#hiller heights

[hillerheightsfanpage]

Hiller Heights Ships i like bc I’m devastated with the Kit/Zeon news:

Elizabeth x Lanie : they are gay as HELL bro

Caroline x Miguel (canon) : they’re very cute but a lil cringe still love them though

Mary Ellen x Z : they make fun of Willa together for sure

Zeon x Grace : yall hear me out….

[tricornonthecob]

you should see the other guy.

[whileiamdying]

Ryan O’Neal, Who Became a Star With ‘Love Story,’ Dies at 82

He was a familiar face in movies and on TV before his breakout performance opposite Ali MacGraw in the 1970 blockbuster. But it was overshadowed by years of personal problems.

Ryan O’Neal’s performance opposite Ali MacGraw in the hit 1970 movie “Love Story” made him an instant star. Credit...Silver Screen Collection/Getty Images

By Aljean Harmetz

Dec. 8, 2023

Ryan O’Neal, who became an instant movie star in the hit film “Love Story,” the highest-grossing movie of 1970, but who was later known as much for his personal life and health problems as for his acting in his later career, died on Friday. He was 82.

His son Patrick O’Neal confirmed the death in a post on Instagram. It did not give the cause or say where he died.

Mr. O’Neal was a familiar face on both big and small screens for a half-century. But he was never as famous as he was in the immediate aftermath of “Love Story.”

He was 29 years old and had spent a decade on television but had made only two other movies when he was chosen to star in Arthur Hiller’s sentimental romance, written by Erich Segal (who turned his screenplay into a best-selling novel). His performance as Oliver Barrett IV, a wealthy, golden-haired Harvard hockey player married to a dying woman played by Ali MacGraw, garnered him the only Academy Award nomination of his career.

He had played the town rich boy, Rodney Harrington, for five years on the prime-time soap opera “Peyton Place.” But in 1970 Hollywood was not that interested in television actors, and he had been far from the first choice to star in “Love Story.”

“Jon Voight turned the part down. Beau Bridges was supposed to do it,” he told a reporter in 1971. “When my name came up through Ali, they all said ‘No.’ Ali said, ‘Please meet him.’”

“So we met in one of those conference rooms where everybody sits half a mile away from everybody else,” he continued. “Weeks later, they asked me to test. Then I didn’t hear anything until they finally called and said, ‘Will you give us an extension of a week to make up our minds?’”

In the end, Ms. MacGraw persuaded Paramount to cast Mr. O’Neal. He was hired for $25,000 (a little more than $200,000 in today’s currency), and his movie career was ignited.

Before he became a movie star, Mr. O’Neal played the town rich boy, Rodney Harrington, for five years on the prime-time soap opera “Peyton Place.” Credit...Bettmann/Getty Image

It never burned quite as brightly again, although he maintained a high profile throughout the 1970s, appearing in films like “Barry Lyndon” (1975), Stanley Kubrick’s elegantly photographed adaptation of William Makepeace Thackeray’s novel about a poor 18th-century Irish boy who rises into English society and then falls from those heights; and “A Bridge Too Far” (1977), Richard Attenborough’s epic tale of World War II heroism.

He also demonstrated his knack for comedy in three films directed by Peter Bogdanovich. He co-starred with Barbra Streisand in “What’s Up, Doc?” (1972), a screwball comedy inspired by the 1938 Cary Grant-Katharine Hepburn movie “Bringing Up Baby”; with Burt Reynolds in “Nickelodeon” (1976), a valentine to the early days of moviemaking based on the reminiscences of Raoul Walsh and other directors; and, with his 9-year-old daughter, Tatum, in the best known of the three films he made with Mr. Bogdanovich, “Paper Moon” (1973).

In “Paper Moon,” set in the Midwest during the Depression, Mr. O’Neal played a small-time swindler hornswoggled by a cigarette-smoking orphan who just might be his illegitimate daughter. Tatum O’Neal won an Academy Award for that performance — she remains the youngest person ever to win one of the four acting Oscars — and for a while it appeared that Mr. O’Neal would become the patriarch of an acting dynasty.

When Tatum starred as a Little League pitcher in “The Bad News Bears” (1976), she became the highest-paid child star in history, with a salary of $350,000 (the equivalent of about $1.9 million today) and a percentage of the net profits. Her younger brother Griffin seemed poised for stardom as well when it was announced that he would appear with his father in Franco Zeffirelli’s 1979 remake of “The Champ,” the 1931 tear-jerker about a washed-up former boxer and his son.

Mr. O’Neal’s Oscar-winning co-star in Peter Bogdanovich's period comedy “Paper Moon” (1973) was Tatum O’Neal, his daughter. Credit...Everett Collection

But Mr. Zeffirelli ended up making the film with Jon Voight and Ricky Schroder instead, and Griffin O’Neal’s career never got off the ground. He did have one starring role, in the 1982 film “The Escape Artist,” but that film was not a success. When he was next in the public eye, five years later, it was not for his acting but for his involvement in a boating accident that killed his friend Gian-Carlo Coppola, the son of the director Francis Ford Coppola. He was convicted of negligent operation of a boat but acquitted of manslaughter.

The O’Neal family would go on to have many more problems with the law, with drugs and with one another.

Mr. O’Neal, who was well known in Hollywood for his temper — when he was 18, he spent 51 days in jail for a brawl at a New Year’s Eve party — was charged with assaulting his son Griffin in 2007. Those charges were dropped, but a year later he and Redmond O’Neal, his son with the actress Farrah Fawcett, were arrested on a drug charge. He pleaded guilty and was ordered to undergo counseling, while Redmond entered rehabilitation but continued to struggle with addiction.

Tatum O’Neal had her own highly publicized drug problems and was estranged for many years from her father, who she said physically abused her when she was a child.

Mr. O’Neal’s fame was beginning to slip by 1978, when Paramount offered him $3 million to star in “Oliver’s Story,” a sequel to “Love Story.” He accepted, even though his distaste for the project was clear.

“There’s something cheap about sequels,” he told a reporter, “and this one’s a complete rip-off.” When the movie was released, the critics agreed.

Mr. O’Neal with Farrah Fawcett in 1981. They began their highly publicized on-again, off-again relationship when she was still married to the actor Lee Majors. Credit...Steve Sands/Associated Press

His days as an A-list star were soon over, although he continued to work steadily in the 1980s and ’90s. His more memorable movies in this period included “Partners” (1982), in which he played a heterosexual police detective who goes under cover with a gay partner, played by John Hurt; “Irreconcilable Differences” (1984), as a successful Hollywood director whose 10-year-old daughter, played by Drew Barrymore, sues him for divorce; and “Tough Guys Don’t Dance” (1987), a crime drama written and directed by Norman Mailer. He also co-starred with Ms. Fawcett in the short-lived 1991 television series “Good Sports.”

Most of Mr. O’Neal’s later work was on television, including a recurring role on the series “Bones.”

Patrick Ryan O’Neal was born in Los Angeles on April 20, 1941, the elder son of Charles O’Neal, a screenwriter, and Patricia Callaghan O’Neal, an actress. At 17 he joined his nomadic parents in Germany and got his first taste of show business as a stunt man on the television series “Tales of the Vikings.”

He never took an acting lesson, but his striking good looks, as well as the anger that seemed to boil just below the surface, helped win him roles on television not long after he returned to Los Angeles.

Mr. O’Neal in 2015. The last major role he played, four years earlier, was himself, on the reality show “Ryan and Tatum: The O’Neals.” Credit...Ryan Stone for The New York Times

His marriages to the actresses Joanna Moore and Leigh Taylor-Young ended in divorce. Ms. Taylor-Young, his co-star on “Peyton Place,” told an interviewer that their marriage never recovered from the success of “Love Story,” which she said brought “a type of life which is not suitable for Ryan’s personality.”

Mr. O’Neal was romantically linked with many actresses, but it was his on-again, off-again relationship with Ms. Fawcett, which began when she was still married to the actor Lee Majors, that garnered the most attention. The couple never married but were together for almost 20 years before they separated in 1997. They later reconciled and were living together when Ms. Fawcett died of cancer in 2009. In 2012 he published a book about their relationship, “Both of Us: My Life With Farrah.”

