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johannestevans · 2 years

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Update 24/05/2022

Good evening!

I've been pretty chill this week, just working through a lot of old serials and cross-posting things, and also finishing up an Our Flag Means Death fanfic!

Alongside my original work I'll also be participating in the Our Flag Means Death Big Bang, which is a challenge for fan artists and fan writers to match up and work together on a longer-length project! Definitely check it out, and sign-ups for artists are still open, so you can definitely jump in.

Media Recs

Spontaneous (2020, dir. Brian Duffield) - Okay, don't let the posters for this put you off, because it's actually surprisingly good and heart-felt, and I really appreciated the humour in this. It is a cishet love story and the two MCs are both pale blond people, which is obviously a turn-off, but for all that, it's weird and kooky and genuinely funny. There's an epidemic in a small US town where high schoolers keep exploding with not explanation and no known cause. It's about teenage trauma and survivors' guilt, broadly, and it's very ridiculous and OTT.

Newark, Newark (2022, written and cr. Nathan Foad, dir. Amanda Blue) - I've been meaning to watch this for a little while because it's created by Nathan Foad, who plays Lucius Spriggs in Our Flag Means Death, and I love it, and I hate it. Everyone in this is so cringe and so terrible and so horny, 5 stars for the show and 5 extra stars just for Foad, I hate him, this is excruciating viewing, I will probably rewatch it many times, it's excellent.

New Amsterdam (2018--) - A friend of mine repeatedly recommended this to me and I resisted because none of the main cast are hot, but now I'm actually watching it and it's, infuriatingly, really quite watchable. It's basically about a doctor at a big New York hospital who's attempting to introduce "socialised medicine" (Yanks) despite working under a for-profit system, and it's fun and easy. I will say that the writing is not irregularly saccharine, and it's very much an attempt at a utopia where there's almost always an easy fix at the end of the episode (in one episode, for example, two parents have to divorce so that the mother can apply for the cost of their son's medications as a single mother, and they're serious Catholics, so at the end of the episode to set their son's mind at ease a cardinal literally is like "this divorce is okay, the Pope says it's cool"), but if, like me, you like nonsense soaps like these to watch in the background, New Amsterdam fits the bill, and it does good character work that's a lot more consistent than my other beloved trash show, Chicago Med. No Oliver Platt though, so lose a mark for that.

Bulat Blues (2019, Daniel Kahn & Vanya Zhuk) - This isn't a new album, I've just been relistening to it a lot the past few weeks and it's really good - Daniel Kahn is a favourite artist of mine, and he does a lot of Klezmer and other Jewish folk music; Bulat Blues adapts a lot of the music of Bulat Okudzhava and translates to English with a little of the original Russian still in, and it's good.

New Works Published

Erotic Short: Piercings

A man plays with his trans boyfriend’s nipple piercings.

Rated E, 350w. Nipple piercings and vaginal sex.

On Medium / / On Patreon

Erotic Short: Tentacles

Tentacles in a hot spring! Rated E, cis M/tentacles, 450w.

On Medium / / On Patreon

Erotic Short: Super

Rated E, cis M/M, breeding kink and dirty talk with anal. 500w.

On Medium / / On Patreon

TweetFic: At Sea

An anxious Irishman catastrophises and a much calmer sailor soothes him... somewhat.

Read on Twitter

Our Flag Means Death Fanfic: Sink In

Rated E, 500w, Blackhands. Piss kink. Ed pulls Izzy onto his knees and puts him to work.

On Ao3

Our Flag Means Death Fanfic: Communicating Want

75k, complete. Rated E. Gen with Frenchie/Izzy, Izzy/Lucius; background Blackbonnet, Lucius/Pete, Oluwande/Jim. Izzy's just so buttoned-up, how is Lucius supposed to resist the urge to seduce him? It doesn't go well.

Playing with both the crossover of genre conventions between Stede's universe and Izzy and Ed's original one, but basically doing a deep dive into trauma response and navigating complex relationships between the crew and Izzy when Izzy is forced into a position where he has to share revealing and intimate things about himself. Lots of focus on the aftermath of abuse and trauma, playing with freeze responses and the way the different crewmembers navigate all this.

Read on Ao3

#weekly summary #our flag means death

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guerrerense · 3 years

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"Oliver Cromwell" hurries a soutbound passenger train through the Leicestershire countryside. por Ian Duffield Por Flickr: 70013 Kinchley Lane 26-11-2009 IMG_0789bw

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365days365movies · 3 years

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Western August V: Broken Arrow (1950) - Recap (Part Two) and Review

Where’s Jay SIlverheels, by the way?

This is, like, one of his most acclaimed roles, and he hasn’t shown up anywhere yet. Well, before he does, I should elaborate on why I care so goddamn much.

As I said last time, Silverheels was cast as Tonto in 1949, and became the most recognizable Native American or First Nations face in the United States. At the same time as him, another actor was working. His name was Iron Eyes Cody, and he actually also appears in Broken Arrow...somewhere. Cody made his career as a makeup artist...who specialized in redface. Yeah, that’s a weird-ass thing for a Native American actor to take part in, right?

