mother is Olivia Ortiz.” – Chief Simpson

Back in Los Angeles, Hen is dropped off at the 118 where Chimney and the others are waiting. She tells Chimney that the belligerent driver was pronounced dead at the hospital. Hen is shocked to discover the LAFD Professional Services Division is at the station taking statements. Chief Simpson (played by Richard Brooks) asks to speak with Hen. He tells her that the guy who died is Kyle Ortiz – the son of Councilwoman Olivia Ortiz. Hen insists that Kyle was showing signs of impairment, but Chief Simpson reminds her they won’t know for sure until his toxicology report comes back. Hen reminds the chief that Kyle refused care and that she followed protocol. Chief Simpson tells Hen she is removed from active duty until they get the toxicology report back. He tells her to go home.

“She went after the snake.” – Lola Peterson

Bobby goes to Captain Ochoa to ask her about contacting the Coast Guard. Captain Ochoa tells him that the pirates sabotaged all of the com systems and the transponder. She lets him know she is headed below deck to check on the engines. She tells Bobby that Mr. Peterson is still his patient and to let her know if his condition changes.

Bobby goes back to the casino to check on Norman. He asks Dr. Gibson about his condition. Dr. Gibson tells him that Norman is in and out of consciousness and his vitals are weak. Security Officer Wes (played by Denzel Johnson) brings Lola over to Norman. Bobby asks the officer where Athena is. Meanwhile, Athena locates Julian and knocks him out with a fire extinguisher. She asks him what his plan is. Julian tells her he was planning on staging his death. Athena uses some zip-ties to cuff him.

Captain Ochoa finds Chief Communication Engineer Scott Westin (played by Nate Riley) trying to get everything back online. They think he’s successful until Scott finds a long yellow cord attached to a hatch. He opens the hatch which detonates a bomb. The blast takes out the lower half the ship causing it to capsize.

“Well, they can’t fire you for one bad call.” – Evan “Buck” Buckley

Hen tells the others about her suspension. Eddie asks what happens if the toxicology report comes back showing Kyle Ortiz wasn’t under the influence. Hen tells him she doesn’t know but Councilwoman Ortiz is looking for someone to blame for her son dying. Buck says they can’t fire her for one bad call. Hen asks him if anyone has said it was bad call. Buck, of course, starts babbling and back-pedaling. Hen asks him if he thinks she made a bad call. He tells her know and says he and Eddie really didn’t see anything since they were tending to the young woman and her mother in the other car. Eddie says that he and the others all thought the guy was drunk, too. Hen says that he was and that she can smell it. She says Chimney could smell Kyle as well. Chimney says he didn’t smell anything. Hen finds this surprising considering he was the one closest to Kyle. Chimney asks her if she wanted him to lie. Hen is extremely offended by him asking this. He tells her that if the roles were reversed he and the others would’ve made the same call. Hen says, if the roles were reversed, she would have their backs and that she wouldn’t have to lie to do it.

“You just got a little more redder than white collar.” – Athena Grant

Back on the ship, the lights are flickering, sirens are going off, and the lower deck is taking on water. Athena and Julian try to find a way back to the others. Bobby checks Norman to access for further damage. A general muster call goes out over the ship’s intercom system asking for all passengers to go to their pre-designated muster stations. A passenger named Jarod (played by Christopher Livingston) asks if they need to abandon ship. The ship’s doctor says not necessarily; it’s just a general muster. Jarod says he is not getting in a lifeboat without all of his casino winnings. He threatens to sue the cruise line. Lola asks what they should do. Bobby says they will need to wait on an order to abandon ship. He tells Lola to stay with her husband and when she asks where he’s going, he tells her he’s going to find his wife.

Down in the lower deck, Athena and Julian find Scott Westin dead and Captain Ochoa trapped under some debris. Athena cuts Julian’s ties so he can help her lift the debris off the captain. The captain’s arm is broken, and she has some broken ribs. Captain Ochoa radios to First Mate Kenneth (played by Anthony Carvello) and tells him that the pirates have hobbled the ship. She tells him the ship is taking on water. Kenneth tells her that a general muster has been called. Captain Ochoa gives him the order to abandon ship. He warns her about the storm, but she tells him things are only going to get worst. In order to deploy the lifeboats, someone will need to activate the bilge pump. Athena volunteers to complete the task under the condition that Julian gets the captain back to the top part of the ship.

“They did not betray you. They were just trying to make you feel better about the situation.” – Karen Wilson

Over at the Wilsons’ residence, Hen is venting to Karen about her suspicion and Chimney, Buck, and Eddie’s betrayal. Always the level-headed one, Karen assures her the guys were only trying to comfort her. Hen says that they were only trying to comfort her because they believe she made a bad call. Hen admits she screwed up. She tells Karen that when she looked at Kyle Ortiz, all she saw was an entitled brat. Karen reminds her that she didn’t kill Kyle. Hen tells her she didn’t save him either. Karen implores her to let this matter go. Hen gets up and goes to call Athena. She gets the voicemail which prompts her to call Bobby. She gets Bobby’s voicemail as well. Hen starts to get concerned but Karen reminds her there is a tropical storm off the coast of Baja which has been upgraded to a hurricane and is currently heading back out to sea. This does not quell Hen’s concern; however, Karen tells her everything will be fine because ships like the one Bobby and Athena are on are built to sustain anything, even a hurricane.

“Of course she is.” – Bobby Nash

Bobby runs into Security Officer Wes who is busy helping passengers get onto lifeboats. He tells Bobby that once he’s finished, he will help him get Norman ready for transport. Bobby asks him if he’s seen Athena and Wes says he thought she was still in the casino. They try to find her via her passenger medallion, but they are unable to locate her. Bobby asks Wes where the explosion happened, and Wes tells him the engineering room on portside. Just as Bobby is about to leave, Captain Ochoa and Julian make it back. The captain tells Bobby that Athena saved her. When he asks her where Athena is, Julian says that she is saving the ship.