Mr. O’Neal’s survivors include his daughter and a son, Patrick, a sportscaster. Complete information on survivors was not immediately available.

In 2012, Mr. O’Neal revealed that he was being treated for prostate cancer. That diagnosis came 11 years after he contracted chronic myelogenous leukemia, which eventually went into remission.

The last major role Mr. O’Neal played was himself. In the summer of 2011, he and his daughter starred in a reality show, “Ryan and Tatum: The O’Neals,” on Oprah Winfrey’s cable channel, OWN. The series left the impression that the two had ended their long estrangement, but Mr. O’Neal later told an interviewer that it painted a false picture.

“We’re further apart now than we were when we started the show,” he said.

Peter Keepnews and Orlando Mayorquin contributed reporting.

[the-jump-manual-reviews-2023]

Jump Manual's Jacob Hiller Review: IS IT A SCAM?

If you’re a basketball fanatic who has a love for the game, then the thought of one day being able to dunk has probably crossed your mind. Now in terms of height and God given ability, not everyone can be born with what NBA players have.  Today, we dive into the realm of vertical leap enhancement with one of the most reputable programs in the field – “The Jump Manual” by the renowned athletic performance coach, Jacob Hiller. Hiller is a certified personal trainer by the ACE (American Council on Exercise), and his methods and techniques are tried and true. So you can be sure that you’re getting the right information from a legit source. In The Jump Manual, he busts a lot of these myths and shows you exactly what works and what doesn’t, so you can focus on the things that do, and avoid all the pitfalls that lead to failure/mediocre results. With more than 10 years of experience under his belt, Jacob has mastered his method and techniques to perfection and put it into his manual, giving you insights into what works and what doesn’t when it comes to increasing your vertical leap. The program was released in 2008 and since then has helped thousands of athletes to reach their dream of dunking. And even 10 years later, at age 35, Jacob Hiller's vertical is still impressive! I first decided to try it because I was intrigued with the Max Explosion workout. The manual is an entire program of vertical jump training. It show which days to train, sets, reps, techniques, and a video demonstration of all exercises used. It also gives you information on nutrition and recovery. Recovery is huge for explosive athletes. 

If there’s something I noticed about basketball players is that usually the majority of them depend upon professional coaches or their colleagues for guidance and information during their jump training. They work meticulously and try hard repeating the exercises which are known to increase vertical jump. Due to the sheer amount of work they put in, what would be a small problem for an amateur now becomes a big problem for the professional and the result is usually an ongoing fail. Essentially Jacob Hiller discusses the difference between working out for muscle strength and muscle endurance.  Knowing the difference between these two is important as doing the wrong one will essentially mean you are wasting your time if your goal is to increase your vertical jump. The uniqueness in this program is that it uses what’s called a ‘multi facet approach‘. Basically, this means assaulting the problem from all angles possible to create the maximum effect. This program uses scientific techniques to improve your vertical jump and is supported by clinical studies which prove these methods are the most safe and effective in exercising your vertical jump. If you have never performed deadlifts or heavy squats, Jacob Hiller recommends finding a trainer to show you the correct techniques. Without a trainer, you are risking hurting your back, your knees or both. The Jump Manual is more effective for experienced weightlifters as opposed to beginners. Experienced weightlifters can use the exercises and techniques in this book to improve their skills and see a significant strength increase within a fairly short period of time.

Following the program, you will see a marked difference in performance of all necessary components that make up an excellent baller. Plus the confidence boost it gives is worth the signup fee alone! The level of athleticism achieved by each individual is down to how intensely they follow the program and the level of commitment demonstrated. With a focused approach and unwavering dedication, you really can increase your jump. Whether you’re a dedicated basketball player aspiring to dominate the court, a volleyball enthusiast reaching for those sky-high spikes, or simply a fitness enthusiast eager to test your jumping prowess, “The Jump Manual” promises to take your athletic abilities to new heights. As a result, if you’re able to follow through with the directions, you’re just about assured to have an eruptive upright when you’re done. I bought the program myself back when I was just getting into learning how to dunk, and after completing it, I saw some pretty nice results. And in that 10 weeks, I saw an improvement of slightly over 9.6” in my vertical. 

Click here to Visit The Official Jump Manual Website

[nwdsc]

(▶︎ out of love in the face of a shadow | Credit Electricから)

out of love in the face of a shadow by Credit Electric

“out of love in the face of a shadow” is the new album from Credit Electric. Exploring the human unconscious through impressionistic pop vignettes, the album represents a significant evolution of the band’s sound that originally stemmed from limitations put in place by the global pandemic, before blossoming into something altogether new and unexpected. Credit Electric was founded in 2017 by songwriter Ryan LoPilato and guitarist Cameron Iturri-Carpenter. LoPilato had recently made the move out west to Oakland, CA and it wasn’t long until he was introduced to Iturri-Carpenter. Later the pair connected with pedal steel guitarist Evan Hiller and rounded out the lineup with bass and drums, recording and releasing a demo, 3 eps, a handful of singles, and a self titled debut album, all between 2018 and 2020 Upon the arrival of the pandemic, the band’s focus shifted from live arrangements to solo production and home recording, with LoPilato holed up at his home studio experimenting with new sounds and colors. Writing lyrics and structuring songs through the lens of surrealist automatism, LoPilato layed a foundation for Iturri-Carpenter and Hiller to play with textures that moved Credit Electric towards a new sound. What started to emerge was a body of work that drew upon lo-fi jazz, dub, post-rock, ambient music, 70’s studio experimentation, and 90’s indie rock as much as the rustic folk of their past releases. In 2021 the band hooked up with Oakland based record label Royal Oakie and producer David Glasebrook. Working together, LoPilato and Glasebrook refined the album, adding texture and crafting an evocative sonic landscape while Glasebrook mixed the album at his studio in Oakland. Painting with sound while exploring open guitar tunings, esoteric synthesizers, and experimental mixing techniques, the studio itself became the instrument upon which the songs were played. The resulting album “out of love in face of a shadow” calls to mind influences as disparate as Hiroshi Yoshimura, American Football, Dire Straits, and Magnolia Electric Co. All the while inhabiting a world completely of its own design, a sort of unclassifiable post-modern music that defies expectation and aims to reframe the definition of folk music for a new era. クレジット2022年10月14日リリース Recorded by Ryan LoPilato in Berkeley, CA and Richmond, CA Produced by Ryan LoPilato and David Glasebrook Additional engineering by David Glasebrook in Oakland, CA Mixed by David Glasebrook in Oakland, CA Mastered by Timothy Stollenwerk in Portland, OR Executive Producer: David Glasebrook Artwork by Lanéya Billingsley All songs by Ryan LoPilato © 2022 (ASCAP) “out of love in the face of a shadow” vocals, guitar, bass, drums, keyboards - Ryan LoPilato “carrot” voice, drums, keyboards, guitar - Ryan LoPilato guitar, bass - Cameron Iturri-Carpenter synth percussion - David Glasebrook “st francis’s child” voice, guitar, drums, bass, keyboards - Ryan LoPilato “Immunity” vocals, guitar, keyboards, drums - Ryan LoPilato guitar and bass - Cameron Iturri-Carpenter “heights” vocals, keyboards, guitar, bass, drums - Ryan LoPilato guitar - Cameron Iturri-Carpenter synth bass - David Glasebrook “selfus” vocals, guitar, drums, bass - Ryan LoPilato guitar - Cameron Iturri-Carpenter pedal steel - Evan Hiller “silver line” vocals, guitar, keyboards, bass, drums - Ryan LoPilato acoustic guitar - David Glasebrook “summit sipper” vocals, guitar, keyboards, bass, drums - Ryan LoPilato synth bass, DX7 - David Glasebrook “winner” vocals, guitars, keyboards, bass, drums - Ryan LoPilato synth bass, backing vocals - David Glasebrook "mocking bird" vocals, guitar, piano, bass, drums - Ryan LoPilato guitar - Cameron Iturri-Carpenter pedal steel - Evan Hiller organ, backing vocals - David Glasebrook

[skyfire85]

FLIGHTLINE: 199 - US ARMY VTOL EXPERIMENTS #1 - FLYING PLATFORMS

-The de Lackner HZ-1 Aerocycle, one of a pair of flying platforms commissioned by the US Army in the 1950s.