Silverheels and Cody worked together on Broken Arrow, but Jay thought something was off. Still, the two went on in their respective careers. But they would go in two completely different directions.

During the time of Jay’s rise to fame, the Native American Civil RIghts Movement also began. This culminated in 1969 when Richard Oakes, LaNada Means, John Trudell (pictured above) and the Indians of All Tribes protest group occupied Alcatraz for 18 months. Yeah, the prison in the San Francisco Bay. It was originally native lands, so they took it back...until the government stepped in and ended the protest. But that’s a WHOLE other story. The point is, shit was changing. And suddenly, Jay Silverheels was enemy number one.

Like I said before, Hollywood and Native Americans never had the best relationship. Or even a good one. Hell, there’s a 1915 article written by a film executives that said they stole from film sets, but were trustworthy if provided tobacco and firewater, which is NOT AN EXAGGERATION AT ALL OF WHAT THAT DUDE SAID. And extending to Jay’s role of Tonto, Native American depictions in film were quite stereotypical. Broken and simplified English, savage behaviors and a misunderstanding of Western technology, headfeathers and hollering...you know, real racist shit. And since Jay was kind of the face of that to America...his career didn’t go well. And it REALLY didn’t help that he leaned into it.

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Look, Jay was a massive advocate for the Native American Civil Rights movement, and he made that well-known on every possible occasion. However, he also treated Tonto as more of a parody of himself, performing the role for talk shows and commercials, like this above commercial for pizza rolls. And yeah, people were NOT FUCKING HAPPY about that. Native Americans labeled him an “Uncle Tomahawk”, and he was shunned in the community. Meanwhile, Jay’s career was absolutely tanking, barely getting any rolls after 1970. To make things worse, he has a stroke that year. And to make things EVEN worse...let’s get back to Iron Eyes fucking Cody.

In 1971, Iron Eyes Cody was cast by the Keep America Beautiful organization as the “Crying Indian” in their Earth Day commercial. This is the most successful commercial in the history of television, and it launched Iron Eyes Cody into fame as the most recognizable Native American face in the country, if not in the world. He met three Presidents, the Pope, got a stamp, was nominated for statehood...just, ludicrous amounts of acclaim and fame. When asked what his tribal lineage was, he would claim that he was of Cherokee and Cree descent. Just like Johnny Depp did! Which is fitting, because just like Johnny Depp...

IRON EYES CODY WASN’T NATIVE AMERICAN AT ALL

Born Espera Oscar de Corti, he was an Italian kid from Louisiana. Yeah. This guy, this motherfucking guy, made his career playing pretend as a Native American. Remember when I said he was a makeup artist for films, making people look more authentically redface? Yeah, he did that as his job AND AS HIS LIFE. He would also always wear his Native American costume in public, which even Native Americans thought was fucking weird.

And Jay Silverheels KNEW this, by the way. He found out while the two were working together...on Broken Arrow. Which, of course, is why I brought this up. So this must’ve been a goddamn gutpunch for the poor guy. He’s labeled Uncle Tomahawk, while Cody’s being lauded as the best Native American actor ever, AND HE ISN’T EVEN NATIVE AMERICAN. Jesus Christ, this sucks.

Jay Silverheels died of a second stroke in 1980, at the age of 67. Iron Eyes went on to be on Mister Rogers, got even more film roles, and died a successful man in 1999, at the age of 94. There was an attempt to expose him in 1996, but that attempt got backlash from a fuckton of people, including within the Native American community. Only after his death was he finally revealed as the son of Sicilian immigrants who played a fake Native American for the cameras. And to be fair, he did give to Native American charities and causes, he was an advocate for Native American rights, and he at least raised the awareness of Native Americans to people who may not have known or cared about them otherwise. And yet, despite that...

Fuck Iron Eyes Cody. He’s still a dick.

Time to get back to Broken Arrow, huh? Here’s Part One if you missed it!

Recap: Part 2

After the gross-ass flirtation between the two the next day, Cochise arrives to tell Jeffords that he’ll allow the mail through, but nobody else. Jeffords takes the news back to Tucson, and nobody believes him. He’s given resistance specifically from John Lowrie (Robert Griffin), who bets Jeffords money that five mail riders won’t make it through. Jeffords takes the bet, and Milt Duffield is the first to volunteer to ride.

Duffield and four other riders make it through. But in the process, a military wagon train is ambushed by Chochise and his men and slaughtered. This seeming dichotomy leads the men of Tucson to believe that Jeffords is a traitor and siding with the Apache. In response, after a tence-ass altercation in a bar, the men mob together and IMMEDIATELY TRY TO LYNCH HIM JESUS CHRIST

He’s saved at the last minute by General Oliver Howard (Basil Ruysdael), who asks Jeffords to ask for a meeting with Cochise. He agrees to arrange it, if the peace-seeking General agrees to come alone. He does, as the General is actually a decent-ass dude. He’s not racist, and he believes that the Apache should be allowed their territory as well. Sick.

