#don bosko

[xhemilbeharaj]

Plagosja te Don Bosko, policia jep detaje

Policia e Tiranës, me anë të një lajmërimi për mediat, ka dhënë detaje për të të shtënat me armë në Don Bosko. Efektivët e kryeqytetit shprehen se nga të shtënat me armë janë plagosur një 45-vjeçar dhe një 22-vjeçar, që janë shtruar në spital, ku po marrin mjekim. “Tiranë/Informacion paraprak Më datë 03.09.2024, në Don Bosko, në afërsi të OSHEE, janë plagosur me armë zjarri shtetasit K. E., 45…

[punster-2319]

The “Disgruntled Ex-Disney Employees Forming Their Own Animation Studio to Compete With Disney” Starter Pack

CLASSIC BONUS:

[totalldonbosko]

[meidonbosko]

15 FAZAT EMOCIONALE PER TU BERE PRONAR SHTEPIE!

Gjate jetes njeriu ben disa blerje apo investime te rendesishme si shkollimi, makina, dasma etj, por asnjera nga keto nuk do te jete aq e rendesishme dhe emocionale sa blerja e shtepise suaj.

Ne shkrimin paraardhes ju fola per emocionin unik qe ndjen dikush ku blen shtepine e tij te pare. Por para se te shkojme te ky rezultat final kaq i bukur bleresit kalojne disa luhajtje emocionesh.

Per t’ju pergatitu me mire per procesin e blerjes do te shpjegoj 15 fazat emocionale per tu bere pronar shtepie.

1.     Vendose te blesh nje shtepi !

Te ka ardhur ne maje te hundes duke hedhur parate e tua per paguar qirane, ose me keq akoma, duke jetuar me prinderit e tu. Pra ti e ndjen veten gati per te blere shtepine tende.....ose te pakten keshtu mendon ti.

2.     Ndihesh i emocionuar, nervoz, i shqetesuar.....e lloj loj emocionesh te tjera.

Fillon duke bere disa kerkime ne internet. Pas ketyre fillon te ndihesh disi i zhgenjyer dhe konfuz. A te duhet nje apartament me 1,2 apo tre dhoma gjumi, pallat I ri apo I vjeter, me nje apo dy tualete.

3.     Nga i emocionuar shpejt fillon te ndihesh...nervoz.

Nga te ndjerit euforik qe se shpejti do behesh pronar shpejt fillon te ndjesh nje lemsh ne stomak pasi ben konsulten e pare ne banke dhe kupton se sa borxh do te marresh.

4.     Me se shumti je i emocionuar.

Por gjithsesi se shpejti do te keni nje shtepi, nje vend ku askush tjeter pervec jush te kete te drejte te beje cte doje, te hyje me kepuce ne shtepi, te rri zhveshur.

5.     Shume shpejt fillon te lidhesh emocionalisht.

E si mund tja u shpjegosh te tjereve lidhjen e menjehershme emocionale qe ndien me dhomen e gjumit ten je shtepie qe sapo ke vizituar. Ate thjesht e ndien..

6.     Koncepti I “shtepise se endrrave” ndryshon ne menyre drastike.

Sa me shume shtepi qe viziton aq me shume kupton qe “shtepia e endrrave” qe aqq shume keni imagjinuar sa vjen dhe behet e paarritshme. Ty te duhet te heqesh dore nga kriteret fillestare. E per cfare te duhet tualeti me dritare ne fund te fundit...;)

7.     E gjetet “te duhuren”

Pasi ke pare shtepi te panumerta, me ne fund ti gjen shtepine e duhur per ty. Merr fryme thelle dhe pasi vendos qe e do, ben nje oferte duke shpresuar qe ajo do te pranohet.

8.      Merr vesh qe te kane nxjerre jashte loje.

Oferta jote ishte shume e ulet dhe pronari ja ka shitur dikujt tjeter me cmim me te larte.. Atehere te gjithe endrrat e tua jane “shkaterruar”. Dhe ti kthehesh perseri te pika 1.

9.     Atehere kur ti mendon se nuk do te dashurohesh perseri, ndodh.

Tashme trishtimi qe te shkaktoi mosblerja e shtepise se pare ka filluar te zbehet. Dhe ti fillove perseri te shikosh shtepi te tjera. Dhe pikerisht kur nuk e prisje gjen nje tjeter me te mire. Nuk e mendon dy here dhe menjehere ben nje oferte.

10.     Pataj ti rri dhe pret.

 Dhe gjithe kjo pritje fillon te ben te ndihesh pak I tensionuar. Nga frika e nje “ndarje” tjeter ti fillon te jesh i vemendshem ndaj cdo opsioni te ri qe del ne treg.

11.     Por tensionimi yt iket kur te thone “Oferta u pranua!!!”

Ndjehesh sikur ke fituar llotarine. Gjithcka eshte ne favorin tend,.

12.     Marrdhenia jote me agjentin e kredise dhe agjentin imobiliar fillon te behet serioze.

Ti kupton qe je duke shpenzuar nje kohe te papare duke folur me agjentin e kredise dhe agjentin imobiliar Per te kaluar te gjithe procesin e kreditimin me sukses.

13.     Tarifat e ndryshme dhe banka jote bankare shkon “OUU”.

Ato shifra papritmas fillojne te duken shume te medha. Erdhi koha ti thuash “lamtumire” kursimeve te tua.

14. Por shume shpejt ti harron gjithcka, pasi tani je Pronar.

 Po po , eshte e vertete, eshte koha per te festuar. Ti ndihesh si nje femije i vogel vecse shume, shume me pergjegjes (kjo nuk eshte nje Monopoli).

15.     Dhe se fundi: KENAQESIA

Tani ti mund te marresh fryme lirisht pasi te gjithe kete proces e le pas. Tani ke ne dore celesat e nje vendi te ri qe ti do ta quash “shtepi” dhe bertet me gezim “UAUU” SHTEPIA IME E PARE.

[whumpywhumper]

TW: Suicidal Thoughts, Suicide Attempt

Summary: Buck wasn't immediately re-instated following Rage. The impact is life threatening.

Whumptober 2020: Day 12--I Think I've Broken Something Broken Down | Broken Bones | Broken Trust

@whumptober2020

https://suicidepreventionlifeline.org

V***V

Buck took another swig from the rum bottle before answering Eddie’s call on the fourth ring. If he’d been thinking clearly, he wouldn’t have answered it, but, at this point, denying himself any contact with his best friend was just something he couldn’t make himself do. 