FLIGHTLINE: 199 - US ARMY VTOL EXPERIMENTS #1 - FLYING PLATFORMS

During the 1950s, a number of single-soldier platforms were built for the US Army, but none proved successful enough for production

HILLER VZ-1 PAWNEE Originally conceived of by Charles Zimmerman and built by Hiller Aircraft Company's Advanced Research Division (A.R.D.) under a 1953 Office of Naval Research contract (the ONR was acting as a technical agent for the Army), the HO-1 (later redesignated the VZ-1) was essentially a platform over a ducted fan (a fan or series of fans inside an enclosure or "duct" which improves the efficiency of the blades) on which a soldier stood. Zimmerman intended for the platform to be maneuvered "kinesthetically", leaning his body in the desired direction of travel, which it was hoped would be not only effective but easy to learn. Construction of the first prototype, officially the Model 1031 Flying Platform, began in January 1954, and was delivered for testing in September under the designation YHO-1E. Flight testing began soon after, with the first untethered flight taking place in January or February 1955.

-Diagram for the Model 1031 from the original patent filing. | Illustration: Hiller Aircraft Company

The first prototype was almost 7 1/2 feet tall, with a diameter of 5 feet and a weight of approximately 440lbs. Two Nelon H-59 piston engines, rated at 44hp each, drove a pair of contra-rotating two-bladed aluminum propellers. On the ground the platform rested on four legs. The controller's platform provided a railing and attachment points for safety belts, as well as twist controls for the throttle and propeller torque, used to adjust the 1031's altitude.

-A test pilot flying the first Model 1031 prototype. | Photo: Hiller Aircraft Company

ONR and the Army were impressed enough with the results of the test program to order two more prototypes as the VZ-1 and VZ-1E Pawnee. The second prototype (s/n 56-6944), which first flew in 1958, was larger (8 feet in diameter, 7 3/4 feet tall) and heavier (460lbs empty, 660lbs max). This increased mass required larger propellers as well as a third H-56 engine to match the first model's performance. Like the early Model 1031, the VZ-1 could achieve a maximum speed of 16mph. The pegs of the 1st unit were replaced by casters to ease moving the platform while not under power. As the test program proceeded, Hiller engineers uncovered a limitation of the ducted fan design in that the vehicle could not climb out of its ground effect, limiting the Pawnee to an altitude roughly equal to twice its diameter. The first two platforms also proved to be stable and self-righting, but this was a double-edged sword, as the pilot was fighting to employ the kinesthetic maneuvering.

-A soldier aims his rifle from atop the second VZ-1 Pawnee. | Photo: Hiller Aircraft Company

Hiller attempted to address these issues with the third prototype, designated the VZ-1E (s/n 56-6945), which first flew in 1959. While maintaining the eight foot diameter of the second model, the -1E had a duct of greatly increased height, with the vehicle standing nearly nine and a half feet tall. The caster wheels of the earlier VZ-1 were gone, replaced by a single circular skid, and the pilot's pedestal was replaced by a seat with helicopter-style controls, the Pawnee having grown so large as to make the kinesthetic controls useless. The VZ-1E had the best performance of the series, achieving a maximum altitude of 33 feet, but it was still as slow as the others.

-The VZ-1E, last model of the Hiller Pawnee flying platform. | Photo: Hiller Aircraft Company

Six total examples of the Pawnee were built by Hiller, but by the end of the test program in 1963 the US Army decided that they were too slow, fragile and ultimately limited battlefield use.

Hiller continued to use the various Pawnees for research on ducted fan technologies, but the Army abandoned the VZ-1. Of the six completed, only two original VZ-1s remain. One is at the Hiller Aviation Museum in California and the other is at the Udvar-Hazy Center of the Smithsonian National Air & Space Museum. A replica of the first Model 1031 was built for the Evergreen Aviation and Space Museum in Oregon.

DE LACKNER HZ-1 AEROCYCLE Development of the Aerocycle, originally called the Heli-Vector, began at approximately the same time as the Pawnee, and also incorporated Charles Zimmerman's kinesthetic control concept, but instead of a ducted fan the Aerocycle the platform, given the company designation DH-4, used a somewhat more simple arrangement of a central pod, supported by outriggers, supported the engine and two counter-rotating, two bladed rotors, over which a platform for the pilot was placed. As with the ZV-1, the pilot simply leaned in the direction he wanted to go, while motorcycle style grips controlled the engine.

-An Aerocycle being flown by a soldier during the test phase. | Photo: US Army

Power for the DH-4 was provided by a Mercury Marine 20H outboard motor, which produced 40hp. The motor was connected to a chain reduction unit, and drove the two 15' diameter rotor blades via a belt drive. The first Aerocycles rested on one central airbag supported by four smaller outrigger bags which allowed landing on soft ground or water, but this was replaced later by helicopter-style skids. The DH-4 stood seven feet tall from the ground to the handlebars, which in addition to giving the pilot something to lean against to guide the Aerocycle also supported several basic flight instruments. The vehicle weighed 172lbs empty, while at max load that climbed to 454lbs, including the pilot and one gallon of gasoline, whith allowances for 120lbs of slung load cargo or a five gallon auxiliary tank, which increased the range to 50 miles. The pilot and engine were secured to this column by safety straps. The DH-4, which made its first tethered flight on 22 November 1954, followed by a free flight in January of 1955, attracted enough interest from the Army to result in a contract for a dozen production models, initially designated YHO-2, subsequently changed to HZ-1.

-Several revisions to the pedestal and airbags were made during the course of the program. | Photo: US Army

Extensive testing proved that the Aerocycle was as easy to learn (Zimmerman claimed 20 minutes of instruction were sufficient) as promised, and was quite stable despite appearances, but it was also a higher performance vehicle than the ZV-1, with a top speed of 75mph and a ceiling of 5,000 feet. Additionally, the low-mounted rotors kicked up enough dust, rocks and other debris to be a hazard. Two serious by non-fatal accidents occurred during testing, both involved the rotors inadvertently intermeshing and shattering, resulting in an immediate loss of altitude as well as control.

-The shattered remains of one of the HZ-1s after the rotors collided. | Photo: US Army

Flight tests were halted while the cause of the accidents was investigated, over the course of which several HZ-1s were tested in the full-scale wind tunnels at Langley Research Center. Although an uncontrollable pitching was observed at high speed, this was determined to not be the cause of the two crashes. With the cause undetermined, and with Army interest in the program waning, the Aerocycle was withdrawn by 1960. Out of the 12 HZ-1s produced, only one survives, on display at the US Army Transportation Museum at Fort Eustis, Newport News, Virginia. The DH-4 prototype has also been preserved, and is on display at the Evergreen Aviation and Space Museum.

