#Pfeffermans

[admireforever]

Transparent

[emmynominees]

judith light as shelly pfefferman in season two of transparent

primetime emmy award nominee for outstanding supporting actress in a comedy series

[clarissadalloways]

this might just be the greatest movie ever made actually

[wifeinwatercolours]

Carrie Brownstein in Transparent

[beemovieerotica]

name a more iconic fictional mother than shelly "your boundary is my trigger" pfefferman

[jirulddd]

The Burnt House: A Book Review

Faye Kellerman is an American author of mystery novels, best known for her long-running series featuring Detective Peter Decker and his wife, Rina Lazarus.

"The Burnt House," has achieved notable success within the thriller genre. It's the 16th installment in her popular Peter Decker/Rina Lazarus series, and it has garnered positive reviews for its intricate plot, well-developed characters, and exploration of contemporary social issues.

"The Burnt House" by Faye Kellerman is a gripping mystery novel that delves into the complexities of a crime investigation, exploring the intricate layers of human relationships and dark secrets.

The story follows Detective Peter Decker and his partner, Detective Marge Dunn, as they unravel the mysterious circumstances surrounding a burnt house. The investigation takes unexpected turns, revealing a web of lies, deceit, and long-buried family secrets. The author skillfully weaves together multiple perspectives, keeping readers on the edge of their seats.

In a thrilling and thought-provoking conclusion, "The Burnt House" not only unravels the mystery behind the charred remains but also explores the profound impact of the past on the present. Faye Kellerman delivers a compelling narrative that combines suspense, intricate character development, and a vivid portrayal of the human psyche.

FORMALISTIC APPROACH

-In a formalistic analysis of "The Burnt House" by Faye Kellerman, one can appreciate the novel's structure, symbolism, and literary devices.

The novel's structure is meticulously crafted, with Kellerman employing suspenseful pacing and strategic placement of plot twists. Each chapter serves as a building block, contributing to the overall sense of mystery and intrigue.

Symbolism plays a crucial role, with the burnt house serving as a metaphor for the characters' hidden traumas and the destructive power of secrets. The author skillfully uses symbols to convey deeper meanings and evoke emotional responses from the reader.

Literary devices, such as foreshadowing and unreliable narration, add layers to the narrative. Kellerman's use of language and dialogue enhances character development and creates a palpable atmosphere, immersing the reader in the intricate world she has crafted.

FEMINIST APPROACH

a feminist approach involves analyzing how gender roles, power dynamics, and societal expectations impact the characters and their experiences. It explores the portrayal of female characters, their agency, and the challenges they face within the narrative. A summary of the novel would be that it delves into the complexities of relationships, crime-solving, and personal growth, all while addressing the nuanced perspectives of its female characters in the context of a mystery storyline.

"The Burnt House" by Faye Kellerman is primarily set in Los Angeles, California. The story unfolds in various locations within the city, offering a mix of urban landscapes and diverse neighborhoods.

Round Characters:

Peter Decker: A seasoned detective grappling with personal and professional challenges, showcasing internal conflicts and complexities.

Naomi Pfefferman: A survivor of the plane crash with a mysterious past, exhibiting growth and resilience as she adjusts to her trauma.

Rabbi David Small: A conflicted religious leader navigating faith and doubt amidst tragedy and ethical dilemmas.

Flat Characters:

Detective Donohue: A stereotypical seasoned officer providing comedic relief and a foil to Decker's introspection.

Chief Ezra Green: A stern and authoritative figure representing the police hierarchy, with limited development beyond their official role.

Static Characters:

Dr. Frieda Greenbaum: A competent medical professional whose role primarily focuses on providing medical expertise with minimal personal exploration.

Rabbi Abraham Small: David's traditional father, representing a more unchanging perspective on faith and community.

Dynamic Characters:

Leah Decker: Peter's daughter, initially depicted as rebellious but experiencing growth and maturity as she confronts the emotional impact of the tragedy.

Jonah Pfefferman: Naomi's estranged son, initially distant and distrustful but gradually opening up and confronting his own emotional baggage.

The central conflict revolves around Detective Peter Decker as he investigates a complex case involving crime, deception, and personal stakes. The story weaves together elements of mystery and suspense, leading Decker to confront challenges both within the police force and his personal life. As the investigation unfolds, the characters grapple with moral dilemmas and face the consequences of their choices.

Exposition:

In the exposition of "The Burnt House," readers are introduced to Detective Peter Decker, who is navigating the complexities of his professional and personal life in Los Angeles. The initial setting establishes the backdrop of a seemingly routine investigation that will soon evolve into something more intricate.

Rising Action:

As the story progresses, the rising action unfolds with the discovery of a crime that leads Peter Decker deeper into the underbelly of the city. Clues emerge, characters' motives become clearer, and tensions escalate, creating a sense of anticipation and mystery. Personal relationships, including those with Peter's family, also undergo strain during this phase.

Climax:

The climax is the pivotal moment where the main conflict reaches its peak. In "The Burnt House," this could be a significant breakthrough in the investigation, a confrontation with a key suspect, or an unexpected twist that changes the course of the narrative.