“‘Lo?” he answered, voice low enough that he hoped the slur was imperceptible. 

It’s been a week since he last heard Eddie’s voice in the grocery store, the echo of you’re exhausting running through his head again and again. Bobby had called him that evening, let him know that the Chief was in negotiations to get him reinstated, that they hadn’t wanted the headache of a lawsuit. 

Because that’s all he was: a headache. 

“Buck? Do you have a minute?” 

“Sure, Eds,” he answered, working to enunciate past the numbness in his lips, “you ‘kay?” 

“Look, um, I’ve been thinking about what you said the other day about. . . about Chris, and Abuela told me he’s been asking to talk to you all night before bed,” Eddie blew out an exasperated breath, and Buck could imagine the way the older man rubbed the back of his neck, thick eyebrows drawn together. “I know it would mean a lot for him to talk to you. . .” 

Buck’s lips wobbled as he thought of Chris, that precious little ball of sunshine that he’d lost in the water. His breath hitched, and he took another slug of rum, trying to dull the pain in his chest. He grabbed another tiny, yellow tablet from the coffee table, sticking it under his tongue as he looked out the dark loft windows. 

“—Buck? Buck?!” 

“Hmm?” Buck returned his attention to Eddie. He didn’t even know he’d stopped paying attention. “Sorry, ‘m s’ry, Ed’s, what?” 

“I just asked if you wanted to talk to Christopher,” his tone was incredulous, “hell man, I’m taking a huge step here trusting you to talk to my son. Do you really not care?” 

Buck’s face screwed up at the anger in Eddie’s voice, trying to keep the hurt from entering his own. “Ah-course I care, Eds. S’just. . . It’s not r’lly a good t’me. . .” he couldn’t disguise his increasing slur, but he hoped he held back the sound of the thick sob growing in his throat, “Chris shoul’n’t talk t’me like this.” He tucked his free arm around his torso and pressed his face into his jean clad knees, trying to muffle his wet sniffle. I’m sorry, Superman, he thought, heartbroken. 

“Buck, are you drunk?!” Eddie hissed, voice lowering as it became even more disbelieving. “You’re on blood thinners, Evan, are you crazy? What happened to taking care of yourself so you could get back to the station?” 

He laughed, the sound wavering and wrong. “Dunn’t matter, Eds,” he answered, leaning back against the bottom of the couch, head tipping back for another swallow of liquor. He grabbed at the table clumsily, hearing a couple of skitters across the floor. The chalky texture of the pills was unpleasant, and his tongue worked against the inside of his mouth, washing it down with more rum. 

“What? What do you mean it doesn’t matter? Wasn’t that the whole point of the lawsuit? Wasn’t that the whole point of you not being around?” Eddie’s voice was angry, his tone taking the same razor edge it had in the grocery store when he’d had his finger in Buck’s face. 

Buck shook his head, rubbing clumsily at his eyes as they started to water, forgetting that Eddie couldn’t see him. “Nah... not really,” he mumbled, honesty forced to the surface through alcohol and drugs, “I jus’ wanted to c’me home, but ev’n Bobby d’n wan’ me back. Nobody wants me, Eds,”  he whimpered, “‘M alone.” 

Parents didn’t want him. Maddie abandoned him twice, Abby left, Ali couldn’t handle him. . .Bobby didn’t want him. 

The crew of the 118 didn’t understand why the job meant so much to him. They had families, kids, lives outside of the station. What did Buck have really? A group of people who didn’t want him, didn’t understand him. At least as a firefighter he made a difference, saved lives. Who was Evan Buckley without that? What did he have without that?

An empty apartment, and a sister who didn’t need him. He didn’t have Eddie and Chris, they weren’t his, not really. He’d ruined whatever they could have been with the lawsuit, with abandoning them, however unintentionally. Eddie would never forgive him, not after Shannon did the same thing 

All the while, playing on repeat: You’re exhausting. Suck it up. You’re exhausting. Suck it up. You’re exhausting. 

“What are you talking about, Buck? We’re pissed, but we’re a family, okay? You had a place in the 118 until the damn lawsuit, hell, from what I hear you’re getting that spot back. All you had to do was talk to us, Buck, and none of this would’ve happened.” 

That was Buck. The impulsive fuck up. Didn’t think about the consequences. 

“Would you—“ he hiccuped, rubbing a few more tears away with his damp sleeve, “—w’ld you tell Chris m’sorry? I jus’ couldn’t keep swimmin’, ‘kay? He’s such an awesome kid, s’not his fault I’m fucked up.” 

“What? Buck, you’re not making any sense.”

“Might be the pills,” he mumbled, “makin’ errything fuzzy.” 

“Pills?!” Eddie gasped liked he’d been sucker punched, “Buck, what?”  

“Jusss dinn’t wanna hurt anymore, Eds,” he tried to explain, “feels like my chest’s always ‘bout to implode. M’heart’s bein’ crushed,” he snorted indelicately, “s’worse than my leg. Hurts. M’so tired a’hurtin’, Eds.” 

“Oh, Buck, cariño mio,” it sounded like Eddie was about to cry, “do you know how many you took?” He thought he heard a feminine voice in the background, thick with concern. “Me tengo que ir, Abuela, te lo explicare mas tarde. Call 9-1-1 to Buck’s. Now.” There was the sound of a door slamming, and Eddie breathing hard into the phone. 

“Don’ call 9-1-1, Eds,” he slurred, “m’fine, don’ wanna bother Maddie.” 

“You’re not fine,” Eddie snapped, “do you know how many you took? What did you take?”

“Don’ be mad,” he started crying softly, “can’t stand when you’re mad a’me. M’sorry I lost Chris, m’so sorry.” 

“Buck,” Eddie took a deep breath, his tone softening, ”Chris is home safe, I told you I don’t blame you for that. Cariño, I need to know what you took, how much did you take?” 

“I dunno,” he mumbled, “had ‘lot from my sug’ry dinn’t use. Tried t’get better faster. Dinn’t work,” he sniffled, swallowing thickly, voice shaking, “cause m’not good enough.” 

“Buck, Evan,” there was a car door slamming in the background, an engine revving, “you’re good, so good, nothing’s been the same without you, cariño, please.”