“Did you lose a boat?” – Maddie Buckley

Hen goes to see Maddie at the dispatch center, and it occurred to me that we rarely get scenes between these two characters. Hen asks Maddie to contact the Coast Guard. Maddie jokingly asks her if she lost a boat and Hen tells her that she cannot locate Bobby and Athena’s cruise ship. She shows Maddie a map with every ship that’s currently on the water off the coast of California. Bobby and Athena’s ship is not showing up on the map. Hen tells Maddie she has tried to call Athena and Bobby, but her calls are going straight to voicemail. Maddie says she will make a call.

Athena makes it to the room where the bilge pump is located. She tries to open the hatch but isn’t strong enough. Bobby makes it to her and helps her open the door. The two of them go inside but the door slams shut behind him. Now the two of them are trapped inside and the room is rapidly filling with water.

“Sometimes when people do the kinds of jobs you do, they understand the urgency of now. Of not waiting.” – Frank, the therapist

We flashback to two weeks before the cruise. We see Bobby in a session with everyone’s favorite therapist, Frank (played by Eddie McGee). Bobby is feeling the weight of their upcoming cruise and wonders if he and Athena had their honeymoon after they were married that maybe things wouldn’t seem so consequential. He admits that when he asked Athena to marry him, she was in a vulnerable place. They both were. Bobby was widowed and Athena was newly divorced. He and Athena had only been together a few months before he proposed to her. Bobby tells Frank that he didn’t give Athena a chance to say ‘no’. Frank tells Bobby that he’s afraid that if they go on the cruise, it’ll give Athena the chance to tell him ‘no’. His advice to Bobby is to go on the cruise and enjoy spending time with his wife.

“I don’t deserve you, Athena. I never did.” – Bobby Nash

Back on the ship, Bobby is trying to get the door open. He starts to call for help, but Athena tells him that no one is going to hear them because everyone is getting onto lifeboats. The reality of their situation starts to settle in, and Bobby apologizes to Athena. He tells her she wouldn’t even be here, trapped, if it weren’t for him dragging her on the cruise. He tells her he doesn’t deserve her but for some reason she said yes. Athena tells him she would say ‘yes’ again. He tells her that he couldn’t even save his first family and he can’t save her either. Athena tells him he’s already saved her. She reminds him that he’s not the only one getting a second chance. She tells him that she’s there with him because she wants to be. She admits that she was afraid that she wouldn’t know how to be with him without all the noise. She was worried that when they were alone, they wouldn’t have anything to talk about. But now, with time running out for the both of them, she has lots to say. Athena says I love you, Husband and Bobby says I love you, my wife. They kiss as the water wises. Bobby tells Athena to grab the pole over their heads while he goes under water to hold her up. Athena screams for him. Just as the water rises up to their necks, the door opens. Turns out Julian isn’t all that bad of a guy.

“Captain Wilson, our job is to protect the people of Los Angeles.” – Chief Simpson

Back at the dispatch center, Hen runs into Chief Simpson. He tells her that she can go back to work. He tells her that Kyle Ortiz’s toxicology report came back showing he was twice over the legal limit and had meth in his system. He says that Hen acted professionally. The 118 will be turned back over to her. Hen tells Chief Simpson she is looking for Captain Nash and his wife. She tells him that their cruise ship is missing. He asks if there was an SOS from the ship. She says ‘no’ but they need to utilize all resources to find them. Chief Simpson reminds her that they are not the Coast Guard and that the LAFD has no jurisdiction over the waters off of Mexico. He tells her to report back to the 118 as captain. After he leaves, Hen asks Maddie for the number for 9-1-1 in Mexico.

Julian leads Bobby and Athena back to the top deck, He tells them that almost everyone has been placed onto a lifeboat. Only a handful of them are still on the ship.

“That can’t be a coincidence.” – Hen Wilson

Maddie reaches out to 9-1-1 in Mexico. She learns that around ten that morning, more than two dozen 9-1-1 calls came into coastal emergency call centers in central Mexico. All of the calls dropped. Hen says that’s around the same time Bobby and Athena’s ship went off the radar. Hen gets up to leave right as Maddie gets a call from Chimney. Hen asks her not to answer it until she’s out of the building because she doesn’t feel like being second-guessed right now.

“He wouldn’t leave without you.” – Julian Enes

Julian, Bobby, and Athena make it back to the top deck where Captain Ochoa, Norman, Lola, Security Officer Wes, Dr. Gibson, and Jarod are waiting. Bobby is shocked that Norman hasn’t been evacuated but he is told that Norman wouldn’t leave without him and Athena. Captain Ochoa reports that First Mate Kenneth is trying to send a distress call via SOS. We then see Kenneth using a light to send out a message. He goes outside the cabin and sees a huge wave approaching them. He sets off an alarm. Back on the top deck, Bobby yells for everyone to brace themselves for the oncoming wave. When the wave hits, we see the ship flip upside down and just like the movie Poseidon Adventure, we see everyone slide across the floor. Athena holds onto a table. Jarod falls onto the glass ceiling but thankfully it doesn’t shatter. Oh, shit!!!!

Oh man! Oh man! Oh man! Let me just say, I have never been this riveted by an episode of 9-1-1 and that’s saying a lot considering I have seen episodes where the 118 face off against 7.8 earthquakes, mudslides, tsunamis, city-wide blackouts, and Maddie’s husband. We still have one more episode to go before we see this story play out, but something tells me this season opener is going to go down as one of the best of the series. I loved both stories equally this episode. I sympathized with Hen as she second-guessed her actions during the emergency call. I also felt bad for Chimney, Buck, and Eddie who didn’t mean any harm but who could’ve chosen their words more carefully. I’m happy that Hen was vindicated in her actions as captain of the 118 but I do think she’s learned a valuable lesson about leadership and not judging so harshly. Kudos to Karen for being a supportive partner who was able to comfort Hen without simultaneously feeding into her frustrations. I do worry that Hen’s job will be put into jeopardy in the next episode when she ultimately defies orders from Chief Simpson and goes to look for Bobby and Athena. I actually worry about everyone else, too, because if I know my boys, I think Chimney, Buck, and Eddie are going to help her out.