Also sick is the fact that the romance between Jeffords and Sonseeahray is going ahead towards marriage! Gross! Fucking gross. Cochise approves of this, and arranges it with the parents, despite warning them of the troubles ahead. However, that night, Jeffords is almost killed in his sleep by one of the tribesmen. Jeffords stops it, and Cochise intervenes, ashamed by the actions of one of his people. This is Nahilzay (John War Eagle), a rival suitor of Sonseeahray, and a traitor to Cochise’s word. So, to act upon his honor, Cochise kills him. Whoof.

The General comes for the treaty, while Sonseeahray prepares for their wedduuuuuuchh. Sorry, threw up in my mouth a little just then. Anyway, four days pass, and the men of the Apache Tribes have gathered to attempt a peace negotiation with the General. After a round of questions by the generals, the two Americans leave. And at this point, a dissenting voice rises. This voice does not believe the Americans. He says that the Apache don’t need this treaty, but need a new chief who is not softened to war.

But Cochise rightly notes that the Americans are growing in strength, and the Apache are shrinking. He puts it to a vote, and while some men leave, the majority of the Apache agree to peace. The leader of these men takes a new name: Geronimo (Jay SIlverheels). Sick. Geronimo and his new allies leave, ready to continue the war in the stead of the other Apache. But still, overall, there is a tentative peace that’s been struck.

But, of course, Geronimo doesn’t care about peace. He and his men ambush a stagecoach party, accompanied by Jeffords. But Jeffords is able to put out smoke signals that bring Cochise’s Apache to their aid, chasing off these renegades. Looks like the treaty’s working after all! I’m sure that it’s not gonna backfire even a little bit.

Anyway, the wedduuuuching between Jeffouuuughrds and Sonseeeewahray takes place and I stop myself from vomiting all over my computer. There, a wedding prayer is said, and that prayer has been mistaken for being an authentic Apache Prayer for 71 years. It comes from THIS FUCKING MOVIE.

Sixteen days pass, and the peace treaty is still intact. Jeffords and Sonseeahray wax poetic about their love, and I feel like burying my head in the couch pillows to GET AWAY FROM THIS. But that’s interrupted by the arrival of Bob Slade (Mickey Kuhn), the son of racist farmer Ben Slade. He claims that the Apache have stolen their horses, which Cochise doubts. Still, on Jeffords’ suggestion, they go to investigate. And of course...it’s an ambush by Ben Slade, John Lowrie, and their compatriots.

The men fire away, aiming for Cochise. They miss him, and instead hit Jeffords and Sonseeahray, who tagged along for some reason. Slade is killed by Cochise, who escapes with his life. The men realize how severely they’ve fucked up, and they take off for Mexico. Fuck you guys. Jeffords lives, only to see that Sonseeahray is dead. When Cochise returns to find Jeffords and the survivors, they also notice a still-living settler. Jeffords wants to kill him, but Cochise stops him, now fully believing in peace.

Although he grieves, he also recognizes that Sonseearray was a Girl in the Refrigerator all along, and her death has inspired TRUE peace between the settlers and the Apache. And...that’s it.

That’s it?

That’s...one of the most sudden and anticlimactic endings I’ve seen in a while. I’m a little disappointed, to be honest. But OK, before I get on a tangent, let’s do a full review, huh?

Review

Short preamble! I did like this movie...mostly. It’s kind of haunted by the whole underage love interest and the redface. Hard for me to see past that, BUT IF I TRY...I can acknowledge that this is a good movie. I didn’t even mention that it’s loosely based off of a true story! Yeah! Tom Jeffords and Cochise actually did have a relationship. It’s a VERY different story, but their friendship really did exist.

If I was gonna guess my rating ahead of time...I’ll go with a 76%-80%. But let’s see how that holds up in the breakdown.

Cast and Acting - 7/10: Despite the position he’s in, Jimmy Stewart still turns out a great performance in this movie. Sure, watching him kiss Debra Paget make me cry on the inside and outside, but he was good in the role of Jeffords, especially when up against the racist settlers. Jeff Chandler also manages to be good, despite the fucking redface. And Jay Silverheels...Jay was great, even though I thought his role would be more than a single scene. As for the rest...Paget was bad. She was not good in this movie, sorry. And everybody else was basically just OK. Nothing to write home about.

Plot and Writing - 9/10: This was a solid-ass story, and I liked almost every part of it...save the underage romance. Which, no, I AM NOT FORGETTING ABOUT. Dude, Jeffords didn’t do that in real life. So, for the love of GOD, why make his fictional bride fucking 15? Guys...gross. Really fucking gross, Albert Maltz. Other than that, you did a great job, I just wish that wasn’t a part of it. Ugh.

Directing and Cinematography - 10/10: Yeah, Delmer Daves is a legend. I thought of writing the into to these recaps on him, but I really wanted to talk about Jay Silverheels and Iron Eyes Cody. But I’ll get my chance; Delmer Daves also directed 3:10 to Yuma, so I’ll bring him up one of these days. Anyway, Delmer Daves does a great job with this movie, and it’s gorgeously shot. Ernest Palmer is cinematographer, and he also does an excellent job.