“You don’ want me, Eds,” Buck slurred, biting his lip as his heart gave a viscous squeeze. It didn’t matter than Buck had wanted Eddie since he’d seen him in that locker room for the first time, had fallen in love with him and his son after seeing them after that earthquake. Eddie didn’t, could never, want Buck back. Couldn’t love Buck the same way he loved him, with everything, every ounce of himself. He hiccuped back a sob as he took another slug of rum, another pill to chase away the pain, head lolling on the couch cushions, “Bosko already replaced me anyway. . .s’better.” 

Bosko would take care of Eddie. It’s not like Buck had done a very good job of having Eddie’s back. 

“Bosko?! What—How?!” Eddie couldn’t seem to settle on a question, an inarticulate noise of bewilderment trailing his quick breaths. “Talk to me, cariño, what’s going on in that head of yours?”

“The truck, the embolism, the tsu—tsunami. . .“ he blinked slowly, taking a shallow breath and sighing it out over the phone, lips wobbling as he sniffled back a whine, “M’be the w’rld’s tryin’ t’tell me somethin’, ya know?”

“Buck, Evan, what are you saying?” The other man’s voice was shattered, and it broke Buck’s heart, destroying the last dam holding back his tears. 

“‘M jus’ so tired, Eds,” he sobbed, letting the tears stream down his cheeks. “I know ‘m exhausting,” he said, quoting Eddie’s words that had burned their way into his brain, “but ‘m jus’ so tired. M’sorry, I can’t. . .can’t do it anymore.” The lump in his throat became too thick to force words past, and he sobbed harder, head swimming. 

Everything was becoming heavier, breaths shallower as his eyelids slid closed. The rum bottle tipped to the side, clinking against the floor as a dribble of liquid splashed out onto his limp hand. He didn’t remember the last time he’d slept without nightmares, without being crushed by a ladder truck, being swept away by the water, without losing Chris. Seeing the blame in Eddie’s eyes for losing his son. 

Couldn’t he just sleep?

“—uck! Evan?! Don’t you dare go to sleep! I’m almost there, please, cariño mio, por favor.”

Had he said that stuff out loud? He hadn’t meant to, but he couldn’t find the energy to apologize as the phone slipped from his hand. Eddie’s voice became even more muffled until even that went away. 

[ducktracy]

177. dog daze (1937)

release date: september 18th, 1937

series: merrie melodies

director: friz freleng

starring: mel blanc (police dog, spitz, russian wolf hounds), billy bletcher (st. bernard), berneice hansell (puppy)

around this time, friz freleng left warner bros. to reconnect with his former co-workers and friends, hugh harman and rudolf ising, over at MGM. he’d serve a relatively short stint as director there, coming back to WB as soon as april 1939. the backlog of friz cartoons would trickle out until early 1938, where he would then be replaced by ben hardaway and cal dalton. friz has seniority at the studio, going as far back as animating for the 1929 pilot bosko, the talk-ink kid. while this isn’t his last cartoon, it remains an intriguing talking point! he’d make his biggest splash upon his return, directing a number of great black and white porky cartoons and making other little-known characters such as yosemite sam and sylvester, to name a select few. let’s not get too ahead of ourselves, now: here, we’re treated to a number of spot-gags involving dogs—including a drunken st. bernard.

patrons stream into a theater advertising the local dog show. it’s not a ‘30′s cartoon without a celebrity caricature of some sort--a lumbering caricature of humorist/author irvin s. cobb moseys along down the street with his identical looking bulldog. he’s followed by william powell and his pooch asta, both featured relatively prominently in speaking of the weather just 2 shorts ago. and, furthering the connection to the aforementioned cartoon, we get another gag implying that the dog took a leak on a nearby pole: powell marches past a spare pole, when suddenly his leash is yanked from behind, leaving the audience to read between the lines.

another gag that is more reminiscent of the early days of animation: your stereotypical “fat lady” gag, underscored by a rather sardonic rendition of “oh, you beautiful doll”. the woman, in an attempt to fit into the seats, ends up shoving the entire row out of the way. not much to add here: fatphobia funny, right? (eyeroll)

cue the dog puns as we get a look at the line-up for the dog show. a bird dog (as in, dogs who hunt birds) is taken to its literal meaning, perched in a cage and whistling like a bird. the next pen over is an irish setter (sitter, get it?) perched on top of a nest. mama crawls out of the nest to reveal a line of eggs. one by one, they all hatch to reveal a trio of energetic, yappy puppies. points for surrealism. 

next up, a disembodied voice cries “RAIN BLOW THROUGH THE MOUNTAIN!”, curtains withdrawing to reveal a police dog donning a mountie uniform, howling (its howls, of course, provided by mel blanc). this is a reference to the ever popular renfrew of the mounted, a ‘30′s book and radio series about a singing mountie--frank tashlin’s porky in the north woods even served as an ode to it. after that features a spitz hound, chewing on a glob of tobacco and lobbing it at a spitoon. amusing at first, this gag quickly wears its welcome as its featured in a number of other cartoons. spitting gags themselves were more along the lines of the earlier ‘30′s cartoons, right at home in the cruder days of the early harman and ising films.

 a st. bernard booze hound is next to be revealed, drunkenly singing a wordless rendition of “how dry i am”. billy bletcher’s deep bellow is a perfect match for such a big dog: the dog, rather pluto-esque as we’ll come to recognize, will return throughout the picture. the animation of it is rather nice--the physics on the floppy jowls are great. after a fit of hiccups, the dog giggles bashfully.

so, to counteract that high of the dog, our next pooch?

oh, sweet hilarity!

time to make room for more puns, this time plastered on the curtain. the curtain advertises groaners such as “come see our itchings -- canine art galleries”, “are you in the dog house? get a new leash on life supply co.”, and so forth. the spotlight takes its sweet time to roam around each pun, allowing it to really sink in. complete with close-ups! i’m watching the newly restored version on hbomax (which looks gorgeous, by the way), and so i don’t know if it’s the fault of the restoration or if the original print had this issue, but the close-ups are a bit blurry, as if they were having some problems with the double-exposure effects. 

with eye-rolling puns out of the way (and i say this as a shameless pun lover), the audience is treated to a variety of k-9 vaudeville acts, starting with a pair of scottie dogs, who perform the highland fling. personally, i like the camel’s version better in porky in egypt. the spacing of the animation isn’t well distributed here--the movement feels too mechanical. 