As for the drama playing out on the ship, I really felt bad for Norman Peterson. When we met him several seasons ago, he was a husband who simply wasn’t paying attention to his wife’s needs. When this was brought to his attention, it seemed he did everything to make his marriage better. I hate that Lola cheated on him and which ultimately put his life in danger. I do wonder if their relationship will survive this catastrophe. I wonder if they will survive, period. Speaking of survival, last episode I was really worried about the state of Bobby and Athena’s marriage; however, after this episode, I feel confident these two are in it for the long haul. Yes, they thrive when it comes to chaos, but I think they will now be able to appreciate each other in those moments of calm. I will say, even though I knew coming into this episode that Bobby and Athena were going to survive, it didn’t stop me from tearing up during the scene where they told each other they loved each other right as the water was rising. This will go down as one of my favorite scenes of the show.

Next week is the conclusion to the cruise ship story and I’m counting the minutes until we get to see what happens next. 9-1-1 airs on Thursdays but I won’t get to see the episode until Friday. I’m extra excited about this Friday because it’s the same day that Cowboy Carter drops. So, hopefully I not only get an amazing Beyoncé album, I also get an amazing episode of 9-1-1. Until next time ..

#abc 911 #911 abc #athena grant #hen wilson #bobby nash #howard chimney han #eddie diaz #maddie buckley #evan buck buckely #tv reaction #blw reaction #911 7x02 #blw reactions #911 reactions #tv reactions 2024

6 notes · View notes

paulinawoodpecker · 9 months

Text

Tad the lost explorer and the crystal’s odyssey cast

@jakkiisthatboy2

Main Voices:

Tad: Trevor white

Sara: Alex Kelly

Mummy: Joseph Balderrama

Tiffany maze: Gemma whelan

Ramona: Pippa Bennett Warner

Victoria: Elena Sanz

Ramirez: Elena suarel

Reena Roberto Ramirez: Olivia Rodrigo

Lukas Williams: Patton oswalt

Flora peace: Ariana grande

Minnie wakanda: Kiki Layne

Snowy Moscow: Taylor swift

Jessie wakins: Tiffany haddish

Kelsey swells: Ariel Winter

Chai Ming Kong: akwafina

Nagham hugh: beyonce

Roger: Roger Craig smith

Kenny: Ken jeong

Christopher: Chris Pratt

Kevin: Kevin hart

Jeremy: Josh gad

Dagenia: Moses Ingram

Liza: Letitia wright

Oganda: danai gurrai

Jaiden: Jacob tremblay

Young Jaiden: Shelby young

Indiana Jones: Dustin Hoffman

Nathan drake: Jim Parsons

Dora: Isabela Merced

Tiffany mordon: Sheila Victor

Blair: dove Cameron

Ying: Constance Wu

Andrea: Christina Vee

Riña: Brittney spears

Max: Adam James

Jack: Ramon tikaram

Pickles: Gary Martin

Amy Jefferson: auli’i Cravalho

Jasmine Jefferson: Lexi Medrano

Singing:

Tad: ZAYN

Sara: Tori Kelly

Mummy: Joseph Balderrama

Tiffany maze: Taylor swift

Ramona: Bebe wood

Victoria: auli’i Cravalho

Ramírez: auli’i Cravalho

Reena: Olivia Rodrigo

Lukas: Justin Bieber

Anne: Philpha Alexander

Tiffany mordon: Renee Rapp

Riña: Brittney spears

Max mordon: Adam James

Blair: dove Cameron

Ying: Constance wu

Andrea: Christina Vee

Jasmine: Tori Kelly

Amy: auli’i Cravalho

Other voices:

Joya: Sandra bullock

Jessica: Sofia Carson

Charlie: James Arthur

Ruth: snoop dogg

Ninja: Stephanie hsu

Agent Justin: Nick Jonas

Agent nick: kestin Howard

Agent Lou: Michael A Zekas

Tad's grandma: Jenny slate

Katie peace: Leslie Mann

Josh rackham peace: Peter Dinklage

Talia Stones: Taraji P. Henson

Michael Jefferson: John Goodman

Anderson: Billy Crystal

Joe: Nicholas cage

Ryu: Ed guaghan

Brian: Ben cura

Professor Lavoff: Jim Carter

Selena Stones: Aimee Carrero

Sara's mother: Amy Landecker

Ralph: Will Arnett

Daniele: Angelina Jolie

Josh: Seth Rogen

Marian: Geraldine Viswanathan

Minnie’s mother: Queen Latifah

Minnie’s father: Jack Black

Nala: Lucy Liu

Jax wakins: Will Smith

Angelica wakins: Catherine Keener

Mack: Jesse Eisenberg

Jolene: Anya Taylor Joy

Mary: Jennifer Lopez

Jacob: Jason Sudeikis

Riley: Madison Polan

Jess: Nicky Minaj

Mark: Ben Schwartz

John: Raymond Ochoa

Nagham’s mother: Keke Palmer

Kohl: Ben Stiller

Kanji: Charlie Saxton

Grandpa Lu mian: Kelsey Grammer

Grandma Jie mei: Kathryn Hahn

Charlotte: Selena Gomez

Ronald: Robert De Niro

Jackie: Viola Davis

Joe: Davis Cross

Mika: Hayden Rolence

Lin Jung: Alec Baldwin

Kenny’s mother: Annie Potts

Regina: Cameron Diaz

Messiah: Mike Myers

Miracle: Sarah Vowell

Emily: Renee Zellweger

George: Chris Rock

News reporter: Keegan Michael key

Margie: Lena Headey

Song list:

A different beat: little mix;(Rini’s cheerleading practice)

Do what you gotta do: dove Cameron: (pickles max and jack’s and Reena’s argument)

What was I made for: Billie Ellish (the mind of memories form first to third film)

Perfect people: Becky hill (mummy’s capture)

Granted: Olivia Rodrigo( rini realizes what she had done)

The rose song: Olivia Rodrigo and ZAYN (Reena cheers tad up)

Stuck with you: Ariana grande and Justin Bieber (Reena and Lukas’s love song)

Hold on: Becky hill (the gang continues on their journey)

World burn reprise Renee Rapp (Tiffany mordons villain song; she starts making everyone mean using her powers; her revenge on tad)

Respectless: (Reena stands up to pickles for Victoria)

Courage in me: Lou (Tad’s transformation)

Lazarus drug: (epilogue song)

A wish worth making: (end credits)

Empire: Ella Henderson ( playing in the background when end credits rolling)

#tad the lost explorer #tadeo jones #tad the lost explorer 4 #tadeo jones 4

2 notes · View notes

nicktoonsfans · 10 months

Text

My Favorite And Least Things

My Favorite Shows Are

All Grown Up! BKN (Seasons 1-2) Magi-k Casado Con Hijos (Married With Sons) Pulentos Diego & Glot 31 Minutes (Seasons 1-3) El Chavo Del 8 ( Both Live-Action And Animated Versions) Spongebob Squarepants The Powerpuff Girls (1998-2005) Foster 's Home Imaginary Friends The Grim Adventures Of Billy & Mandy Ben 10 (2005-2008) Hi Hi Puffy Ami Yumi Dexter's Laboratory Teen Titans (2003-2006) The Fairly Oddparents Danny Phantom Hey Arnold Rocket Power The Wild Thornberrys Rugrats (1991-2004) American Dragon Jake Long Kim Possible Disney s' Recess Phineas & Ferb Amango Karku (Seasons 1-2) The Adventures Of Jimmy Neutron Boy Genius Papi Ricky Brujas The Simpsons Adventure Time The Amazing World Of Gumball Astro Boy (1986 Series)

My Least Shows Are

Barney Teletubbies (Both Classic And Reboot) High School USA! Jellabies Secret Millionaires Club Coconut Fred s' Fruit Salad Island Boohbah 31 Minutes (Season 4 Only) BKN (Seasons 3-11) Karkú(Season 3 Only) My Dad The Rockstar The Powerpuff Girls (2016 Reboot) Boj All Grown Up! (Season 1 Only) Warped Club 57 The Tiny Chef Show HexVets and Magic Pets Hamsters of Hamsterdale The Ast⁷ronauts Cupcakery of Doom Drama Club Kinderwood Dorg Van Dango The Fairly OddParents: Fairly Odder My Little Pony Pony Life The Brothers Flub Rainbow Fish Teen Titans Go! Peppa Pig Índigo Juegos De Poder Caillou (Both 1997 And 2023) Johnny Test (Both Classic And 2021 Reboot) Fanboy And Chum Chum Sanjay And Craig Breadwinners Rock, Paper, Scissors Pig Goat Banana Cricket Historias del ocho Walala The Series Glu Glu

My Favorite Character Are

Tommy Pickles Chuckie Finster Angelica Pickles Samantha Shane Kimi Finster Phil & Lil Deville Susie Carmichael Daniel Harold Frumpkin Harriet Nicholas Sean Butler Justin Rogers Spongebob Squarepants Patrick Star Sandy Cheeks Pearl Krabs Mr Krabs Squidward Tenclates Seba Villanueva Claudia Lopez Cata Valdavieso Jota Gaby Ferrada Pipe Zambrano Rocio Valtierra Isidora Matilde Farias Bruno Troy Bolton Gabriella Montes Ryan And Sharpey Evans Chad Danforth Taylor Mckessie Phineas Flynn Ferb Fletcher Isabella Garcia Shapiro Tulio Triviño Juan Carlos Bodoque Juanin Juan Harry Policarpo Avendaño Cindy Miraflores Patana Blossom Bubbles And Buttercup Arnold Shortman Helga Pataki Gerald Johanssen Astro Boy Uran Nea Barry Benzo Ramon Walala Diego Pla Violeta Ochoa Ismael Droguet Danilo Viviana Felipe Garcia Maida De La Fuente Robin Starfire Cyborg Beast Boy Raven Mac Foster Bloo Frankie Foster Savannah Shane Brianna Penlope Paris Seltzer Chelsea Koyano

My Least Characters Are

Rachel Alcroft Z Spine Snapper Nacho Villanueva Barney The Dinosaur Bj Baby Bop Riff The Teletubbies Plankton Karen Plankton Bubble Bass Cachirula Cossimo Gianni Fanboy & Chum Chum Robot & Monster Sanjay & Craig Max & Ruby Peppa Pig George Pig Suzy Sheep Marsh Merriweather Amber Lamber Cassandra Barrren Lamort Blackstein Brad Solvee Blackfire The HIVE FIVE Caillou Rosie Mojo Jojo Princess Morbucks Vicky

#nickelodeon #Cartoon network #Disney #Favorite #Least

3 notes · View notes

dansworks · 1 year

Text

Goat Study 8-9-17

Charcoal and Gesso on canvas

Artist Daniel Ochoa

#artistDanielOchoa #CharcoalandGessooncanvas #painting #artcontemporary #visualarts