-The last HZ-1 on display at the Army Transportation Museum. | Photo: Miles Lumbard 

-The DH-4 AeroCycle at the Evergreen Museum. | Photo: Daderot

[wildesfancyfrock]

In an attempt to get to know us better, asks are open to anyone who wants to ask questions to all the alters. here’s all of the ones that have made themselves known:

Jay (host and owner of the body)

Achilles

Alexander Hamilton

Anarchy Kane

Asra Alnazar (the arcana)

Aziraphale (good omens)

Andre Layton (snowpiercer)

Bee Casey

Benjamin Tallmadge

Benny (in the heights)

Evan “Buck” Buckley (911)

C.C Tinsley (buzzfeed unsolved)

Carlos Reyes (911 lone star)

Charles Thomson

Connor Rhodes (Chicago med)

Count Lucio (the arcana)

Crowley (good omens)

David Rose (schitts creek)

Dean Miller (station 19)

Derek Morgan (criminal minds)

derealized

El Topo (Carmen sandiego)

Graffiti Pete (in the heights)

Hannibal Lecter (hannibal)

Henri LeFevbre (Liberty’s Kids)

Hycainthus

Jake Peralta (Brooklyn nine nine)

James Madison 2.0 (Hamilton Musical)

James Madison

Jane Jefferson [they/them]

John Adams

John Dickinson

John Hancock

James Hiller (Liberty’s Kids)

John Laurens

John Mulligan

John Watson (Sherlock BBC)

Julian Devorak (The Arcana)

Le Chèvre (Carmen sandiego)

Little My [they/them] (Moomin)

Louisiana [they/them]

Lyman Hall

Marquis de Lafayette

Mothman [xe/xim]

Nathan Hale

Patrick Brewer (schitts creek)

Paul Strickland (911 Lone star)

Reyla [they/them]

Richard Henry Lee

Ricky Goldsworth (buzzfeed unsolved)

Sonny de la Vega (in the heights)

Spender Reid (criminal minds)

Syd [they/them] (one day at a time)

TK Strand (911 lone star)

Theodora “Theo” Casanova [they/them]

Thomas Jefferson

Thomas Jefferson 2.0 (Hamilton Musical)

Usnavi de la Vega (in the heights)

Will Graham (hannibal)

Will Halstead (Chicago med)

Will Rose

Wrong Hordak (shera and the princesses of power)

Ask away <3

- Sonny

[tacosandbullshit]

20 questions!

inspired by @littleblackmindsoul :)

Username: arejee

Nickname: Ren

Age: uh

Gender: female

Sexuality: hmm...

Zodiac Signs: s- libra/m- scorpio/r- gemini

Height: like 1.62cm (5'4ft?)

Languages: spanish and english

Nationality: mexican

Favorite Season: autumn

Favorite Flower: bougainvillea, gardenia, orange blossom, and peach blossom

Favorite Scent: something that reminds me of home like chocolate abuelita or café de olla (mexican hot drinks) and something fresh and strong like lemongrass, cider, incense or peppermint

Favorite Color: yellow, red, pink, blue, and black, and almost every other color tbh

Favorite Animal: cats and owls

Favorite Fictional Characters: oof i can't even choose uh maybe crowley and aziraphale from good omens

Coffee, Tea, or Hot Chocolate: listen. i love coffee, but i enjoy hot chocolate more. in the end i still have a caffeine addiction so...

Dog or Cat Person: cat person but i also love big dogs (even though i didn't know at first, my family got a blue hiller named william).

Number of Blankets You Sleep With: a single thick one

Dream Trip: somewhere rainy and cold with loved ones like in a forest and just chill and vibe together

Random Fact: my favorite numbers are two, three, six, thirty-six, and sixty.

[briefconnoisseurwolf]

Cottage Stay: Night of Arrival

Welcome to a multi-part shenanigan chapter that will not be appearing in the novel, but we’re gonna have a whole lot of fun with it! Also, I won’t be editing this. I apologize in advance for the first draft quality.

POV: Omnipresent, third-person unlimited, first draft nonsense of ever-shifting POV.

Characters involved: Hector, Franz, Hiller, Auguste, and Chopin.

Based on the WIP: Nocturne No. 20.

Tag list: @onthefrits @typewriter-jade @vylyk @notwritinganyflufftoday

*****************************************************

Chopin tilted his head as he, Auguste Franchomme, Hector Berlioz, Franz Liszt, and Ferdinand Hiller walked up the path toward the cottage they would be staying at for a week in the countryside of France. There were two houses and a stable connected by a courtyard that had been dusted by the early morning snowfall. Moonlight glimmered in the water of a fountain at the center of the courtyard. Gates and stone paths suggested gardens behind the houses, and he could hear the clucking of a chicken coop from around the stables.

“This looks more like a villa. I thought we were staying at a cottage?” Chopin asked.

“These are cottages,” Hiller said as he passed him, trunk in hand. 

“The French have a very strange idea of what a cottage is.”

“I think it has more to do with class than nationality,” Auguste said as he joined Chopin at the gate. 

Franz caught up to them, a burnt-out cigarette still hanging on his lip. “It was my idea to go to a villa with separate houses. Allows for a little more privacy.”

“We’re staying in a separate house from him,” Chopin muttered, jabbing a finger at Franz. “And for God Sake would you just spit that out already?”

“Why would I do that?”

“It’s dead! Get rid of it.”

“I’m savoring it, Chopin, I can’t just toss it away!”

Auguste hid a laugh behind his hand. “I always forget how much you two bicker.”

“We are not bickering.” Chopin and Franz both snapped and shot each other withering glare. Auguste shook his head and headed toward the bigger of the two cottages.

“Come on, lovebirds,” Auguste shouted back to them.

“That’s supposed to be my line at you two.” Franz sighed and followed. Chopin stole a moment with the waning moon before going to the house.

###

The main house had four bedrooms, a drawing room, a piano parlor, a kitchen, and a dining hall. “And then the other cottage used to be a servants’ quarters, but the two of you will be staying there,” Franz told Auguste and Chopin.

Hiller, who had been dragging in their luggage, scowled. “Why are we giving those two a cottage to themselves? They’ll get up to trouble.”

“I assume that’s why we would give them their own space.” Hector started unpacking the liquor onto an empty bookshelf in the drawing room. “Or did you not know these two were a couple, Hiller?” He asked when he saw Hiller’s face turn three shades brighter than the scarlet waistcoat he was wearing.

“N-no, I didn’t. But it doesn’t bother me! I swear it.”

“It better not,” Franz growled, squaring his shoulders and looming over Hiller with his nearly two meters of height. 

Hector lit a cigarette and breathed a cloud of smoke in Hiller’s general direction. “If it does, we are in the perfect place to make someone disappear. The nearest town is half a day’s ride away…”

“It doesn’t! I just didn’t know!” Hiller insisted and followed Hector to the kitchen.

Chopin rolled his eyes and glanced over at Auguste. He was rubbing his palms against his pants and shifting his feet. The corner of his lips was folded in. Chopin picked up their trunks. An immediate burning started in his muscles. “I’ll bring these to the other cottage. Do you want to go with?”

Auguste looked at him. The shifting stopped, and he released his lip from his chewing. “I’ll help unpack here. Thank you.” He smiled softly. Chopin returned the smile and started for the door. “Chopin?”

“Aj?”

Auguste stood on his toes and curled his fingers into Chopin’s collar, pulling him into a brief kiss. “I’m just fine.” He patted his arm and went to the kitchen.

“I’m glad he’s gotten braver… Or forgot I was here.” Franz lit a new cigarette. “Want help with those, Chopin?” Chopin nodded, unable to speak through the blush creeping into his face. Franz snatched the trunks from him and led the way outside.

“We’re drinking when you two get back!” Hiller yelled, leaning out of the kitchen. The front door shut. Hiller looked back at Hector and Auguste. “Do you think they heard me?”

“I’m sure they did.” Hector set out five glasses and filled them each to the brim with bourbon. “I hope none of you were hoping to be awake early.”

[hillerheightsfanpage]

In “Baby Alive Emma Tries to get a Valentine!” Zeon & Kit showed up and Emma tries to use her ‘love potion’ on him but KIT fucking says…”uhm he’s my boyfriend!” I’m going to cry WHY HIM HE DESERVES BETTER??????? ZEON NO😭😭😭

Oh shit Miguel x Caroline gets confirmed in this video too

Keaton has a gf too??? I’m assuming it’s Kanani

Ugh now Brady’s on the screen and HE HAS A GF TOO???? Lemme guess, Phoebe?