the scotties are replaced by a pair of russian wolf hounds, who look like sticks when viewed from the front--a common place gag. animation of the hounds doing the hopak fares better than the scotties, and the barks at the end of the musical phrases are at least passably amusing. as the performance wraps up, the ushankas worn by the hounds turn out to be little black dogs curled up in a ball--once more, a tried and true gag that calls back to the days of the harman and ising era. 

just when we think we’ve had enough groaners: the next act, titled “dog eat dog” features a... wait for it! a dog eating a hotdog. at least the ironic commentary by the sarcastic, pitchy, violin rendition of “where oh where has my little dog gone” alerts us to some self-awareness regarding how lame the gag is. thankfully, the next gag at least got a polite chuckle out of me: the act titled “little man you’ve had a busy day” (in reference to the popular song of the same name) showcases a dog panting and flashing a guilty smile, a line of poles in the backgrounds. two piss jokes in one short! that must be a record! 

what could be considered the song portion of the short follows next, a group of prarie dogs singing “my little buckaroo” with alternate, dog-inclusive lyrics (mentioning pedigrees and the like). the drunken st. bernard from before cringes at the act, howling and carrying on. a hand off-screen shoves a muzzle on him to shut him up (don’t tell PETA!), prompting the dog to force it free. 

instead, the dog accidentally ricochets himself into an open trunk (labeled johnson skating act, a reference to background artist johnny johnson, most commonly associated with tex avery). and, as to be expected, the dog emerges from the trunk slipping and sliding on a pair of roller skates. the animation of the dog on the roller skates is certainly the high point of the short--even the dog’s emergence just slides like butter. definitely worthy of a frame-by-frame watch. 

the prarie dogs finish up the remainder of their song (once more bitten by the double-exposure bug, still wondering if that’s the restoration or the original print?), just in time to allow a shanghaied skating pup to slide across the stage. more great animation of the dog struggling on his skates as he slides into the other wing, his struggle animated on ones (you’ll also note the sign in the background advertising a gross of anvils). he eventually topples over, the barrel on his chest keeping him going until he crashes into a wall. the few smear frames leads me to believe that this is ken harris at work, though i’m far from confident on that claim.

even more great animation as the dog, pluto-esque in his struggle and frustration, struggles to get back onto his feet, his drunken hiccups sending him falling each time. i love when he resorts to grabbing his ass by his teeth to lift himself up, giving a self-satisfied grin at the camera before falling right back down again. frustrated, the dog grovels in his humility, a welcome burst of comedic timing as he shoves the lower half of his body down in frustration, free to mope and ponder in peace. 

next up serves as a rather deliberate callback to one of friz’s most monumental pictures (in notoriety, not quite in quality)--his 1935 entry i haven’t got a hat, that most famously marks the debut of everyone’s (okay, MY) favorite porcine. a shy little puppy timidly pokes her head out from a cardboard standee, clearly in no rush to get out on stage. ken harris’ animation of her resisting the push of the disembodied arm is full of character: her facial expression creased with worry is relatively scribner-esque, another bonus. 

finally, she’s thrown out on stage... facing the wrong way. a whistle summons her to turn around, where she recites “mary had a little lamb”, her squeaky vocals provided by none other than berneice hansell. she starts off... and, in an avery-esque break of character, growls to stage left “awww... this is SILLY!” a book is thrown at her in response. 

in the midst of the puppy’s recital (which is cleverly underscored by “puppchen”), the drunken dog from before still engages in his battle to get up. once more, the animation is more than a treat to look at: the dog, fueled with fury, scrambles to his feet with a running start. the animation glides as effortlessly as the dog, but something off-screen catches his attention: a trunk containing a flea circus.

as you can surely guess, dog crashes, and the fleas miraculously fly (suspension of disbelief!) out of the trunk, ready to cause trouble. in another ode to i haven’t got a hat, where porky was the one mixing up two poems in a recital, the reciting puppy mixes up her nursery rhymes (”mary had a little lamb, the mouse ran up the clock. and anywhere the lamb would go, hickory dickory dock!”) while watching a flea buzz dangerously close to her vicinity, eyes rotating 360 degrees and all.

inevitably, the flea strikes, and the puppy gives a strained remainder of her recital, itching all the way. the main ode to i haven’t got a hat stems here--the puppy’s voice grows exceedingly higher in pitch, the animation of her pacing from side-to-side and eventually off stage directly reused fom the short. it should be noted that, in the original scene, another hansell-voiced animal (little kitty) was giving the same recital of mary had a little lamb. this scene has the benefit of better animation and a little bit more humor, but it’s an interesting callback to such an important cartoon.

fade out and back in to the remainder of the fleas, who are having a hell of a time sopping up the spilled alcohol from the st. bernard’s barrel. one flea fishes in the liquor, another swimming, one more even licking it up straight from the source. the short comes to an end on a quartet of drunken fleas, singing a shrill, obnoxious, hiccup-ridden rendition of “how dry i am”. iris out.

i will admit that, as i reviewed this, the cartoon slowly warmed up to me. i wasn’t at all charmed by the first half: the puns are rather lame, the timing is bloated and slow, and it lacks direction, even for a spot-gag cartoon. it feels overwhelmingly half-hearted: when a director or its crew lacks enthusiasm, that absence is certainly felt. yet, the second half of the short definitely thawed my otherwise cold review. the animation of the st. bernard on roller skates is some absolutely gorgeous stuff. it’s very smooth, very funny, and very tactile. moreover, the puppy’s recital of “mary had a little lamb” was very fun and amusing--berneice hansell never fails to win me over with her vocals. with that said, however, i wouldn’t really recommend this cartoon: there are too many other good friz cartoons to check out. it lacks enthusiasm and conviction, and feels more like a relic of the past, from the prevalence of billy bletcher and berneice hansell (who dominated the pre-blanc cartoons) to the harman and ising-esque gags to the deliberate callbacks to i haven’t got a hat. mainly, i would persuade you to check out the second half for the animation of the roller-skating dog, and maybe add the recital sequence as an extra incentive. but, for now, this is a largely unremarkable cartoon that you can skip without feeling too slighted.

yet, with that said: the short is available on hbomax if you have it, where i got the screenshots from! if not, you can check out a lower-quality version here. better than nothing! 