11 notes · View notes

8lab · 1 year

Text

SF Hill

oil on canvas

Artist Daniel Ochoa

#artistDanielOchoa #oiloncanvas #painting #visualarts #artist

9 notes · View notes

daisythegreat · 2 years

Video

undefined

tumblr

“Liar” song & video out everywhere !!! love you so much play this loud 😈 https://daisythegreat.lnk.to/Liar

Directed by Kelley Nicole Dugan, Mina Walker, & Brittany Reeber

Director of Photography: Adam Kolodny

Edited by Kelley Nicole Dugan & Mina Walker

Produced by Insufficient Funds

1st AD: Emmi Shockley

2nd AD: Rebecca Uddin

1st AC: Logan Quarles

Gaffers: Mason Rice & George Schramm

Key Grip: Joe Katulak

Production Design: Annie Spellings

Art Assistant: Lisandra Isaac

Production Assistants: Sayeh Korsandi & Lukas Gordon

Colorist: Daniel Stuyck

Additional B-Cam Footage: Avinoam Henig

CAST

Kelley Nicole Dugan

Mina Walker

Nardo Ochoa

Matti Dunietz

Brie Archer

Matt Lau

Brigette Lundy-Paine

Alexandra McVickers

Monik Walters

Rose Cole-Coh

Sofie Sogaard

Olive Osby

Jess Rosa

Syd Villacortabuer

Pink Gibbs

Eva Smittle

Benét

Alistair Barrell

Avi Henig

Concert Goers: Amanda Nesci, Avshalom Weinburg, Easton Sothman, Emma Stacher, Grace Larkin, Joan Glackin, Joey Beerman, Jonina Thorsteinsdottir, Jozee Lumaj, Lotte Hurkmans, Matilda Sakamoto, Ramsey Tyson, Stephanie Shafir, Stephanie Wurster, Stove Keane

Special thanks to The Sodium Ranch, Anthony Argento, Varun Bajaj, Rose Bush, St. Francis de Sales School for the Deaf, Saint Vitus Bar, NYC Parks and Recreation.

#daisy the great #daisythegreat #dtg #liar #new music #music video

15 notes · View notes

sergioosvaldovaldesarriaga · 1 month

Text

Del pueblo para el pueblo

Escrito originalmente en septiembre de 2020

En la actualidad, México produce más cine del que se ve, registrando un nuevo récord en el año 2019 con 216 largometrajes producidos.

Esto supera los 135 del año de 1958, uno de los mejores dentro del período que comprende la tan añorada Época de Oro, en donde se consolidaron grandes talentos cinematográficos a nivel nacional e internacional, a causa de la baja producción de los territorios estadounidenses y europeos durante la Segunda Guerra Mundial.

Sin embargo, de la cifra señalada por el Anuario Estadístico de Cine Mexicano 2019, elaborado por el Instituto Mexicano de Cinematografía (Imcine) y la Secretaría de Cultura, 101 largometrajes llegaron a salas, compitiendo frente a otros 353 estrenos internacionales (siendo la mayoría de ellos producciones hollywoodenses), además de verse limitados a un reducido tiempo de exhibición en pantallas.

La investigadora de la Universidad Autónoma de Nuevo León (UANL) y académica del Consejo Nacional de Ciencia y Tecnología (Conacyt), Lucila Hinojosa Córdova, señala que, previo a la firma del Tratado de Libre Comercio en América del Norte (TLCAN) en 1992, existía “una ley que reservaba 50% de las salas para las películas nacionales”.

La situación cambió al aprobarse una ley interna “que establecía que a partir de 1993 las salas de cine en México sólo debían exhibir en no más del 30% películas mexicanas”, reduciendo paulatinamente este porcentaje a un lamentable 10% en 1997, cifra que desde entonces se mantiene vigente.

La generación a la que pertenezco, aquella nacida a mediados de los noventas, forma parte de un México globalizado que abrió sus fronteras en aras del desarrollo y el primer mundo, creciendo ya no sólo entre marcas, productos, cadenas y los grandes emporios comerciales, sino también volviéndose un consumidor de sus contenidos en cine y televisión.

Nos desarrollamos en un entorno audiovisual principalmente estadounidense desde muy temprana edad, en especial todos aquellos que venimos de un contexto de clase media, desconociendo nuestro valioso acervo nacional ante el bombardeo mediático que veíamos en la publicidad, los aparadores y en cualquier tipo de pantalla.

Si a esto le sumas ser originario del estado de Nuevo León (como lo es en mi caso), que tiene más parecido con Texas que con el México folclórico del centro y sur del país, los viajes de compras a McAllen, la visión empresarial y emprendedora infundida en nuestros valores y el ostentar al municipio más rico de América Latina, casi resulta inevitable que muchos aprendiéramos inglés antes que ver una película de Pedro Infante o Cantinflas, íconos que considerábamos como anticuados sin comprender bien su valor histórico en el país y en el mundo.

Entretanto, el cine mexicano de finales del siglo XX y principios del siglo XXI, pasaba por un período de transición y ambivalencia: por una parte, debutaban una nueva generación de talentos en la pantalla grande, entre ellos directores —Alfonso Cuarón, Guillermo del Toro, Luis Estrada, Alejandro González Iñarritú y Carlos Reygadas—, cinefotógrafos —Rodrigo Prieto, Guillermo Navarro y Emmanuel “El Chivo” Lubezki— y actores y actrices —Demián Bichir, Damián Alcázar, Jesús Ochoa, Daniel Giménez Cacho, Salma Hayek, Cecilia Suárez, Gael García Bernal y Diego Luna—, mientras que, por otra, iba recuperando su ritmo en la producción tras haber llegado a su punto más bajo en 1996 con tan sólo 16 largometrajes producidos, gozando de un par de éxitos en cartelera que dieron de qué hablar en su momento y para la posteridad, como lo fueron: Sexo, Pudor y Lágrimas (1999), La Ley de Herodes (1999), Amores Perros (2000), Y Tu Mamá También (2001) y El Crimen del Padre Amaro (2002).