Production and Art Design - 9/10: Sure, the settlers look generic, but the Native Americans? Excellent costume design, with a lot of authenticity packed in there. Credit where credit’s due, here.

Music and Editing - 7/10: Well, the music is great here, if not extraordinarily memorable. Hugo Friedhofer does the composition, and he does a great job. But is it iconic? Eh. Not really. I don’t remember it having a massive impact on me, unfortunately. And the editing...is also OK. That ending is weirdly paced for me, and very abrupt. But J. Watson Webb Jr. does a decent enough job, I think.

That’s an 84%. Huh. Genuinely thought it’d be lower.

This is a good movie, don’t get me wrong. But it’s...complicated. I would recommend it with warnings, I’ll put it that way. Good, great even...but complicated. Outside of that, I have to admire the stance to put Native American tribes on a equal stance, respect-wise. For the time, and for the genre, that’s a rarity. So, as always, credit where credit’s due.

Next up, we continue our foray into the classic Western...but stick with Jimmy Stewart. I wanna give him a second chance. And hopefully, this one doesn’t include a romance with a fifteen year-old. Hopefully.

Next: The Naked Spur (1953); dir. Anthony Mann

#broken arrow #film:broken arrow #broken arrow 1950 #delmer daves #james stewart #jeff chandler #debra paget #jay silverheels #western august #western genre #user365 #365 days 365 movies #365 movie challenge #mygifs #my gifs

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theking01-us-blog · 4 years

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life-lollipop · 4 years

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[Lenten Devotional] 34.

Five of them were foolish, and five were wise. The five who were foolish didn’t take enough olive oil for their lamps, but the other five were wise enough to take along extra oil. (Matthew 25:2-4)

“Readiness to meet Christ begins with filtering out the many distractions that beckon us to look elsewhere for purpose, affirmation, security, and abundant life.”

— Jill Duffield

#bible #christianity #devotional #happy easter

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revolutiontom · 4 years

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Bibliography:

Perrett, M., 2020. Retrain And Rethink- Spoken Word- Save The Arts- Rishi Sunak. [video] Available at: <https://m.youtube.com/watch?v=IK4UkFrU4qU&t=57s> [Accessed 12 December 2020].

Duffield, C., 2020. Rethink. Reskill. Reboot: Why Government retraining campaign advert from 2019 was pulled after backlash. INews, [online] Available at: <https://inews.co.uk/news/uk/rethink-rekill-reboot-government-rertaining-campaign-advert-2019-quiz-backlash-pulled-714159> [Accessed 13 December 2020].

Duffy, S., 2020. To save the arts, we must look beyond West End theatres and London galleries. The Independent, [online] Available at: <https://www.independent.co.uk/voices/arts-funding-stella-duffy-fun-palaces-oliver-dowden-b745241.html> [Accessed 13 December 2020].

Shelter, 2018. This Is Not A Home- An Immersive Theatre Experience. [video] Available at: <https://youtu.be/_qZPYv0Qx9k> [Accessed 14 December 2020].

Common Wealth. n.d. About Us - Common Wealth. [online] Available at: <https://commonwealththeatre.co.uk/about/> [Accessed 15 January 2020].

Camus, A. and Buss, R., 2020. The Plague. UK: Penguin Books.

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artwalktv · 5 years

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vimeo

Jules walks into a music store. This could be the day that changes their life. World Premiere at Tribeca Film Festival 2019. Winner of Rebel8 Outstanding Emerging Female Director Award at Flickerfest 2020. Featured in 'Top 30 Short Films of 2019' by Close-Up Culture. Jules: Michelle Keating John: Lee Mason Ruby: Hannah Koch Writer/Director/Editor: Lydia Rui (@lydiaruihuang) Producer: Olivia Cheung Executive Producer: Lily Chen Director of Photography: Alice Stephens Production Designer & Costume Designer: Eleanor Steiner 1st AD: Kean Szczur Sound Designer: Gunay Demirci Composer: Tommy Spender Colourist: Abe Wynen 1st AC: Cameron Stewart 2nd AC: Jessa Rose, Oliver Reuben Gaffer: Alaistair Duffield Best Boy: Harry Byrne Sound Recordist: Nick Whelan Hair & Make Up Artist: Jenni Tighe Production Assistant: Alec Wilson BTS Stills: Nynno Bel-Air Special Thanks: Guitars Plus Chris & Giulia Voce Sandringham Hotel Hummingbird, Savage Rentals, Offshoot Rentals Robbie U-Man Simons Bayside Council Sarah Banfield, Collective Talent Maria Efthymiopoulos, 2 Divas Louis and Roberta Cheung Glendyn Ivin Alice Willison Maria Papoutsis David Rittey, Nora Niasari, Alex George, Bonnie Moir Tim Richmond, Longplay Family of Lydia Rui © RUI FILMS 2018

#Videos & Films

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hotfps · 5 years

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#IFTTT #Vimeo

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chattering-magpie-uk · 5 years

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A Christmas Carol (Derby) 2019

Every year over the Christmas period or the Yuletide if you will; I watch a film, I listen to an audio drama or an audio book, I will if at all possible attend a theatrical performance. I may do all of these activities and all of these activities have one factor in common. They are all performances of my favourite story and that story is 'A Christmas Carol' by Charles Dickens.