I’m fine w/ these couples being confirmed

(Violently screams in pain bc Zeon is with KIT of all people…)

[tricornonthecob]

ATNH Chap 6 sneak peak: art edition

[amtopmthoughts]

OSCARS

Legenda:

Legenda  -  Winners I have watched

Legenda  -  Winners I don’t know of

Legenda  - Winners I know of

Legenda  -  Nominees I have watched

Legenda  -  Nominees I don’t know of

Legenda  -  Nominees I know of

1927/28

BEST MOVIE

Wings

The Racket

7th Heaven

= 0

BEST ACTRESS

Janet Gaynor:

for her role as Diane Angela, The Wife in 7th Heaven and Street Angel Sunrise: A Song of Two Humans

Louise Dresser:

for her role as Mrs. Pleznik in A Ship Comes In

Gloria Swanson:

for her role as Sadie Thompson in Sadie Thompson

1928/29

BEST MOVIE

The Broadway Melody

Alibi

Hollywood Revue

In Old Arizona

The Patriot

= 0

Mary Pickford:

for her role as Norma Besant in Coquette

Ruth Chatterton: 

for her role as Jacqueline Floriot in Madame X

Betty Compson:

for her role as Carrie in The Barker

Jeanne Eagels:

for her role as Leslie Crosbie in The Letter

Corinne Griffith:

for her role as Emma Hamilton in The Divine Lady

Bessie Love:

for her role as Hank Mahoney in The Broadway Melody

1929/30

BEST MOVIE

All Quiet on the Western Front

The Big House

Disraeli

The Divorcee

The Love Parade

= 0

Norma Shearer:

for her role as Jerry Bernard Martin in The Divorcee

Nancy Carroll:

for her role as Hallie Hobart in The Devil’s Holiday

Ruth Chatterton:

for her role as Sarah Storm in Sarah and Son

Greta Garbo:

for her role as Anna Christie/Madame Rita Cavallini in Anna Christie Romance

Norma Shearer:

for her role as Lucia Marlett in Their Own Desire

Gloria Swanson:

for her role as Marion Donnell in The Trespasser

1930/31

BEST MOVIE

Cimarron

East Lynne

The Front Page

Skippy

Trader Horn

= 0

Marie Dressler:

for her role as Min Divot in Min and Bill

Marlene Dietrich:

for her role as Mademoiselle Amy Jolly in Morocco

Irene Dunne:

for her role as Sabra Cravat in Cimarron

Ann Harding:

for her role as Linda Seton in Holiday

Norma Shearer:

for her role as Jan Ashe in A Free Soul

1931/32

BEST MOVIE

Grand Hotel

Arrowsmith

Bad Girl

The Champ

Five Star Final

One Hour with You

Shanghai Express

The Smiling Lieutenant

= 0

Helen Hayes:

for her role as Madelon Claudet in The Sin of Madelon Claudet

Marie Dressler:

for her role as Emma Thatcher Smith in Emma

Lynn Fontanne:

for her role as The Actress in The Guardsman

1932/33

BEST MOVIE

Cavalcade

42nd Street

A Farewell to Arms

I Am a Fugitive from a Chain Gang

Lady for a Day

Little Women

The Private Life of Henry VIII

She Done Him Wrong

Smilin’ Through

State Fair

= 0

BEST ACTRESS

Katharine Hepburn:

for her role as Eva Lovelace in Morning Glory

May Robson:

for her role as Apple Annie in Lady for a Day

Diana Wynyard:

for her role as Jane Marryot in Cavalcade

1934

BEST MOVIE

It Happened One Night

The Barretts of Wimpole Street

Cleopatra

Flirtation Walk

The Gay Divorcee

Here Comes the Navy

The House of Rothschild

Imitation of Life

One Night of Life

The Thin Man

Viva Villa!

The White Parade

= 0

BEST ACTRESS

Claudette Colbert:

for her role as Ellie Andrews in It Happened One Night

Grace Moore:

for her role as Mary Barrett in One Night of Love

Norma Shearer:

for her role as Elizabeth Barrett in The Barrett of Wimpole Street

Bette Davis:

for her role as Mildred Rogers in Of Human Bondage

1935

BEST MOVIE

Munity on the Bounty

Alice Adams

Broadway Melody of 1936

Captain Blood

David Copperfield

The Informer

The Lives of a Bengal Lancer

A Midsummer Night’s Dream

Les Misérables

Naughty Marietta

Rugs of Red Gap

Top Hat

= 0

BEST ACTRESS

Bette Davis:

for her role as Joyce Heath in Dangerous

Elisabeth Bergner:

for her role as Gemma Jones in Escape Me Never

Claudette Colbert:

for her role as Jane Everest in Private Words

Katharine Hepburn:

for her role as Alice Adams in Alice Adams

Miriam Hopkins:

for her role as Becky Sharp in Becky Sharp

Merle Oberon:

for her role as Kitty Vane in The Dark Angel

1936

BEST MOVIE

The Great Ziegfeld

Anthony Adverse

Dodsworth

Libeled Lady

Mr. Deeds Goes to Town

Romeo and Juliet

San Francisco

The Story of Louis Pasteur

A Tale of Two Cities

Three Smart Girls

= 0

BEST ACTRESS

Luise Rainer:

for her role as Anna Held in The Great Ziegfeld

Irene Dunne:

for her role as Theodora Lynn in Theodora Goes Wild

Gladys George:

for her role as Carrie Snyder in Valiant is the Word for Carrie

Carole Lombard:

for her role as Irene Bullock in My Man Godfey

Norma Shearer:

for her role as Juliet Capulet in Romeo and Juliet

1937

BEST MOVIE

The Life of Emile Zola

The Awful Truth

Captain Courageous

Dead End

The Good Earth

In Old Chicago

Lost Horizon

One Hundred Men and a Girl

Stage Door

= 0

BEST ACTRESS

Luise Rainer:

for her role as O-Lan in The Good Earth

Irene Dunne:

for her role as Lucy Warriner in The Awful Truth

Greta Garbo:

for her role as Marguerite Gautier in Camille

Janet Gaynor:

for her role as Esther Victoria Blodgett/Vicki Lester in A Star is Born

Barbara Stanwyck:

for her role as Stella Martin Dallas in Stella Dallas

1938

BEST MOVIE

You Can’t Take It With You

The Adventures of Robin Hood

Alexander’s Ragtime Band

Boys Town

The Citadel

Four Daughters

Grand Illusion

Jezebel

Pygmalion

Test Pilot

= 0

BEST ACTRESS

Bette Davis:

for her role as Julie Marsden in Jezebel

Fay Bainter:

for her role as Hannah Parmalee in White Banners

Wendy Hiller:

for her role as Eliza Doolittle in Pygmalion

Norma Shearer:

for her role as Marie Antoinette in Marie Antoinette

Margaret Sullavan:

for her role as Patricia “Pat” Hollmann in Three Comrades

1939

BEST MOVIE

Gone With The Wind

Dark Victory

Goodbye, Mr. Chips

Love Affair

Mr. Smith Goes to Washington

Ninotchka

Of Mice and Men

Stagecoach

The Wizard of Oz

Wuthering Heights

= 0

BEST ACTRESS

Vivien Leigh:

for her role as Scarlett O’Hara in Gone with the Wind

Bette Davis:

for her role as Judith Traherne in Dark Victory

Irene Dunne:

for her role as Terry McKay in Love Affair

Greta Garbo:

for her role as Nina Yakushnova “Ninotchka” Ivanoff” in Ninotchka

Greer Garson:

for her role as Katherine Bridges in Goodbye, Mr. Chips

1940

BEST MOVIE

Rebecca

All This, and Heaven Too

Foreign Correspondent

The Grapes of Wrath

The Great Dictator

Kitty Foyle

The Letter

The Long Voyage Home

Our Town

The Philadelphia Story

= 0

BEST ACTRESS:

Ginger Rogers:

for her role as Kitty Foyle in Kitty Foyle

Bette Davis:

for her role as Leslie Crosbie in The Letter

Joan Fontaine:

for her role as The Second Mrs. de Winter in Rebecca

Katharine Hepburn:

for her role as Tracy Lord in The Philadelphia Story

Martha Scott:

for her role as Emily Webb in Our Town

1941

BEST MOVIE

How Green Was My Valley

Blossoms in the Dust

Citizen Kane

Here Comes Mr. Jordan

Hold Back the Dawn

The Little Foxes

The Maltese Falcon

One Foot in Heaven

Sargeant York

Suspicion

= 0

BEST ACTRESS:

Joan Fontaine:

for her role as Lina McLaidlaw Aysgarth in Suspicion

Bette Davis:

for her role as Regina Giddens, The Little Foxes

Olivia de Havilland:

Emmy Brown, Hold Back the Dawn

Greer Garson, Blossoms in the Dust

Barbara Stanwyck, Ball of Fire

1942

BEST MOVIE

Mrs. Miniver

The Invaders

Kings Row

The Magnificent Ambersons

The Pied Piper

The Pride of the Yankees

Random Harvest

The Talk of the Town

Wake Island

Yankee Doodle Dandy

= 0

BEST ACTRESS:

Greer Garson, Mrs. Miniver

Bette Davis, Now, Voyager

Katharine Hepburn, Woman of the Year

Rosalind Russel, My Sister Eileen

Teresa Wright, The Pride of the Yankees

1943

BEST MOVIE

Casablanca

For Whom the Bell Tolls

Heaven Can Wait

The Human Comedy

In Which We Serve

Madame Curie

The More the Merrier

The Ox-Bow Incident

The Song of Bernadette

Watch on the Rhine

= 0

BEST ACTRESS:

Jennifer Jones, The Song of Bernadette

Jean Arthur, The More the Merrier

Ingrid Bergman, For Whom the Bell Tolls

Joan Fontaine, The Constant Nymph

Greer Garson, Madame Curie

1944

BEST MOVIE

Going My Way

Double Indemnity

Gaslight

Since You Went Away

Wilson

= 0

BEST ACTRESS:

Ingrid Bergman, Gaslight

Claudette Colbert, Since You Went Away

1945

BEST MOVIE

The Lost Weekend

Anchors Aweigh

The Bells of St. Mary’s

Mildred Pierce

Spellbound

= 0

1946

BEST MOVIE

The Best Years of Our Lives

Henry V

= 0

1947

BEST MOVIE

Gentleman’s Agreement

The Bishop’s Wife

Crossfire

Great Expectations

Miracle on 34th Street

= 0

1948

BEST MOVIE

Hamlet

Johnny Belinda

The Red Shoes

The Snake Pit

The Treasure of the Sierra Madre

= 0

1949

BEST MOVIE

All the King’s Men

Battleground

The Heiress

A Letter to Three Wives

Twelve O’Clock High

= 0

1950

BEST MOVIE

All About Eve

Born Yesterday

Father of the Bride

King Solomon’s Mines

Sunset Boulevard

= 0

1951

BEST MOVIE

An American In Paris

Decision Before Dawn

A Place in the Sun

Quo Vadis

A Streetcar Named Desire

= 0

1952

BEST MOVIE

The Greatest Show on Earth

High Noon

Ivanhoe

Moulin Rouge

The Quiet Man

= 0

1953

BEST MOVIE

From Here to Eternity

Julius Caesar

The Robe

Roman Holiday

Shane

= 1

1954

BEST MOVIE

On The Waterfront

The Caine Mutiny

The Country Girl

Seven Brides for Seven Brothers

Three Coins in the Fountain

= 0

1955

BEST MOVIE

Marty

Love is a Many-Splendored Thing

Mister Roberts

Picnic

The Rose Tattoo

= 0

1956

BEST MOVIE

Around the World in 80 Days

Friendly Persuasion

Giant

The King and I

The Ten Commandments

= 0

1957

BEST MOVIE

The Bridge On The River Kwai

12 Angry Men

Peyton Place

Sayonara

Witness for the Prosecution

= 0

1958

BEST MOVIE

Gigi

Auntie Mame

Cat on a Hot Tin Roof

The Defiant Ones

Separate Tables

= 0

1959

BEST MOVIE

Ben-Hur

Anatomy of a Murder

The Diary of Anne Frank

The Nun’s Story

Room at the Top

= 0

1960

BEST MOVIE

The Apartment

The Alamo

Elmer Gantry

Sons and Lovers

The Sundowners

= 0

1961

BEST MOVIE

West Side Story

Fanny

The Guns of Navarone

The Hustler

Judgment at Nuremberg

= 1

1962

BEST MOVIE

Lawrence of Arabia

The Longest Day

The Music Man

Mutiny on the Bounty

To Kill a Mockingbird

= 0

1963

BEST MOVIE

Tom Jones

America America

Cleopatra

How the West Was Won

Lilies of the Field

= 0

1964

BEST MOVIE

My Fair Lady

Becket

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb

Mary Poppins

Zorba the Greek

= 1

1965

BEST MOVIE

The Sound of Music

Darling

Doctor Zhivago

Ship of Fools

A Thousand Clowns

= 1

1966

BEST MOVIE

A Man for All Seasons

Alfie

The Russians Are Coming, the Russians Are Coming

The Sand Pebbles

Who’s Afraid of Virginia Wolf

= 0

1967

BEST MOVIE

In the Heat of the Night

Bonnie and Clyde

Doctor Dolittle

The Graduate

Guess Who’s Coming to Dinner

= 0

1968

Oliver!

Funny Girl

The Lion in Winter

Rachel, Rachel

Romeo and Juliet

= 1

1969

BEST MOVIE

Midnight Cowboy

Anne of the Thousand Days

Butch Cassidy and the Sundance Kid

Hello, Dolly!

Z

= 0

1970

BEST MOVIE

Patton

Airport

Five Easy Pieces

Love Story

M*A*S*H

= 0

1971

BEST MOVIE

The French Connection

A Clockwork Orange

Fiddler on the Roof

The Last Picture

Nicholas and Alexandra

= 0

1972

BEST MOVIE

The Godfather

Cabaret

Deliverance

The Emigrants

Sounder

= 0

1973

BEST MOVIE

The Sting

American Graffitti

Cries and Whispers

The Exorcist

A Touch of Class

= 0

1974

 BEST MOVIE

The Godfather Part II

Chinatown

The Conversation

Lenny

The Towering Inferno

= 0

1975

BEST MOVIE

One Flew Over The Cuckoo’s Nest

Barry Lyndon

Dog Day Afternoon

Jaws

Nashville

= 0

1976

BEST MOVIE

Rocky

All the President’s Men

Bound for Glory

Network

Taxi Driver

= 0

1977

BEST MOVIE

Annie Hall

The Goodbye Girl

Julia

Star Wars

The Turning Point

= 0

1978

BEST MOVIE

The Deer Hunter

Coming Home

Heaven Can Wait

Midnight Express

An Unmarried Woman

= 0

1979

BEST MOVIE

Kraver vs. Kramer

All That Jazz

Apocalypse Now

Breaking Away

Norma Rae

= 1

1980

BEST MOVIE

Ordinary People

Coal Miner’s Daughter

The Elephant Man

Raging Bull

Tess

= 0

1981

BEST MOVIE

Chariots of Fire

Atlantic City

On Golden Pond

Raiders of the Lost Ark

Reds

= 0

1982

BEST MOVIE

Ghandi

E.T. the Extra-Terrestrial

Missing

Tootsie

The Verdict

= 1

1983

BEST MOVIE

Terms of Endearment

The Big Chill

The Dresser

The Right Stuff

Tender Mercies

= 0

1984

BEST MOVIE

Amadeus

The Killing Fields

A Passage to India

Places in the Heart

A Soldier’s Story

= 0

1985

BEST MOVIE

Out of Africa

The Color Purple

Kiss of the Spider Woman

Prizzi’s Honor

Witness

= 0

1986

BEST MOVIE

Platoon

Children of a Lesser God

Hannah and Her Sisters

The Mission

A Room with a View

= 0

1987

BEST MOVIE

The Last Emperor

Broadcast News

Fatal Attraction

Hope and Glory

Moonstruck

= 2

1988

BEST MOVIE

Rain Man

The Accidental Tourist

Dangerous Liaisons

Mississipi Burning

Working Girl

= 0

1989

BEST MOVIE

Driving Miss Daisy

Born on the Fourth of July

Dead Poets Society

Field of Dreams

My Left Foot

= 1

1990

BEST MOVIE

Dances with Wolves

Awakenings

Ghost

The Godfather III

Goodfellas

= 1

1991

BEST MOVIE

The Silence of the Lambs

Beauty and the Beast

Bugsy

JFK

The Prince of Tides

= 1

1992

BEST MOVIE

Unforgiven

The Crying Game

A Few Good Men

Howards End

Scent of a Woman

= 0

1993

BEST MOVIE

Schindler’s List

The Fugitive

In the Name of the Father

The Piano

The Remains of the Day

= 1

1994

BEST MOVIE

Forrest Gump

Four Weddings and a Funeral

Pulp Fiction

Quiz Show

The Shawshank Redemption

= 3

1995

BEST MOVIE

Braveheart

Apollo 13

Babe

The Postman (Il Postino)