Podríamos decir que, a partir del 2005 en adelante, el cine mexicano fue creciendo renovado en cuanto a versatilidad de géneros y propuestas, viajando a través del mundo por medio de los distintos festivales de cine y obteniendo tanto reconocimientos como preseas dentro de las selecciones de Cannes o Venecia —dos de los festivales de cine más consagrados a nivel internacional—, todo esto sin mencionar el acentuado éxito de los paisanos que han triunfado en Hollywood.

Aquí es donde yo considero que inició una ruptura con las audiencias mexicanas, puesto que este cine autoral, independiente y de vanguardia quedó reducido a un tiempo máximo de 2 semanas en carteleras (a excepción de que sea un éxito en taquilla), horarios cuestionables en salas y nula promoción.

Si bien existen estudios creativos como Piano o Cine Caníbal, que fungen como productoras y distribuidoras de películas arriesgadas, originales y audaces, entre ellas producciones y co-producciones mexicanas y que, en conjunto, suman una larga lista de premios y nominaciones internacionales, la oferta del duopolio conformado por Cinépolis y Cinemex da prioridad al tan infame cine comercial mexicano, popularizado por sus comedias románticas, que, por más que indigne y sea criticado, sigue sumando butacas al disponer de los recursos económicos apropiados para su correcta difusión.

La costumbre al cine norteamericano, la falta de representación en el cine comercial nacional y de acceso al cine alternativo han alimentado una perversa aversión por el cine mexicano, una aversión que incluso se vio reflejada en estrenos recientes como Roma (2018) y Ya no estoy aquí (2019) que, luego de ser multipremiadas a lo largo del mundo, en México desataron conversaciones que no podían darse en ningún otro lugar y que iban desde su “calidad” hasta revelar el severo colonialismo, clasismo y racismo internalizados en nuestra afligida sociedad.

Más allá de si estas películas gustaron o no, ambas tuvieron un impacto sin precedentes gracias a su distribución en Netflix y, en lo personal, creo que necesitamos más diálogos como estos en el país, diálogos que incomoden nuestros prejuicios, que vislumbren nuestra realidad multifacética.

Porque suele hablarse de cine mexicano como si este fuera un solo género que replica las mismas convenciones y estereotipos, cuando la realidad indica lo opuesto: que el panorama es mucho más diverso que nunca.

Si hay algo que los últimos 20 años nos demuestran, es que existe una sana abundancia de producciones cuyo potencial ha sido desaprovechado a manera industrial, sobre todo, si consideramos que somos el cuarto consumidor de cine más importante en el mundo, con un derrame económico en 2019 de $19,050 millones de pesos, de los cuales, el cine mexicano recaudó $1,767 millones de pesos, según los resultados de la Cámara Nacional de la Industria Cinematográfica (Canacine), además de registrar 7,493 pantallas en el país y 615 espacios de exhibición alternativos.

Por su parte, el documental ha logrado llevarnos fuera la capital para observar las historias que están sucediendo a lo largo y ancho de la República, conformando a su vez un amplio catálogo que ha traspasado rincones y temáticas sociales que, en ocasiones, han sido inexploradas en la ficción.

Directores como Eugenio Polgovsky, Everardo González y Tatiana Huezo han trazado desde sus ópticas las fallas estructurales de un país cambiante, mientras que la directora y actriz oaxaqueña, Ángeles Cruz, se ha convertido en una de las pocas cineastas cuya filmografía tiene como enfoque a las comunidades indígenas, explorando los múltiples tabúes de nuestra sociedad.

Sin embargo, también es importante señalar que, de los 216 largometrajes producidos el año pasado, 92 fueron historias ubicadas en la Ciudad de México y el área metropolitana, 44 fueron dirigidos por mujeres y 14 cuentan con temática indígena.

Es evidente que falta mucho camino por recorrer pero tal parece que la descentralización del cine mexicano, asunto que se ha venido discutiendo con frecuencia entre la comunidad de cineastas en los últimos dos años, es el primer punto de partida para generar condiciones más justas y equitativas.

Porque la descentralización del cine empieza por un cine de barrio, uno que pueda realizarse con sus propios recursos, sin depender de tantos apoyos para tener que ser tomado en cuenta; uno que se permita ser del pueblo para el pueblo, en el que aquellos cuya voz todavía no ha sido contemplada dispongan de las mismas oportunidades para contar sus propias historias sin ser víctimas de los mecanismos elitistas que rodean al séptimo arte; en otras palabras, un cine que busque la honestidad, más no la perfección.

Asimismo, los esquemas de cine digital y las plataformas de streaming han llegado para revolucionar el cómo pensamos el quehacer cinematográfico y trasladarlo a tan sólo un clic de distancia.

Por ejemplo, FilminLatino es una plataforma digital del Imcine, en colaboración con la Secretaría de Cultura, que tiene 5 años creando un extenso catálogo que lleva cine mexicano (de todas las épocas) hasta nuestras pantallas y dispositivos móviles.

Este año supieron aprovechar la situación de la pandemia con distintas muestras, selecciones y funciones especiales, a la par de ser sede del Festival Internacional de Cine de Monterrey, DOQUMENTA (Festival Internacional de Cine Documental), Macabro: Festival Internacional de Cine de Horror de la Ciudad de México, entre otros.

La presentación del documental El sembrador (2018) de Melissa Elizondo, ópera prima sobre el método humanista de un docente rural de Chiapas, como parte de la programación en línea del Festival Internacional de Cine de Morelia, fue un éxito tras volverse tendencia en Twitter y repetir funciones a través de FilminLatino. Uno pensaría que de haber tenido un estreno habitual en salas, quizás no se hubiera replicado el nivel de atención tan merecido que obtuvo a lo largo de estos meses.