I cannot really say what it is that attracts me to this story with any certainty. It is a story of hope, it is a story of redemption or in the words of Dickens himself, of reclamation then. Take heed for it is a story of our humanity. Do we see ourselves within this play and within each character? Is there a part of Ebenezer Scrooge in me or in all of us? Can we find Belle, Bob Cratchit, Fred Scrooge and others within ourselves? Am I Tiny Tim? Each is perhaps a metaphor for facets of the human state and saying 'God bless us everyone' is as appropriate today, as it was in 1843. The story remains an allegory representing the greater whole of society.

In December 2019 I attended my 'traditional' performance of 'A Christmas Carol' but this time in Derby. This was a professional production adapted for the stage by Neil Duffield and directed by Oliver O'Shea. It proved to be a worthwhile, enjoyable and highly competent production. A minimal set used with imagination, placed the story in an area of darkness and step by step, we were guided towards a lighter finale.

As with any stage production there were changes, as there has to be when adapting any story to the stage. A section may be left out or abridged in one production, while in another that same passage may be explored in greater depth. A theme may be given a greater or a lesser emphasis, all dependent upon the need, the time constraints, budget and cast. This is a conundrum faced by all producers and directors, no matter what the play. In a play as famous and as well known as this, that conundrum is brought starkly into focus. The director is presenting a story that many in the audience will know in detail, we each of us having our favourite character, favourite scene and often, our favourite lines. Directing 'A Christmas Carol' is a challenge.

This production faced that challenge and maintained a very high standard throughout. I have seen many performances of this play, including demanding single man productions and I think I can judge. The performers, all bar the lead playing multiple roles to maintain the dynamic, kept pace and focus. Keeping the audience, consisting on the day I was there primarily of school parties, focused in turn upon the stage. It needs to be said, children can be a tough audience. Special mention is often appropriate and there are two points that in my opinion, deserve my particular attention. First of all the lead actor Gareth Williams positively shone in the role. True he has played the same role before in other productions but there was no complacency here. We were instead treated to a precise depiction, nuanced in the interpretation by remarkable facial expression. Perhaps not a Simon Callow but close, very close.

Second point of note is the ghosts. Each obviously performed by an actor giving their own interpretation but each one subtle, rather minimal and underplayed. A clever directorial choice allowing Williams to expand his own performance in a touching, quite emotional manner.

The finale, complete with carols emphasised the lighter elements of the production and the overall positive message of the latter part of the story. The production was warmhearted, almost concise in parts but perfectly capable of delivering the message required. This wonderful story is kept alive by need and by those that perform it. It is not as 'dead as a doornail' and I hope it never will be.

#Derby UK. Charles Dickens #A Christmas Carol

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cluelessrebel1988 · 7 years

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A video I made of all the canon characters and OCs currently in @theconvergenceroleplay. The song is “Marching On” by OneRepublic

The Characters are as follows:

Supernatural

Naomi (Amanda Tapping)

Jenna Winters (Odette Annable)

Sam Winchester (Jared Padalecki)

Dean Winchester (Jensen Ackles)

Charlie Bradbury (Felicia Day)

Kevin Tran (Osric Chau)

Jo Harvelle (Alona Tal)

Ruby (Katie Cassidy)

Lucifer (Mark Pellegrino)

Eileen Leahy (Shoshannah Stern)

Crowley (Mark Sheppard)

Castiel (Misha Collins)

Max Banes (Kendrick Sampson)

Andrew "Drew" Haraldson (Grant Gustin)

Harry Potter

Taylor Weasley (Melissa Benoist)

Dominique Weasley (Indiana Evans)

DJ Lake (Seán William McLoughlin)

Ron Weasley (Rupert Grint)

Fred Weasley (James Phelps)

Alexandra Summers (Idia Eisley)

Lily Potter II (Holland Roden)

Ginny Weasley (Bonnie Wright)

James Potter II (Dylan O'Brien)

Lucy Weasley (Saxon Sharbino)

Molly Weasley II (Zena Grey)

Jacob Kowalski (Dan Fogler)

Colin Creevey (Hugh Mitchell)

Victoire Weasley (Amber Heard)

Tom Riddle (Frank Dillane)

Logan Mills (Munro Chambers)

Draco Malfoy (Tom Felton)

Seamus Finnigan (Devon Murray)

Shona "Nani" Duncan (Zooey Deschanel)

Hermione Granger (Emma Watson)

Teddy Lupin (Luke Newberry)

Dean Thomas (Alfie Enoch)

Miles Thomas (Ryan Potter)

Lysander Scamander (Colin Ford)

Lee Jordan (Luke Youngblood)

Marvel Cinematic Universe

Jemma Simmons (Elizabeth Henstridge)

Natasha Romanov (Scarlett Johansson)

Darcy Lewis (Kat Dennings)

Angie Martinelli (Lyndsy Fonseca

Peggy Carter (Hayley Atwell)

Sam Wilson (Anthony Mackie)

Pepper Potts (Gwyneth Paltrow)