[radiotelevizionishqiptar]

Operacioni antidrogë te “Don Bosko”, lihen në burg dy prej të arrestuarve

Lexo të plotë www.rtsh.al

[xhemilbeharaj]

Pamjet e operacionit: Një polic dhe një ushtarak në grupin e vrasësve (vidio)

Pamjet e operacionit: Një polic dhe një ushtarak në grupin e vrasësve (vidio)

Pamjet që shihni tregojnë momentin nga aksioni për arrestimin e 14 personave, mes tyre një polic dhe një ushtarak, të skeduar për vepra të rënda kriminale. Paraprakisht dyshohet se grupi i vrasësve me pagesë u godit pas marrjes peng të dy vëllezërve Indrit dhe Gentian Beqiraj në autostradën Durrës-Tiranë. Grupi kriminal dyshohet edhe për një ngjarje të ndodhur në Don Bosko me një të vrarë dhe…

[gazetatema-blog]

Kushtetuesja rrëzon Vatikanin, "Don Bosko" i kthehet pronarëve

Kushtetuesja rrëzon Vatikanin, “Don Bosko” i kthehet pronarëve

Gjykata Kushtetuese rrëzon padinë e ambasadës së Vatikanit në Tiranë për pronësinë e qendrës sociale “Don Bosko”.

Report Tv ka siguruar një kopje të vendimit të Kushtetueses e cila më 5 dhjetor 2016 ka vendosur të mos kalojë në seancë plenare kërkesën e ambasadës së Selisë së Shenjtë, e cila kërkonte shfuqizimin e vendimit të Kolegji Ppenal për mos pranim rekursi.

Por si nisi konflikti dhe…

[thrilling-thrifter]

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40 ANECDOTES SURVOLTÉES SUR « HEAT », LE MEILLEUR FILM DE BRAQUEURS

Le 15 décembre 1995, ce classique parmi les classiques sortait dans les salles obscures….

1. Heat est le remake d’un précédent téléfilm réalisé par Michael Mann, L.A. Takedown.

Après avoir écrit une toute première version de Heat en 1979, Mann ne trouvé aucun acheteur. En 1989, le succès de Miami Vice aidant, la chaîne NBC se montre intéressée pour lui confier les rênes d’une nouvelle série.

Mann retouche ainsi son script pour tourner en 19 jours ce qui doit être le pilote d’une saga sur la rivalité entre un flic et un braqueur. Ce dernier ne convainc cependant pas. Décision est alors prise de le sortir indépendamment sous la forme d’un téléfilm intitulé L.A. Takedown.

2. Il existe de grandes différences ente Heat et L.A. Takedown.

Parmi les plus notables, notons l’addiction au jeu de Chris, la tentative de Roger Van Zant de doubler le crew de Neil McCauley, le personnage de Lauren (l'adolsecente jouée par Nathalie Portman), celui de Don Breeda (le chauffeur engagé au pied levé), ou encore les meurtres de prostituées de Waingro.

L’un dans l’autre, Heat dure ainsi près de deux fois plus longtemps que L.A. Takedown – 170 minutes contre 92.

3. Seul un acteur est vu à la fois dans Heat et dans L.A. Takedown.

Xander Berkeley interprète Waingro à la télévision et Ralph au cinéma, l’amant falot de Justine.

4. Le scénario de Heat s’inspire d’une histoire vraie, celle du détective Chuck Adamson et du braqueur Neil McCauley.

Ami de Michael Mann, Adamson a traqué de longues années McCauley, à tel point qu'il fil du temps qu’une forme de respect mutuel a fini par unir les deux hommes.

La scène où Al Pacino et Robert De Niro partagent un café s’est d’ailleurs réellement produite. Après qu’Adamson soit tombé par hasard sur McCauley en sortant d’un pressing, il l’a invité à prendre un verre – « Je ne savais pas si je devais l’arrêter ou lui tirer dessus, alors je lui ai proposé prendre un verre. »

5. Le face-à-face entre De Niro et Pacino reprend en partie la conversation qu’ont eue Neil McCauley et Chuck Adamson .

Après avoir demandé à McCauley « pourquoi il n’allait pas causer des ennuis ailleurs », ce à quoi ce dernier lui a simplement répondu « qu’il aimait Chicago », Adamson l’a prévenu qu’il « risquait de faire face à lui ».

McCauley lui a alors rétorqué : « Okay, mais il y a le revers de la médaille, peut-être devrais-je alors t’éliminer ? »

Sur le point de se séparer, Adamson lui a confié « être certain qu’ils se reverront un jour ». Un an plus tard, Adamson descendait McCauley sur le parking d’un supermarché qu’il venait de braquer.

6. Le personnage de Vincent Hannah n’est cependant pas basé uniquement sur Chuck Adamson, trois autres policiers ont également été pris pour modèle. À ce jour, Michael Mann a toujours refusé de divulguer leurs noms.

7. Aussi étonnant que cela puisse paraître, Mel Gibson et Harrison Ford ont un temps été considérés pour les rôles de Hanna et de McCauley.

8. Keanu Reeves a failli remplacer Val Kilmer (Chris Shiherlis). Engagé en parallèle sur Batman Forever, Michael Mann n’était pas sûr que Kilmer puisse mener de front les deux tournages la même année.

9. Amy Brenneman a beaucoup hésité avant d’accepter de jouer Eady, la girlfriend un peu malgré elle de McCauley.

Elle n’aimait ni le scénario, ni les personnages qu’elle trouvait « méprisables » – « Il y avait trop de sang, aucune morale et je ne voulais rien à avoir avec ça ».

Mann l’a alors convaincue d’accepter en lui expliquant que c’est exactement pour cela qu’elle serait parfaite dans le rôle.

10. Ted Levine (Bosko) s’est au départ vu offrir le rôle de Waingro. Il a cependant décliné par peur de se retrouver stéréotypé, lui qui plus tôt avait incarné le tueur en série Buffalo Bill dans Le Silence des agneaux.

11. Le sans-abri se baladant avec son chariot rempli d'électro-ménager qui au début du film est témoin du braquage de fourgon n'est pas un acteur, il a été engagé pour jouer son propre rôle par Michael Mann après que ce dernier l'ait repéré lors des prises de vues.

12. Pour plus de réalisme, de nombreux figurants vus dans Heat vivaient et travaillaient à Los Angeles : les policiers qui examinent les lieux du braquage de fourgon sont pour la plupart de vrais policiers, le personnel du restaurant dans lequel Hannah et McCauley taillent la bavette étaient employés par ce même restaurant…

13. Le rôle de Justine Hanna a initialement été proposé à Gong Li, qui a refusé. Elle acceptera toutefois de travailler avec Mann onze ans plus tard sur Miami Vice.