Sense and Sensibility

= 4

1996

BEST MOVIE

The English Patient

Fargo

Jerry McGuire

Secrets & Lies

Shine

= 0

1997

BEST MOVIE

Titanic

As Good as it Gets

The Full Monty

Good Will Hunting

L.A. Confidential

= 3

1998

BEST MOVIE

Shakespeare in Love

Elizabeth

Life is Beautiful

Saving Private Ryan

The Thin Red Line

= 3

1999

BEST MOVIE

American Beauty

The Cider House Rules

The Green Mile

The Insider

The Sixth Sense

= 1

2000

BEST MOVIE

Gladiator

Chocolat

Crouching Tiger, Hidden Dragon

Erin Brokovich

Traffic

= 3

2001

BEST MOVIE

A Beautiful Mind

Gosfrod Park

In the Bedroom

The Lord of the Rings: The Fellowship of the Ring

Moulin Rouge!

= 1

2002

BEST MOVIE

Chicago

Gangs of New York

The Hours

The Lord of the Rings: The Two Towers

The Pianist

= 1

2003

BEST MOVIE

The Lord of the Rings: The Return of the King

Lost in Translation

Master and Commander: The Far Side of the World

Mystic River

Seabiscuit

= 0

2004

BEST MOVIE

Million Dollar Baby

The Aviator

Finding Neverland

Ray

Sideways

= 1

2005

BEST MOVIE

Crash

Brokeback Mountain

Capote

Good Night, and Good Luck

Munich

= 0

2006

BEST MOVIE

The Departed

Babel

Letters from Iwo Jima

Little Miss Sunshine

The Queen

= 2

2007

BEST MOVIE

No Country for Old Men

Atonement

Juno

Michael Clayton

There Will Be Blood

= 1

2008

BEST MOVIE

Slumdog Millionaire

The Curious Case of Benjamin Button

Frost/Nixon

Milk

The Reader

= 1

2009

BEST MOVIE

The Hurt Locker

Avatar

The Blind Side

District 9

An Education

Inglorious Basterds

Precious: Based on the Novel “Push” by Saphire

A Serious Man

Up

Up in the Air

= 4

2010

BEST MOVIE

The King’s Speech

127 Hours

Black Swan

The Fighter

Inception

The Kids Are All Right

The Social Network

Toy Story 3

True Grit

Winter’s Bone

= 5

2011

BEST MOVIE

The Artist

The Descendants

Extremely Loud & Incredibly Close

The Help

Hugo

Midnight in Paris

Moneyball

The Tree of Life

War Horse

= 3

2012

BEST MOVIE

Argo

Amour

Beasts of the Southern Wild

Django Unchained

Les Miserábles

Life of Pi

Lincoln

Silver Linings Playbook

Zero Dark Thirty

= 4

2013

BEST MOVIE

12 Years a Slave

American Hustle

Captain Philips

Dallas Buyers Club

Gravity

Her

Nebraska

Philomena

The Wolf of Wall Street

= 4

2014

BEST MOVIE

Birdman

American Sniper

Boyhood

The Grand Budapest Hotel

The Imitation Game

Selma

The Theory of Everything

Whiplash

= 2

2015

BEST MOVIE

Spotlight

The Big Short

Bridge of Spies

Brooklyn

Mad Max: Fury Road

The Martian

The Revenant

Room

= 3

BEST ACTRESS:

Brie Larson, Room

Cate Blanchett, Carol

Jennifer Lawrence, Joy

Charlotte Rampling, 45 Years

Saoirse, Brooklyn

2016

BEST MOIVE

Moonlight

La La Land

Arrival

Fences

Hacksaw Ridge

Hell or High Water

Hidden Figures

Lion

Manchester by the Sea

= 5

BEST ACTRESS:

Emma Stone, La La Land

Isabelle Huppert, Elle

Ruth Negga, Loving

Natalie Portman, Jackie

Meryl Streep, Florence Foster Jenkins

2017

BEST MOVIE

The Shape of Water

Lady Bird

Call Me by Your Name

Get Out

Darkest Hour

Dunkirk

Phantom Thread

The Post

Three Billboards Outside Ebbig, Missouri

= 4

BEST ACTRESS:

Frances McDormand, Three Billboards Outside Ebbing, Missouri

Sally Hawkins, The Shape of Water

Margot Robbie, I, Tonya

Saoirse Ronan, Lady Bird

Meryl Streep, The Post

TOTAL = 71/

[filmstruck]

Vanessa Redgrave Goes Mod by Nathaniel Thompson

As a moviegoer, there’s a certain joy in watching actors evolve over the years, especially when their careers span several decades and you can see how their looks, body language and vocal deliveries change with the times. Just watch a sampling of films starring Meryl Streep, Daniel Day-Lewis or Isabelle Huppert, and it’s like jumping in an instant time machine as you get to observe an artist in transformation. One of the most fascinating examples in the past century has to be the great Vanessa Redgrave, who’s firmly enshrined as one of the shining lights of British acting royalty and, though not really thought of today as a movie star in the conventional sense, a steady and often astonishing presence on the big screen since the late ‘50s.

You can find a handy selection of Redgrave’s work studded throughout FilmStruck and The Criterion Channel in a currently running spotlight encompassing 11 titles as of this writing, ranging all the way from her 1958 debut in BEHIND THE MASK to her indelible turn in VENUS (2006). However, I’ve always had a certain fascination with Redgrave’s work in the second half of the 1960s when Swinging London came into its own and became an epicenter of pop culture innovations from fashion to music to movies, and even architecture and public transportation. And no film represents that state of all things London better than BLOW-UP (‘66), a milestone that can now be enjoyed here for the first time or the 15th.

BLOW-UP can sound like a daunting film if you read reviews or try to sift through the stacks of academic papers written about Michelangelo Antonioni’s celebrated, taboo-pushing premiere feature shot in English. He was already a darling of the art house circuit thanks to his quartet of existential brain ticklers: L’AVVENTURA (‘60), LA NOTTE (‘61), L’ECLISSE (‘62) and THE RED DESERT (‘64). His shift to color with that last film really laid the groundwork for what he did with BLOW-UP, a radical expansion of an enigmatic short story by Argentine writer Julio Cortázar about an amateur photographer whose worldview is upended one day while taking some dockside shots. The slippery narrative in the film is a puzzle with no clear answer, taking fashion photographer David Hemmings through a series of encounters that leave him in a radically altered state of perception. It actually isn’t a difficult film at all if you just roll with it and realize you’re watching what amounts to a cinematic Rorschach test whose colors, movement and music are meant to provoke ideas and responses more strongly than the mystery itself which remains in limbo.

At the heart of that mystery is Redgrave herself, playing a mysterious woman who approaches Hemmings to retrieve the negatives for a series of possibly incriminating photographs he’s taken in the park (whose grass was famously spray painted an intense shade of green as part of Antonioni’s bold color experimentation). She’s the perfect casting choice here as her nervous temperament is masterfully conveyed by her choreographed physical responses to Hemmings’ character with unpredictable gestures keeping the viewer sifting through her possible motives and emotions even on repeated viewings. It’s also a bold choice in that she spends a significant portion of her screen time topless, albeit discreetly framed and posed for the most part; rather than showing vulnerability or desire as most nude scenes are designed to do, her exposure here is strange, chilly and unsettlingly beautiful. The film’s then-shocking levels of sexuality and nudity were a big conversation piece back in the day and played a big role in the film’s box office success, despite the fact that MGM defied the Production Code and set up a temporary company to release it so the more extreme content wouldn’t be censored. Redgrave and company ended up playing a big role in the dismantling of the Code itself, which would soon give way to the MPAA system we all know today.