Tony Stark (Robert Downey Jr)

Booker Harmon (Michael B. Jordan)

Steve Rogers (Chris Evans)

Peter Parker (Tom Holland)

Aldrich Killian (Guy Pearce)

Elektra Natchios (Elodie Yung)

Mantis (Pom Klementieff)

Leslie Shade (Kylie Furneaux)

Peter Quill (Chris Pratt)

Bucky Barnes (Sebastian Stan)

Nebula (Karen Gillan)

Leo Fitz (Iain de Caestecker)

Daisy "Skye" Johnson (Quake) (Chloe Bennet)

Wanda Maximoff (Elizabeth Olsen)

Pietro Maximoff (Aaron Taylor-Johnson)

Sherlock

Mycroft Holmes (Mark Gatiss)

John Watson (Martin Freeman)

Sherlock Holmes (Benedict Cumberbatch)

Molly Hooper (Louise Brealey)

Anthea (Lisa McAllister)

Mary Watson (Amanda Abbington)

Irene Adler (Lara Pulver)

Greg Lestrade (Rupert Graves)

Eurus Holmes (Siân Brooke)

Doctor Who

Rose Tyler (Billie Piper)

Jack Harkness (John Barrowman)

Jayda Osmi (Nicole Bonifacio)

Jacob Robens-Osmi (Tristan Wilds)

Sky Smith (Sinead Michael)

Clara Oswald (Jenna Coleman)

Percy Jackson

Hylla Ramirez-Arellano (Eiza Gonzalez)

Annabeth Chase (AnnaSophia Robb)

Hazel Levesque (Amandla Stenberg)

Frank Zhang (Booboo Stewart)

Kaiser Jäger (Max Riemalt)

Leo Valdez (Jake T. Austin)

Nico di Angelo (Jakub Gierszal)

Rachel Elizabeth Dare (Luca Hollestelle)

Will Solace (Burkely Duffield)

Zoë Nightshade (Anjli Mohindra)

Jackie Long (Melissa Benoist)

Reyna Ramirez-Arellano (Victoria Justice)

Clarisse La Rue (Leven Rambin)

Percy Jackson (Logan Lerman)

The Vampire Diaries

Elijah Mikaelson (Daniel Gillies)

Katherine Pierce (Nina Dobrev)

Davina Claire (Danielle Campbell)

Damon Salvatore (Ian Somahalder)

Stefan Salvatore (Paul Wesley)

Lexi Branson (Arielle Kebbel)

Elena Gilbert (Nina Dobrev)

Caroline Forbes (Candice King)

April Young (Grace Phipps)

Rebekah Mikaelson (Claire Holt)

Indiana 'Indie' Davis (Lily Collins)

Jeremy Gilbert (Steven R McQueen)

Bonnie Bennett (Kat Graham)

Vicki Donovan (Kayla Ewell)

Tyler Lockwood (Micheal Trevino)

The Hunger Games

Primrose Everdeen (Willow Shields)

Clove (Isabelle Fuhrman)

Madge Undersee (Abigail Breslin)

Finnick Odair (Sam Clafin)

Dexterous LaFevers (Colin Ford)

Glimmer (Leven Rambin)

Christopher 'Kit' Odair (Douglas Booth)

Johanna Mason (Jena Malone)

Shilo Mellark (Alex Pettyfer)

Annie Cresta (Stef Dawson)

Katniss Everdeen (Jennifer Lawrence)

Thresh (Dayo Okeniyi)

Willow Mellark (Emily Rudd)

Merlin

Morgana Pendragon (Katie McGrath)

Gwaine (Eoin Macken)

Percival (Tom Hopper)

Lancelot (Santiago Cabrera)

Hunith (Caroline Faber)

Balinor (John Lynch)

Mordred (Alexander Vlahos)

Merlin (Colin Morgan)

Freya (Laura Donnelly)

Rielle (Indiana Evans)

Kara (Alexandra Dowling)

Sir Leon (Rupert Young)

Once Upon a Time

Peter Pan (Robbie Kay)

Graham Humbert (Jamie Dornan)

Emma Swan (Jennifer Morrison)

Grace (Alyssa Skovbye)

Helena (Tristan Mays)

Regina Mills (Lana Parrilla)

Felix (Parker Croft)

Elsa (Georgina Haig)

Zelena (Rebecca Mader)

Aurora (Sarah Bolger)

Anna (Elizabeth Lail)

Killian Jones (Colin O'Donoghue)

Anastasia (The Red Queen) (Emma Rigby)

Fiona (The Black Fairy) (Jamie Murray)

Divergent

Christina Kravitz (Zoe Kravitz)

Eric Coulter (Jai Courtney)

Tris Prior (Shailene Woodley)

Will (Ben Lloyd-Hughes)

Fox Marvel

Kassandra Dare (Nicola Peltz)

Amily Jacobs (Elle Fanning)

Daisy Oliviera (Tori Kelly)

Jubilation Lee 'Jubilee' (Lana Condor)

Scott Summers (Tye Sheridan)

Charles Xavier (James McAvoy)

Chase Maelstrom (Asa Butterfield)