14. La gare filmée au tout début de Heat est la même gare que celle filmée à la toute fin de Collateral (2004).

15. Toutes les scènes de Heat ont été tournées en extérieur.

Désireux de filmer Los Angeles « comme jamais Los Angeles n’avait été filmé », Michael Mann a chargé ses équipes de trouver des lieux de tournages inédits. Ainsi, sur la soixantaine de locations, seules une dizaine à peine avaient déjà été vues auparavant sur grand écran.

Seule exception : la scène où Neil et Eady prennent un verre en terrasse.

« Los Angeles est une ville magnifique lorsqu’on a la chance de la voir en hauteur la nuit. Malheureusement, à l’époque les caméras haute définition n’existaient pas, et pour obtenir l’effet que je désirais nous avons dû utiliser un fond vert. »

16. Pour préparer le rôle de Charlene, Ashley Judd est allée rencontrer au préalable d’anciennes prostituées devenues femmes au foyer.

17. Autre possible info dont il n’est nulle part fait mention dans le film, Hanna serait accro à la cocaïne.

C’est en tout cas comme ça qu’Al Pacino a interprétée le personnage : « Il n’en prend pas comme dans Scarface, mais il en tape à l’occasion. C’est suggéré à certains moments. »

18. Interrogé récemment sur le préquel de Heat qu’il compte sortir prochainement en livre, Michael Mann en a révélé plus sur le passé de Vincent Hannah.

« J’ai écrit sa biographie complète, de son enfance dans l’Illinois où son père conduisait des camions pour des contrebandiers, à ce moment où, plutôt que d’aller dans une université de seconde classe, il s’engage chez les Marines et se retrouve au Viêtnam. Ce qu’il voit là-bas le pousse à étudier le droit, puis à rejoindre la police de Chicago. »

« Ce qu’il désire plus que tout, c’est trouver sa quête. Comme il est le dit à Justine, il est ce qu’il poursuit. »

19. Nate, le personnage interprété par Jon Voight, est inspiré d’Eddie Bunker, un ancien criminel (trafic de drogue, vols à main armé…) reconverti en romancier et acteur (Mr. Blue dans Reservoir Dogs).

Mieux, Bunker a officié comme conseiller technique sur le tournage.

20. L’un des plans les plus célèbres de Heat rend hommage au tableau Pacific du peintre Canadien Alex Colville (1967). Il montre un homme qui regarde avec mélancolie l’océan à travers une vitre, un pistolet posé sur la table au premier plan.

21. Quand McCauley abandonne le braquage d’un l’entrepôt simplement après avoir entendu un bruit suspect, ce n’est absolument pas exagérée : Chuck Adamson raconte dans les bonus du DVD qu’il s’agit d’une véritable anecdote.

22. Si vous vous êtes toujours demandé pourquoi Alan (Hank Azaria, l’amant de Charlene) tressaute quand Vincent se met à hurler que cette dernière a « UN CUL DE DÉESSE ! » (« Because she’s got a GREAT ASS! » en VO), c’est parce que Pacino a complètement improvisé la réplique.

23. Val Kilmer était tellement impressionné par la performance d’acteur de Robert De Niro qu’il venait sur le plateau lors de ses jours de congés pour l’observer jouer.

24. La fameuse scène où Al Pacino et Robert De Niro jouent l’un en face de l’autre n’a pas été répétée, et ce, afin de retranscrire au plus près la sensation qu’Hannah et McCauley apprennent à se découvrir.

25. Sitôt Heat sorti, le Kate Mantilini, le restaurant dans lequel Pacino et De Niro ont tourné cette scène, s’est transformé en attraction touristique.

Situé à Beverly Hills, l’établissement proposait même de réserver la fameuse table 71. Il a malheureusement fermé ses portes en 1994.

26. Contrairement à ses camarades Robert De Niro, Val Kilmer et Tom Sizemore qui, pour se familiariser avec le passé de leurs personnages, se sont rendus au pénitencier de San Quentin dans le but de rencontrer d’anciens détenus, Danny Trejo n’a pas eu besoin d’accomplir ce travail d’immersion, lui qui dans ses jeunes années a été incarcéré de 1966 à 1968 dans ce même bâtiment pour avoir vendu de l’héroïne à un policier en civil.

27. Tous les acteurs vus une arme à la main ont participé à un camp d'entraînement. Sous la supervision d'anciens militaires, ils se ont exercés jusqu'à que « le maniement d'armes devienne une seconde nature ».

28. Le tournage de la fameuse fusillade s’est déroulé sur plusieurs semaines, la production n’était autorisée à filmer West 5th Street uniquement pendant les weekends.

Notez cependant que si le braquage a bien été tourné à l’intérieur d’une vraie banque, l’entrée est celle d’un bâtiment d’affaires.

29. Particulièrement impressionnants, les sons des coups de feu ont été enregistrés live.

Tandis que les bruitages sont traditionnellement rajoutés en post-production, pour accentuer l’immersion du spectateur et conserver l’écho provoqué par les immeubles aux alentour, Michael Mann a fait poser des micros un peu partout sur le plateau.

À chaque prise, entre 800 et 1 000 balles à blanc étaient tirées !

30. En 2002, les instructeurs d'un camp dans d'entraînement de Marines de San Diego ont pris en exemple cette scène pour montrer à leurs nouvelles recrues comment se positionner, comment couvrir leurs arrières et comment recharger dans une situation similaire.

31. Lors de la fusillade, les armes des policiers sont réglées en mode semi-automatique, tandis que celles des braqueurs sont en mode automatique.

Dans le premier cas, un seul coup est tiré à chaque fois que la détente est pressée, l’objectif étant de protéger les vies des civils. Dans le second cas, les balles partent en rafale afin de créer un maximum de dégâts.

32. Sans Heat, aurait-on eu droit treize ans plus tard à Dark Knight de Christopher Nolan ? Le réalisateur de Batman ne s’est en tout cas jamais caché d’avoir pris en exemple son aîné pour filmer en ouverture le hold-up du Joker.

33. Le fait que Van Zant regarde un match de hockey sur glace à la télévision dans son salon avant que MCauley ne vienne le liquider est tout sauf un détail : il un renvoie en effet au braquage du fourgon au tout début du film, lorsque MCauley et ses hommes portaient tous des masques de hockeyeurs.