De la misma manera, el Centro de Apoyo a la Postproducción (CAAP) es un proyecto del Imcine en proceso de consolidación, ubicado en el estado de Chiapas, que se dio a conocer este año a través de talleres en línea gratuitos sobre tópicos relacionados con cine documental, carpetas de producción, fotografia, sonido, montaje y postproducción, corrección de color, etc.

En el portal del Imcine es descrito como “un espacio para impulsar, de manera prioritaria, la producción de cine y audiovisual de pueblos indígenas y afrodescendientes”.

Esfuerzos tan valiosos como estos merecen un digno reconocimiento y celebración ante uno de los años más adversos para la historia reciente de la humanidad en el que, a pesar de estar resguardados, instituciones como el Imcine, la Academia Mexicana de Artes y Ciencias Cinematográficas (AMACC), el Centro de Capacitación Cinematográfica (CCC), la Escuela Nacional de Artes Cinematográficas (ENAC) de la Universidad Nacional Autónoma de México (UNAM), Filmoteca UNAM y DocsMX, se han mantenido activos mediante las redes sociales con actividades como charlas, talleres, convocatorias, ciclos y funciones de películas.

La razón primordial por la que lo resaltó es porque no podemos olvidar que el cine es un medio colaborativo que permite acercarnos con otros mediante su realización y proyección en pantallas; no hay mejor manera de incentivarlo que por medio de actividades de formación y promoción de la mano de profesionales y apasionados, que inviten a cualquiera que tenga el interés, porque como cada vez se demuestra en números, existen muchos, pero muchos allá afuera.

Considero que aquellos que vemos cine mexicano es porque así lo decidimos, porque hemos tenido que informarnos y descubrirlo de nuestra propia mano; para quienes siguen recordando con nostalgia las películas de la Época de Oro, que sin duda son una pieza invaluable para nuestra memoria histórica, quizás ya sea hora de ponerle atención a lo que nos trae el presente, compartir lo mejor de ambos mundos y proponernos visualizar un futuro descentralizado, en el que los extranjeros y foros internacionales no sean los únicos que valoren nuestro cine, en el que tanto el gobierno como los espectadores reconozcan el potencial que resguardan las historias que abundan en cada región; donde podamos verdaderamente reconocernos en las pantallas, aprender a reír de nuestras idiosincrasias y contradicciones, así como cuestionar las circunstancias que nos agobian o compartir nuestros temores.

En la medida en la que esto sea posible, el cine mexicano por fin tendrá la relevancia que tanto se merece: pero no entre estatuillas, sino en la comunidad, memoria y corazones de aquellos a quienes más ha inspirado.

Bibliografía:

El cine mexicano sufrió un duro golpe con el TLCAN: perdió espacios de exhibición. (2019, 25 enero). infobae. https://www.infobae.com/america/mexico/2019/01/25/con-el-tlcan-el-cine-mexicano-produjo-mas-peliculas-pero-tuvo-menor-exhibicion-en-salas/

Lara, R. (2018, 15 agosto). La nueva «Época de Oro» del cine mexicano. Expansión. https://expansion.mx/empresas/2018/08/15/la-nueva-epoca-de-oro-del-cine-mexicano

Instituto Mexicano de Cinematografía (Imcine) y Secretaría de Cultura. (2020, mayo). Anuario Estadístico de Cine Mexicano 2019. http://www.imcine.gob.mx/wp-content/uploads/2020/05/Anuario-Estad%C3%ADstico-de-Cine-Mexicano.pdf

El CAPP ofrece aprendizaje gratuito en línea. (s. f.). imcine. http://www.imcine.gob.mx/el-capp-ofrece-aprendizaje-gratuito-en-linea/

#cine mexicano #méxico #descentralización #cine #documental #imcine

0 notes

noticiasdelcanar · 1 month

Text

Presentación de la Agenda por las fiestas de homenaje a la Virgen de El Rocío

El GAD Municipal de Biblián, la Diócesis de Azogues, la Parroquia Eclesiástica San José de Biblián y la Renovación Carismática Católica, presentaron la Agenda de Festividades en honor a la Virgen del Rocío. La programación incluye una serie de actividades religiosas, culturales y turísticas que se desarrollarán desde el 22 de agosto hasta el 29 de septiembre. Estos eventos contarán con el apoyo de diversas entidades públicas y privadas, así como la activa participación de fieles de todo el cantón, la provincia del Cañar y el país. Las celebraciones comenzarán este jueves 22 de agosto con el tradicional pregón, en el que el GAD Municipal de Biblián y la Renovación Carismática Católica asumirán el rol de priostes. La concentración será en el barrio San Antonio a las 15:30. Desde las 16:00 se recorrerá la Av. Alberto Ochoa, Mariscal Sucre, Daniel Muñoz, Francisco Calderón y Av. El Rocío. A las 18:00 se celebrará la eucaristía en el Santuario. Read the full article

0 notes

adiariomx · 1 month

Text

La Dirección de Parques y Jardines, realizó trabajos de reforestación en el parque Hermanos Escobar, ubicado en la calle Licenciado Quintín Ochoa en l...

#JuárezElPaso #DanielZamarrónSaldaña #DireccióndeParquesyJardines #GobiernoMunicipaldeJuárez

0 notes

myramglina · 2 months

Video

vimeo

Porter Robinson - Cheerleader from Hugh Mulhern on Vimeo.