Sean Cassidy (Caleb Landry Jones)

Ajax (Francis) (Ed Skrein)

Alex Summers (Lucas Till)

Ellie Phimister (Brianna Hildebrand)

Jasper (Lindsey Morgan)

Hope Cooper (Zendaya)

Anise Lovett (Adelaide Kane)

Peter Maximoff (Evan Peters)

Brooklyn Winters (Crystal Reed)

Laura Kinney (Dafne Keen)

Jean Grey (Sophie Turner)

Star Trek

Khan Noonien Singh (Benedict Cumberbatch)

James T Kirk (Chris Pine)

The Maze Runner

Thomas (Dylan O'Brien)

Minho (Ki Hong Lee)

Elizabeth (Maia Mitchell)

Newt (Thomas Brodie-Sangsta)

Harriet (Nathalie Emmanuel)

Sonya (Katherine McNamara)

DC Cinematic and Television Universes

Kara Danvers (Melissa Benoist)

Cisco Ramon (Carlos Valdes)

Thea Queen (Willa Holland)

Felicity Smoak (Emily Bett Rickards)

Hunter Zoloman (Teddy Sears)

Oliver Queen (Stephen Amell)

Melanie Silver (Saoirse Ronan)

Harley Quinn (Margot Robbie)

The Joker (Jared Leto)

Harrison Wells (Tom Cavanaugh)

Caitlin Snow (Danielle Panabaker)

Jesse Quick (Violett Beane)

Alex Danvers (Chyler Leigh)

Chato Santana (El Diablo) (Jay Hernandez)

Patty Spivot (Shantel VanSanten)

Floyd Lawton (Deadshot) (Will Smith)

Clark Kent (Superman) (Henry Cavill)

Ray Palmer (A.T.O.M) (Brandon Routh)

Adrian Chase (Simon Morrison) (Josh Segarra)

Sara Lance (Caity Lotz)

Barry Allen (Grant Gustin)

Dinah Drake (Juliana Harkavy)

William Clayton (Jack Moore)

Diana Prince (Wonder Woman) (Gal Gadot)

Mon-El (Mike Matthews) (Chris Wood)

Winslow Schott Jr. (Jeremy Jordan)

Zoe Lawton (Shailyn Pierre-Dixon)

Jae-Yoon Hyunsik (Park Chanyeol)

Iris West (Candice Patton)

Dante Ramon (Nicholas Gonzalez)

Star Wars

Bennal Derek (Bradley Cooper)

Han Solo (Harrison Ford)

Aeli Serit (Shailene Woodley)

Kylo Ren (Adam Driver)

Orson Krennic (Ben Mendelsohn)

Armitage Hux (Domhnall Gleeson)

Alter'Li Fond (Holland Roden)

Callen Derek (Kellen Lutz)

Barriss Offee (Nalini Krishan)

Padmé Amidala (Natalie Portman)

Rey (Daisy Ridley)

Leia Organa (Carrie Fisher)

Lord of the Rings

Tauriel (Evangeline Lilly)

Legolas Greenleaf (Orlando Bloom)

Thranduil Greenleaf (Lee Pace)

Bilbo Baggins (Martin Freeman)

Gimli (John Rhys-Davies)

Raviel (Rachel McAdams)

The Mortal Instruments and Shadowhunters

Max Lightwood - TMI (Jack Fulton)

Cecily Herondale - TMI (Alexandra Daddario)

Shane Burciaga (Adam Lambert)

Magnus Bane - SH (Harry Shum Jr.)

Louis Adams (Dylan O'Brien)

Amelia Lockhart (Madison McLaughlin)

Clarissa 'Clary' Fray - TMI (Katherine Mcnamara)

Alec Lightwood - SH (Matthew Daddario)

Kayden Jacques - SH (Victoria Justice)

Jace Lightwood - TMI (Jamie Campbell Bower)

Maia Roberts - TMI (Meagan Tandy)

Disney Live-Action

Belle (Emma Watson)

Evie (Sofia Carson)

Rapunzel (Mackenzie Mauzy)

Little Red Riding Hood (Lila Crawford)

Sharpay Evans (Ashley Tisdale)

Mal (Dove Cameron)

Jay (Booboo Stewart)

Ben (Mitchell Hope)

Giselle (Amy Adams)

Henry Turner (Brenton Thwaites)

Carlos De Vil (Cameron Boyce)

Twilight

Jane (Dakota Fanning)

Carlisle Cullen (Peter Facinelli)

96 notes · View notes

lgspears · 6 years

Text

For the Devil May Cry movie, I nominated

Shawn Ashmore, Oliver Phelps or Dylan Sporuse as Dante

Aaron Ashmore, James Phelps or Cole Sprouse as Vergil

Rosie Mac, Freya Mavor, Caylee Cowan, Samara Weaving, Lili Reinhardt or Barbara Palvin as Trish/Eva

Kira Kosarin, Liz Gillies, Bel Powley, Camilla Belle, Carlson Young or Christian Serratos as Lady/Mary