Criminel en col blanc, Van Zant pensait pouvoir regarder les évènements au loin dans sa tour d’ivoire, sans avoir à subir les conséquences de ses actes… jusqu’à que McCauley fasse voler en éclats la baie vitrée de son domicile. Brisant-là symboliquement le quatrième mur, il lui rappelle que les règles de la partie dans laquelle il s’est engagé s’appliquent à tous sans exception.

34. Entre le moment où, sur le point de rejoindre Eady, Neil aperçoit Hannah à ses trousses, et le moment où Neil échange un dernier regard avec Eady, il s’écoule précisément trente secondes.

Ce laps de temps fait bien évidemment écho à la devise de Neil : « Si tu veux faire de vieux os dans ce métier, sois libre comme l’air. Tout ce qui a pu prendre une place dans ta vie, tu dois pouvoir t’en débarrasser en trente secondes montre en main dès que tu as repéré un seul flic dans le coin. »

35. Michael Mann a choisi que le duel final entre Neil et Vincent se déroule à l’aéroport de Los Angeles LAX pour une raison bien précise : « Je voulais un décor qui soit tellement dans l’entre deux que ça en devienne surréaliste. »

36. Entre la toute dernière réplique de Pacino (« Gimme that shotgun ») et celle de De Niro (« Told you I’m never going back »), il se passe six minutes et trente-deux secondes sans aucun dialogue ou ellipse.

37. God Moving Over the Face of the Waters, le titre de la chanson de Moby qui clôt Heat renvoie au second verset du premier chapitre de la Genèse.

« Au commencement, Dieu créa les cieux et la terre. La terre était informe et vide : les ténèbres couvraient de la surface à l’abîme, et l’esprit de Dieu se mouvait au-dessus des eaux. »

38. Michael Mann a un temps envisagé que McCauley et Hannah meurent tous les deux à la fin, aucun ne survivant pas aux blessures infligées par l’autre.

39. Jamais les visages d’Al Pacino et de Robert De Niro ne sont cadrés dans le même plan.

Lorsqu’ils prennent un café ensemble, ils sont face-à-face. Lors de la scène finale, quand Pacino tend la main à De Niro, ils sont côte à côte.

40. Condamné à 18 ans de prison pour vol à main armé en 1998, le français Redoine Faïd s’est en 2009 rendu à une projection de Public Enemies à la Cinémathèque française à laquelle assistait Michael Mann.

Lors de la séance de question/réponses post-film, il a pris le micro pour lui dire ô combien « Heat demeure la référence absolue du grand banditisme », et qu’il considère le réalisateur comme « son conseiller technique, son prof de fac, une sorte de mentor ».

Quelque peu désarçonné, ce denier lui a avoué « ne pas savoir quoi répondre » – la séquence en intégralité ici.

Depuis Faïd a renoué avec ses démons, lui qui notamment été condamné en 2018 à 25 ans de réclusion criminelle pour avoir organisé un braquage ayant abouti à la mort d’une policière.

L'ARTICLE RÉSUMÉ SUR TWITTER

Publié le 24 décembre 2021 sur Booska-p.com.

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113. a cartoonist’s nightmare (1935)

release date: september 14th, 1935

series: looney tunes

director: jack king

starring: billy bletcher (beast, villains, pianist), tommy bond (beans)

so beans doesn’t actually have a voice credit—it seems he’s unknown for this cartoon. to me he sounds like tommy bond (who would provide his voice), but i’m no expert. regardless! beans’ first solo cartoon!

this is an interesting case to note. beans (and of course porky) would be the first star to debut in a merrie melodies cartoon as opposed to a looney tunes cartoon. there was a rule that merrie melodies couldn’t feature reoccurring characters—i hesitate to say that with confidence, since peter rabbit was used in country boy and my green fedora, and a buddy facsimile was used in mr. and mrs. is the name, but generally characters weren’t reused, much less brought over into other divisions (bosko was never in any merrie melodies, buddy wasn’t 100% established to be in a merrie melodies). so, beans is the first to be brought over! tex avery would also break the rule with daffy duck in egghead in 1938, bringing daffy over from looney tunes to merrie melodies and also reusing egghead from egghead rides again.

in terms of synopsis: a cartoonist is dutifully working on a beans cartoon, but falls asleep. the villain in his project comes to life and kidnaps the cartoonist, and it’s up to beans to save the day.

a precursor to termite terrace? animators bustle to and fro in a cartoon studio that looks like it was spawned from a love affair between dr. seuss and tim burton. a highly prestigious studio, as indicated by the sign out front: animated cartoon studio. a rather bored, anthropomorphic whistle (jack king’s disney roots seep into its design, animated by bob mckimson) nonchalantly checks it’s stopwatch and gives a tired bellow to indicate the day’s end.

the distance shot of the studio is impressive as all of the animators leave, lights switching off and even an animator jumping off the roof and traveling via umbrella. various workers bids the elderly groundskeeper goodnight as he locks up for the night.

a lone cartoonist diligently pumps out more work, adding to a towering stack of frames. the groundskeeper pokes his head in, asking “ya gonna work all night, son?” the cartoonist shrugs. “i gotta finish tonight.” with a bid of good luck, the groundskeeper leaves the animator to his work.

we then spot the fruits of his labor as a close up of the animator’s work is shown. he’s working on a beans cartoon, drawing a ferocious monster and painting him in. the monster comes to life and gives a terrorizing grunt, cornering a terrified beans. a fun choice to make the animator analyze his work, chuck jones providing the animation of the animator commentating “well, beans, i guess i’ll have to save ya from the villain again!” he sticks his hand into frame and pulls the monster off of beans. furious, the beast turns his attention to the animator instead. the animator uses this as an opportunity to paint some protective iron bars in front of beans, essentially jailing him. delighted, beans teases the beast by blowing a party streamer in his face.

eventually, the animator tires himself out and falls asleep. time marches on, and his drawings remain sentient. trouble arises as the villain reaches out of the frame and drags the animator inside, jack king providing one of his great perspective shots (above). i’ve come to really appreciate how he plays around with different perspectives and closeups, it brings a lot of liveliness and interest. obviously, the animator is wide awake by now, struggling as the villain takes him away. beans speaks his first lines (that isn’t limited to billy bletcher going NYEEEH in i haven’t got a hat)— “hey! let go of him!”