Falling Action:

Following the climax, the falling action involves the consequences and aftermath of the critical events. It explores the resolution of the main conflict, tying up loose ends and providing clarity on the mysteries introduced earlier. Relationships may be reconciled or further strained, and the characters grapple with the aftermath of the climax.

Denouement:

The denouement, or resolution, brings the story to its conclusion. In "The Burnt House," this phase allows for the resolution of any remaining subplots, offers insights into the characters' futures, and provides a sense of closure. Loose ends are tied up, and readers gain a complete understanding of the consequences of the characters' actions.

-Tone is generally serious and suspenseful. 

-The mood often shifts between tense and mysterious as the story unfolds, keeping readers engaged in the investigation and the characters' experiences.

 The theme of "The Burnt House" by Faye Kellerman revolves around crime, investigation, and the complexities of human relationships. The burnt house serves as a metaphorical backdrop, symbolizing destruction and the uncovering of hidden truths. The narrative explores the aftermath of the fire, both literally and metaphorically, as characters navigate through the ashes of the past to solve mysteries and confront their own demons.

In "The Burnt House" by Faye Kellerman, the burnt house serves as a powerful symbol throughout the novel. It represents destruction, both physical and metaphorical. The fire that consumed the house becomes a metaphor for the secrets, lies, or past events that characters are trying to uncover.

also symbolize transformation and rebirth. From the ashes of the destruction, characters may find a chance for renewal, redemption, or a fresh start. It highlights the idea that sometimes one must confront and overcome the past to move forward.

[filmes-online-facil]

Assistir Filme Uma Noite em Casablanca Online fácil

Assistir Filme Uma Noite em Casablanca Online Fácil é só aqui: https://filmesonlinefacil.com/filme/uma-noite-em-casablanca/

Uma Noite em Casablanca - Filmes Online Fácil

Em Casablanca, no pós-guerra, Ronald Kornblow é contratado para gerir um hotel cujos anteriores gerentes acabaram assassinados. O soldado francês Pierre suspeita de envolvimento de ex-nazis, especialmente do Conde Pfefferman, que na verdade é o mal-afamado Heinrich Stubel. Mas o próprio Pierre é acusado de cooperar com o inimigo e tenta limpar seu nome com a ajuda de sua namorada e seu cauteloso amigo Corbaccio. Eles conseguem a ajuda de seu sitiado criado mudo, Rusty, e descobrem uma horda de butins de guerra que os nazistas têm no hotel.

[popblank]

A Transparent Musical at the Mark Taper Forum:

I saw this toward the end of June very late in its scheduled run, and after Center Theatre Group’s announcement that the next Taper season would be canceled and the remainder of the current season postponed. So it felt a little bittersweet going in. 

Prior to the show, the theater sent out an email talking about new security measures to be instituted, including wanding and bag checks. The implication was that it would be the new standard process, but it didn’t feel like a coincidence that this new level of security was rolled out for this particular show at this particular time.  As a result of the new process, there was a long line to get inside (which turned out to be a help when I got stuck in traffic and otherwise would have been 10 minutes late).

Back when it premiered I only had watched a few episodes of the TV show Transparent before my attention span for serialized TV gave out, so wasn’t familiar with the storyline beyond the main concept.  This musical version was reasonably fun but didn’t feel like a final draft, so I was pretty surprised to see that it’s aiming at Broadway next year.  More thoughts below:

The theater (including lobby and entryways) was decorated as the Cecile J. Janowitz Jewish Community Center (CJJJCC), and cast members were running all over the theater throughout the show, including up in the catwalks.  

Ali Pfefferman (Adina Verson) and Maura Pfefferman (Daya Curley) were the primary characters, however Ali really seems to have the main arc and drives more of the plot. Liz Larsen stole her scenes as Shelly Pfefferman and I think her songs with Maura (”Who Suffered More” and “Emergency Contact”) were the strongest ones in the show both for sheer entertainment value as well as giving me a better sense of the characters and their relationship to each other. 

 After reading a bit about the TV plotlines, it seems like the musical version was trying to fit several seasons into two hours and 15 minutes, yet at first there did not seem to be much plot momentum and I was wondering exactly what the point of the show was through a good part of Act I. It did pick up in Act II, but it didn’t seem like things were quite efficient or focused enough to give the secondary storylines (like Josh/Raquel and Sarah/Len) much weight.  The character of Ezra and his story seemed tacked on, and the song where he and Ali get to know each other was pretty unconvincing.

Lyrics/music were mostly unremarkable. 

Ensemble seemed to often be playing the sort of sympathetic guest characters who are there to help the audience learn a lesson in an afterschool special.  (It is a very earnest show.)

Overall, I can see how the story might have worked better on TV, where the camera provides a little bit of distance as well as a specific point of view (not to mention a lot more time to develop arcs and character relationships). 

[jmsa1287]

With a Musical Finale, it's Curtain Call for 'Transparent'

the final installment of “Transparent” has a lot of problems, most notably the same ones that plagued the final “House of Cards” season: It can’t move beyond its disgraced lead star.