PRODUCTION Production Company: Riff Raff Director: Hugh Mulhern EP/Producer: Precious Mahaga EP: Natalie Arnett Director's Representation: Hands Executive Producer: Porter Robinson Executive Producer: Slush Management (Aaron Greene, Neal O'Connor, Amar Pathak, Samuel Luria, Valerie Maybaum, Ryan Glatt) Creative Director: Pablo Jones Soler

BTS/DIGITAL Paul Mauer

SERVICE COMPANY Solent Film MD: Alex Momchev Solent Film MP: Magdalena Staneva Solent Film Service Producer: Tihomira Temelkova Assistant Producer: Elena Doroshenko Production Manager: Mitko Milushev Production Coordinator: Teodora Naydenova Production Assistants: Eva Taneva, Simona Atanasova, Serafima Deyanova, Dimitar Borisov

CASTING DIRECTOR Veselina Georgieva

AD'S 1st AD: Antony Tanev 2nd AD: Margarita Aneva 3rd AD: Damyan Tanev

CAMERA DOP: Nikita Popkov 1st AC: Vladislav Mateev 2nd AC A camera: Ivaylo Yovchev 2nd AC B camera: Luciano Ivanov Video Control: Borislav Stoyanov Drone Operator: Nikolay Georgiev - Tanera Data Manager: Delyan Kaloyanov

LIGHTING Gaffer: Alexander Trenev Electricians: Vasil Vasilev, Georgi Tsanev, Dimitar Yanev, Boris Vasilev Dimmer Board Operator: Philip Georgiev

GRIP Key Grip: Tsvetan Kostov Grips: Albert Nikolinski, Dimitar Dimitrov, Yulian Gotchev, Mihail Gotsov, Emil Ivelinov Head Technician: Borislav Tanev Crane Technician: Stanimir Vatsov

SOUND Playback: Kostadin Separevski

ART Production Designer: Elena Isolini Production Designer Assistant: Theresa Bates Art Directors: Momchil Tasev, Aleksandar Yanev Construction Manager: Minko Krustev Props Master: Ada Paunova On-Set Dressers: Nedelcho Hazarbasanov, Yavor Milanov Set Dressers: Kostadin Dervenski, Evtim Evtimov

LOCATION Location Manager: Anita Miletieva Assistants: Elena Karadusheva, Lidiya Aleksandrova

STUNTS Stunt Coordinator: Ivan Vodenicharov Stunt Dept. Coordinator: Aneta Ivanova Stunts: Marina Yordanova, Desislava Slavova, Tea Markova, Mariela Kostadinova, Ventsislav Hristov

CHOREOGRAPHY Kosta Karakashyan

SFX Supervisor: Nikolay Fartunkov Senior Technician: Ivan Kazakov Technicians: Vladimir Mitov, Blagoslav Zhenkov

HAIR/MAKE-UP Hair Cut & Color: Miyuki Goto Artist's Hair & Make-up Artist: Yesol Choi Artist's Hair & Make-up Artist Assistant: Gohun Kim Head of Make Up: Gergana Batanova Head of Hair: Veselka Tsekina Hair Stylists: Bilyana Borisova, Gergana Ivanova, Nataliya Kamenova, Gratziela Dimitrova

COSTUME Artist's Stylist: Luca Wowczyna Luca's Assistant: Elliott Lane Assistant Stylists: Maria Petrova, Teodora Marinova, Nadya Dobrikova, Yoana Kusheva, Emiliyan Bonev Tailor: Marieta Duncheva Mask Design: Audrey Mai

ORGANIZATION Set Manager: Georgi Asenov PAs: Lyubomir Tabakov, Ivaylo Tabakov, Vulcho Monkov

STOP MOTION: THE JUNKS Stop Motion Supervisor: Zlatin Radev Animator: Boris Wolf Assistant Animator / Puppet Doctor: Diliana Valcheva Rigger / Assistant Animator: Teodor Ralev Set Dressers: Alex Suninski, Marin Nalbantov

EDITING: TRIM EDITING Editor: Joseph Taylor Edit Assistant: Anders Mills Producer: Noreen Khan

POST PRODUCTION VFX Supervisor: Vasil Galabov VFX: The Mill EP: Saskia Delius Producer: Sam Ashby 2D Lead: Ben Gallagher 2D Assists: Henry Claud N’guetta, Jane Williams, Muhaddissa Hasham Associate Producer: Rushikesh Shelar Production Coordinator: Karishma Verma Compositor Supervisor: Nanda P V Compositor Lead: Ragesh Ramachandran Rotoscoping Supervisor: Kunal Bendke Prep Lead: Jalander Madishetty GABHA Studios: Dafydd Upsdell, Daniel Morris Grade: Andrew Francis Add’l Post Production: Andrzej, Nina Muro, Nick Lane CGI: Alex (chippy) Futtersak, Dom Harwood VFX Artists: David Ochoa

TRANSPORT Coordinator: Vladimir Mashinata Blagoev Prod Vans: Svetoslav Yordanov, Ivo Radkov, Iliya Iliev, Georgi Evstatiev

CATERING Cherry Craft & Catering Manager: Mariela Manolova Cherry Craft & Catering: Petya Kovacheva, Ivan Nalbatski, Borislav Parvanov

SUNWEAVER CREATIVE Shawn Chapman: Producer - Creative Jacqueline Adorni: Producer Garrett Robles: 3D / Previs Lauren Sperling: Project Coordinator Matthew Hunt: Production Assistant

WARDROBE / COSTUME: VENIA Christine Ko: Key Costumer Keeter Ly: Key Costumer

WARDROBE / COSTUME: SUNWEAVER Cybal Hall: Costume Supervisor Annabelle Gerke: Key Costumer Christopher Hall: Costumer (Silkscreening) Daniel Rose: Lead Wig Designer Kieran Smith: Wig Stylist Samantha Michael: Wig Stylist

ART DEPARTMENT Kigarumi Sensei Taiki Nishikawa: Key Artist Paul Nishikawa: Artist

Creative Character Engineering Andrew Clement: Lead Artist Lesley Becerra: Head of Production Brad Palmer: Sr. Project Manager Cory Fisher: 3D print/fabrication Alex Dill: Fabrication Mike Ross: Fabrication

Special Thanks - Venia

0 notes