the beast drags the poor animator through the dungeons of the animated world—not far off from some working conditions at certain studios. as the beast drags his victim down a set of rickety stairs, a loose piece of board flies up and clobbers the villain on the head. the beast, assuming it was the work of the cartoonist, punches the sheepish animator in the face.

past the gag department, story department, and music department they go, each department barred behind an intimidating iron door. there’s some sort of weird lawn mower weapon—like a barbed mower. essentially, a painful prop. the animator accidentally prompts the handle to thwack the beast in the head, who gives him another pounding.

finally, the beast arrives at his destination: the cartoon villains chamber. sound effects are jarring and unfitting (yet almost humorously so) as a laser sound effect accompanies the monster punching the cartoonist, sending him flying. he bumps into a portrait of a kangaroo labeled “battling barney”. barney’s joey leaps out of its pouch and sends the cartoonist hurtling once more towards the main villain.

one by one the animator receives a plethora of beatings, from the beast to the octopus from mr. and mrs. is the name. thus sparks a musical segment from the villains, the villains lamenting about how they’ve been mistreated and now the cartoon will finally get his, the song a parody of “the teddy bear’s picnic”. i find it interesting that jack king included musical numbers in his cartoons. from the beginning, those working on the merrie melodies complained about how a nice story would be rolling along and then an arbitrary song would disrupt momentum. it seems as though king had the opposite gripe—he wanted to insert more music into his cartoons. an interesting choice. the lyrics are amusing and dark, the chorus going “the tables are turned and now you are in our clutches!” bletcher also reprises his role as the mad pianist from buddy the detective.

the villains reveal their motive: they want to force the animator down a bottomless pit, making him draw his demise. the poor cartoonist has no choice but to obey. he hesitantly draws a giant circle on the ground, preparing for his demise.

elsewhere, beans is still behind bars, sulking. someone dressed in a woman’s disguise sneaks beans a loaf of bread (the scene animated by bob clampett), much to beans’ delight as he exclaims “food!” he takes a big bite out of the bread, but recoils. inside the bread is a handsaw, perfect to cut the bars with. beans saws his way through the metal as we cut back to the kidnapped animator, peering into a bottomless pit.

after some stalling, the animator is thrown down the pit. it seems there IS a bottom, inhabited by a hungry alligator. narrowly does the cartoonist escape being eaten, a branch catching him by the pants. regardless, the cartoonist momentarily dives into the alligator’s mouth, the gator’s dentures dangling off his head. paul smith animates a closeup of the toothless and tearful alligator. not to fear—the cartoonist returns the alligator’s dentures, who thanks him with a snap of the jaws.

beans manages to saw his way out and make his escape. he runs ACROSS the stairs, floating on air instead of descending—a cartoon staple. sliding down a giant pole, beans skids along the ground and knocks into a barrel, the metal rings constricting around beans. a crash to the wall sends the rings flying back into their respective place on the barrel.

curious, beans pokes his head in to watch the torture. all of the villains are gathered around the pit, having a hearty laugh. concocting a plan, beans places two boots at the doorway of the chamber. don williams animates the two boots who come to life, matching forward towards the hairy beast and giving him a swift kick in the ass.

undoubtedly, the villain takes notice and spots beans teasing the villains at the door. beans dashes away and a chase breaks out as the villains follow. they all pass by the barrel from before... which is inhabited by a proud beans. the coast clear, beans darts back into the chamber and analyzes the pit, scratching his head as he thinks of a way to help the cartoonist. the cartoonist cries for help, the hungry jaws of the alligator nearing him as he perches on the branch that saved him.

with some quick thinking, beans yells “hey, catch this pencil!”, tossing down the pencil the cartoonist used in his suicide mission. the cartoonist catches it, beaming as he acknowledges his power. he draws an extendable ladder, turning the crank and scaling to safety.

never a peaceful moment in the cartooning business as the main beast pokes his head inside the chamber, growling at beans. they have a mini chase sequence as the animator scales to safety. the beast momentarily loses beans, who notices the animator and shushes him. an abrupt jump cut to beans holding a grease gun, lubricating the floor. he whistles to summon the attention of the villains, and his plan unfolds swimmingly. all of the villains slide straight into the bottomless pit. the cartoonist gives the hairy beast an extra punch for good luck, the beast struggling to stay on the ground. once all of the nuisances are in the pit, the animator enlists in the help of an eraser and erases the pit in the floor. beans and the cartoonist slap and shake hands together, beaming at their teamwork.

bob mckimson animates the scene of the elderly watchman shaking the animator awake as we fade back to the present. the cartoonist ogles at the audience, exclaiming “wotta dream!” a very literal title to the cartoon. he resumes his work, back to where he left off: the beast terrorizing beans, who’s cowering behind bars. in the style of bosko, the talk-ink kid, the cartoonist sucks the beast back into his pen, as well as the iron bars.

but his work isn’t done yet. as a reward, he sketches out a heaping plate of jello that has beans’ name written all over it. he calls “come and get it!” beans doesn’t have to be told twice—he gorges himself gleefully, eventually disregarding the spoon and licking it straight from the source. iris out.

this was a very creative and fun cartoon! a good choice for beans’ first solo act. it felt like a mashup of bosko, the talk-ink kid and duck amuck. i like beans—probably just the relief at the newness of a character and knowing things are starting to gain traction, but he’s cute. not as bland as buddy, but still maybe not as dimensional as bosko. the animation was intriguing and fun in the cartoon, and the underscore of the teddy bear’s picnic was an odd yet amusing choice. i certainly think this is king’s best entry yet. i haven’t seen all of king’s cartoons, but out of the ones i have, this is my favorite. a fun premise and lots of personality. the story doesn’t feel too dragged out or redundant, a nice balance between the cartoonist, the villains, and beans. jack king and tex avery would split the difference making the beans cartoons: jack king 7, tex 2, and friz freleng 2 (i haven’t got a hat and his cameo in country mouse). overall, a fun, high energy cartoon that’s worth a watch. though it doesn’t have many gags, the story and premise are interesting enough, as is the historical significance of it being beans’ first solo debut.

link!

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Late post 30 Juni 2019 (di Sma Don Bosko) https://www.instagram.com/p/BzWojfEHTRGceMO8rj1oWyQmk4H91Oa8sa2x6w0/?igshid=1dwqwh0j5w1cb

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