There is no question that "Transparent" is one of the most important TV shows of the decade. Though far from perfect, Jill Soloway's dramedy, which began in 2014, paved the way for mainstream transgender and nonbinary representation on the small screen, shining light on many trans and queer issues. It also recently made TV history again for far a less savory reason: Jeffrey Tambor, the Emmy-winning star of "Transparent," was fired from the series last year after an investigation was launched about claims of sexual misconduct made against him. Like the truncated final season of "House of Cards," which faced the same set of circumstances with its lead Kevin Spacey, "Transparent" continues on for one last bow but without its central figure. And for better or worse, again, just like "House of Cards," the "Transparent: Musical Finale" is all about its missing star. After an Alanis Morissette-inspired number about loneliness and L.A. traffic, sung by the cast, the Pfefferman family learns that Maura (previously played by Tambour) has suddenly died; the body discovered by her close friend Davina (Alexandra Billings). Maura is never shown — not photographs or in flashbacks (although, during a daydream, a young girl represents her at one point) — but she nevertheless looms over the final chapter — a cloud that is similar to Spacey's there-not-there presence in the final season of "House of Cards" that was ostensibly all about Robin Wright's character. Instead of moving past Maura's death, the 100-minute finale focuses on it, paying ode to the trans parent for a last goodbye.

Directed by Soloway, the finale is full of songs written by their sibling Faith Soloway, who is also a writer on the series. Making the finale about how Maura's death impacts the Pfeffermans, which includes children Josh (Jay Duplass); Sarah (Amy Landecker); Ali (Gaby Hoffmann) — who now goes by Ari — and ex-wife Shelly (Judith Light), is an understandable albeit not the best way to close out the show. Wrapping "Transparent" up with a movie is another agreeable option. But making it a musical — at least with this set of songs, which includes a number in which the cast sings about a "joyocaust" (the opposite of the Holocaust?) is confounding. Most of the songs don't work and are a jarring juxtaposition to the finale's somber tone. There are a few successful moments, however, including a beautiful ballad called "Let Her Be OK," sung by Davina and LGBTQ youth during Maura's funeral. Through song and dance, the "Transparent" finale takes place over a few days where the Pfeffermans come to terms with the passing of their "moppa," setting up her funeral arrangements and dealing with what she left in her will. Each child responds to the sudden death differently, as does Shelly, who pulls an all-nighter and writes a play about her family, recruiting a small troupe to act it out in order to avoid helping her responsibilities and her own emotions in the grieving process. As always, "Transparent" is a deeply Jewish show and its finale continues to explore identity, faith and inherited generational trauma but ends on a sour note with that perplexing "joyocaust" song. It's an attempt to turn the decades-lasting effects of the Holocaust into something positive and hopeful but is probably the single worst thing the show has ever done; an unfortunate blemish on a groundbreaking series.

"Transparent: Musical Finale" is ambitious in its attempts to close the book on Pfefferman family in an unexpected way. It mostly does not work, sending off one of the most interesting queer series in TV history with a cringe. The finale debuts in a different TV landscape from which it began five years ago and it's hard not to notice the show's whiteness and its privilege. The Pfeffermans are rich and secure; they face adversity to be sure but their privilege is a safety net. Maura's coming out as trans in 2014 was brave — and it would be similarly brave if she came out in 2019. But with "Pose" — one of the very best LGBTQ series ever — it's impossible to ignore the different obstacles someone like Maura faces compared to a trans person of color from a different socioeconomic background. "Transparent" has indeed explored this divide in the past, and for a brief moment, the finale touches upon it, but there's absolutely no room to properly deal with it in this form. Instead, the "Transparent" finale faces inward and is small. It has nothing to say about the state of trans people and trans rights in 2019 and opts to be a specific story about a family dealing with a sudden loss of a complicated character.

[rosalie-starfall]

Crazy people like me pick crazy people like you

[admireforever]

Transparent

[emmynominees]

judith light as shelly pfefferman in season three of transparent

primetime emmy award nominee for outstanding supporting actress in a comedy series

[thesevenwondersofawitch]

The song about Crazy People fits Josh and Raquel so well and now I'm shipping them again.

THE CHEMISTRY

Holy shit did they just get married?

THEY JUST GOT MARRIED

YEET!

THEY'RE IN LOVE THEY'RE IN LOVE THEY'RE IN LOOOOOOOOOVE!

And apparently now I'm an opera singer because this makes me so happy!

Oooohhhhhh Ari is getting to have their Bat mitzvah/Bar mitzvah!!!!!!!

This is already so much cooler than my cousin's bat mitzvah

There really are so many rules when it involves the Torah.

That voice Kathryn made when talking about giving a schmuck a second chance. 😂

Oh my god it's a fun parade!

Tis glitter ash so thy long will sparkle

The dude on the piano is killing it!

Oh no, oh no, oh no, no, no, no, no. I'VE FINISHED IT!

Brb now I must set out to find more Kathryn Hahn content. Xx

[avidadeumagorda]

[psychodollyuniverse]

Gaby Hoffman TRANSPARENT as Ali/Ari Pfefferman, what a STUNNING performance. 

[nakuu]

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“Cute nose”

- Transparent, S 02, Ep 04