Burkely Duffield or Gage Munroe as Nero

0 notes

bspolink1348 · 6 years

Text

Livres : les nouveautés de la semaine (11 février 2019)

À la une

Marketing

Distribution 4.0 / Olivier Badot, Jean-François Lemoine, Adeline Ochs

Cote de rangement : HF 5415 .6 B 257136

"Cet ouvrage vise à mieux comprendre la distribution et le commerce au regard des enjeux actuels tout en intégrant les forts bouleversements que vit ce secteur. La distribution se comprend dans un sens large et propose une multitude de formats de commerce (grande distribution, distribution spécialisée, commerce indépendant, rues commerçantes, centres commerciaux) ainsi que la logistique. Sous l'impulsion d'Internet et de la culture d'Internet, les comportements du consommateur, et par extension le commerce dans son ensemble, sont profondément modifiés. Ces mutations sont à l'origine de la distribution 4.0. Le cross-canal, les objets connectés, l'intelligence artificielle, les robots, le social commerce, les plateformes digitales, le commerce collaboratif et le phygital, par exemple, relèvent de la distribution 4.0. Dans une dynamique pédagogique, Distribution 4.0 intègre des définitions, des outils, des exemples classiques et de pointe avec une approche pluridisciplinaire (marketing, logistique, économique, juridique, urbanistique, sociologique).Ce livre apporte des éclairages théoriques sur les fondements de la distribution. Il expose aussi des outils pour analyser et identifier les stratégies des distributeurs et les comportements des acheteurs. Chaque chapitre comporte : des questions introductives auxquelles le chapitre répond, des encadrés qui proposent des exemples concrets ou font état de la recherche, des schémas et visuels pour faciliter la lecture, un résumé. Cet ouvrage est un outil qui aide les étudiants et les professeurs dans leur apprentissage et enseignement. Il s'adresse également aux professionnels qui souhaitent approfondir ou mettre à jour leurs connaissances en matière de Distribution 4.0." - Quatrième de couverture

Sciences politiques

Global politics and violent non-state actors / Natasha Ezrow Cote de rangement : JC 328 .6 E 257149

Président et régime présidentialiste en Amérique latine / Arnaud Martin Cote de rangement : JL 961 M 257134

Besluitvorming in de Europese Unie : een survival kit / Hendrik Vos Cote de rangement : JN 30 V 257131

International relations theory / Oliver Daddow Cote de rangement : JZ 1242 D 257148

Post-humanitarianism : governing precarity in the digital world / Mark Duffield Cote de rangement : JZ 6369 D 257152

The legislative choice between delegated and implementing acts in EU law : walking a labyrinth / edited by Eljalill Tauschinsky, Wolfgang Weiß Cote de rangement : KJB 4307 L 257151

Van Europese gemeenschappen tot Europese unie : wegwijs in de verdragen / Catharina Dehullu Cote de rangement : KJE 5402 D 257132

Économie

Karl Polanyi's vision of a socialist transformation / Michael Brie, Claus Thomasberger (eds.) Cote de rangement : HB 102 .P64 K 257150

The welfare state in Europe : economic and social perspectives / Pierre Pestieau and Mathieu Lefebvre Cote de rangement : HV 238 P 257146

Anti-Blanchard macroeconomics : a comparative approach / Emiliano Brancaccio with Andrea Califano Cote de rangement : HB 172 .5 B 257142

Fiscalité

Taxation, the state and society : the fiscal sociology of interventionist democracy / Marc Leroy Cote de rangement : HJ 2305 L 257147

Communication

La violence du logos : entre sciences du texte, philosophie et littérature / sous la direction de Lia Kurts-Wöste, Mathilde Vallespir et Marie-Albane Watine Cote de rangement : B 187 V 257139

Democracy’s detectives : the economics of investigative journalism / James T. Hamilton Cote de rangement : PN 4781 H 257145

Sociologie

Réflexion sociologique sur le macronisme / Roland Guillon Cote de rangement : DC 435 G 257143

Chronique de la guerre interne au Pérou : 1980-2000 : étude d'anthropologie de la violence / Mariella Villasante Cervello Cote de rangement : F 3448 .5 V 257141

Les objets composés : agencements, dispositifs, assemblages / sous la direction de Nicolas Dodier et Anthony Stavrianakis Cote de rangement : HM 511 O 257144

Mobile orientations : an intimate autoethnography of migration, sex work, and humanitarian borders / Nicola MaI Cote de rangement : HQ 119 .4 M 257140

En prison, paroles de djihadistes / Guillaume Monod Cote de rangement : HV 6433 M 257138

L'énergie et ses usages domestiques : anthropologie d'une transition en cours / sous la direction de Nathalie Ortar et Hélène Subrémon Cote de rangement : TJ 808 E 257133

Travail

Le retour des domestiques / Clément Carbonnier, Nathalie Morel Cote de rangement : HD 5775 C 257137

Comptabilité

Théorie de la comptabilité financière / Bernard Raffournier Cote de rangement : HF 5642 R 257135

Tous ces ouvrages sont exposés sur le présentoir des nouveautés de la BSPO. Ceux-ci pourront être empruntés à domicile à partir du 25 février 2019.

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