As the daughter of actor Michael Redgrave and part of the acting dynasty that also includes Lynn Redgrave, Joely Richardson, the late Natasha Richardson and (via marriage) Franco Nero, Vanessa Redgrave was already a firmly established theatre star when BLOW-UP, only her third credited feature film. However, 1966 would turn out to be quite a year for her as she also appeared in the counterculture comedy MORGAN – A SUITABLE CASE FOR TREATMENT, which netted her first of six Oscar nominations (with one win for 1977’s JULIA), and a surprise turn in what would prove to be the year’s Oscar winner for Best Picture, A MAN FOR ALL SEASONS (‘66), Fred Zinneman’s depiction of the turbulent fate of Sir Thomas More when he locked horns with King Henry VIII. Here Redgrave decided for sheer enjoyment to appear in an extended cameo as Anne Boleyn, accepting neither payment nor credit for the role opposite her brother, Corin Redgrave. Also seen in a more prominent role in the 1988 made-for-TV remake, she gives the film a significant jolt when she appears, her piercing eyes managing to convey everything we need to know about her ill-fated character as soon as she appears. (Her wedding, incidentally, was added to the film and does not appear in the source play.) Only 29 years old at the time, she more than holds her own her in her few minutes of screen time opposite such heavy hitters as Paul Scofield, Orson Welles, Robert Shaw and Wendy Hiller—and the film itself is still one of the very best costume dramas ever made.

If watching these two films isn’t enough Redgrave for you, there are still nine other ones left to stream until your heart’s content. Just be sure to check out that ‘60s pairing for a look at the range she displayed at the height of Britain’s 20th century cultural influence, creating a screen presence that planted the seeds for her later roles that decade during her “Franco Nero period” in CAMELOT (‘67), ISADORA (‘68), and the fascinating, often overlooked Italian chiller A QUIET PLACE IN THE COUNTRY (‘68), which finds her using her BLOW-UP skills to unnerving effect. There’s really no one else out there like her.

[newsfact]

Dalvin Cook domestic violence incident, explained: What to know about litigation involving Vikings running back

(Warning: This story includes graphic details of alleged domestic violence).

New reports emerged Tuesday night that Vikings star running back Dalvin Cook and a former girlfriend were involved in a domestic violence incident in November 2020, one that has led to pending litigation between the two parties.

Cook’s agent Zac Hiller relayed information regarding the incident to ESPN’s Adam Schefter and ProFootballTalk’s Mike Florio on Tuesday. Both Schefter and Florio, citing Hiller, reported a woman — later identified as Army Sgt. 1st Class Gracelyn Trimble — entered Cook’s home and assaulted him and a guest before sustaining injuries while in his house. They both reported the incident resulted in pending litigation.

Following initial reports of the incident, the Star Tribune (Minneapolis) published a story in which Trimble claimed to be the victim of the incident. No criminal complaints have been filed by either party, though Trimble has filed a lawsuit in Dakota County District Court in which she accused Cook of assault, battery and false imprisonment.

Here’s what you need to know about the domestic violence incident and pending litigation between Cook and Trimble:

Details on Dalvin Cook domestic violence incident

Following initial news of the incident, Cook’s attorney David Valentini released a statement detailing the Nov. 19, 2020 incident to Schefter. He claimed Trimble — a former girlfriend who met Cook at a Florida beach in 2018 — entered Cook’s residence in Inver Grove Heights, Minn., via a “stolen” garage door opener. Valentini claimed Trimble, upon entering the home, punched Cook before spraying Mace on his and his two houseguests’ faces.

Following that, Valentini said, Trimble sprayed Mace in Cook’s face a second time before arming herself with a firearm and “forcing Mr. Cook and his guests, at gunpoint, to remain in his residence for the next several hours.” Valentini claimed Trimble tried to assault one of Cook’s guests again, causing the running back to intervene. At that point, Valentini said, Trimble fell to the ground and “suffered a small cut above her nose.”

Valentini claimed that, “for the better part of a year, Sgt. Trimble has been attempting to extort money from Mr. Cook” following the incident. Here is his full statement, via Schefter:

Statement from Dalvin Cook attorney, David Valentini, in response to a civil lawsuit filed today by a woman alleging that Cook assaulted her in 2020: pic.twitter.com/d1cOsV3tT7

— Adam Schefter (@AdamSchefter) November 10, 2021

Shortly after Valentini released his statement, the Tribune broke news that Trimble, currently stationed in Italy, had filed a lawsuit alleging physical and emotional abuse by Cook. Trimble told the Tribune that Cook gave her “a concussion, leaving a scar and taking her through hell.”

Per the lawsuit, Trimble flew to Minnesota on Nov. 19 to gather her personal belongings from Cook’s home, entering through the garage and grabbing Mace she had previously stored there (the article makes no mention of how she gained access to the garage). Trimble alleges in the lawsuit that Cook got angry when she asked him for help gathering her items. The suit alleges Cook “grabbed her arm, and slung her whole body over the couch, slamming her face into the coffee table and causing her lower forehead and the bridge of her nose to bust open.”

The lawsuit alleges that, at that point, she attempted to spray Cook but accidentally sprayed herself as a result of him overpowering her. She went to the shower where she alleges he assaulted her again. Trimble then entered Cook’s bedroom and grabbed his gun before calling her friend. The running back reportedly overheard and threatened her upon hearing Trimble make the call, beating her with a broomstick.

The Tribune reports the two continued to see each other occasionally before permanently ending things in May.

The lawsuit includes purported texts between Trimble and Cook in which the running back apologizes for his actions. Trimble also included photos that allegedly followed the incident in which her face was cut and bruised (warning: the link contains images some people may find disturbing).

Dalvin Cook’s pending litigation

Valenti claimed Trimble is trying to extort Cook for “millions of dollars,” the basis for which stems from medical expenses from injuries she sustained from Cook. Valentini’s statement was reportedly a result of Cook receiving notification of the lawsuit, in which he is accused by Trimble of assault, battery and false imprisonment.

The Tribune reports Trimble and Cook’s lawyers held settlement discussions but that no agreement was reached. Trimble’s lawsuit seeks “unspecified monetary damages” and “accountability” from the Vikings running back.

Valenti and Florio, a former lawyer, claim Cook was within his rights to defend himself from Trimble based on Minnesota’s Castle Doctrine law.

Subsection 4 of the law — which deals with use of force against another person — outlines the parameters by which Valentini claims Cook was justified in using force. Per the section, reasonable force may be used “when used by any person in lawful possession of real or personal property, or by another assisting the person in lawful possession, in resisting a trespass upon or other unlawful interference with such property.”

Cook, selected 41st overall in the 2017 NFL Draft, was charged with misdemeanor battery following a July 2015 incident, when he was still enrolled at Florida State University. He was alleged to have punched a woman outside a bar but was found not guilty and was later reinstated at Florida State.

NFL, Vikings’ statement on the incident

Though neither Cook nor Hiller made statements on Tuesday night, Cook’s team did and said they were just recently made aware of the incident. In response, they notified the NFL and are currently gathering more information.

The NFL also confirmed it had received word of the Vikings’ complaint.

NFL statement on dispute between Dalvin Cook and an acquaintance: “The Vikings notified the league of the matter. We will decline further comment at this time.” https://t.co/li1IRtZlcK

— Adam Schefter (@AdamSchefter) November 10, 2021

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[nwdsc]

(out of love in the face of a shadow | Credit Electricから)

out of love in the face of a shadow by Credit Electric

“out of love in the face of a shadow” is the new album from Credit Electric. Exploring the human unconscious through impressionistic pop vignettes, the album represents a significant evolution of the band’s sound that originally stemmed from limitations put in place by the global pandemic, before blossoming into something altogether new and unexpected. Credit Electric was founded in 2017 by songwriter Ryan LoPilato and guitarist Cameron Iturri-Carpenter. LoPilato had recently made the move out west to Oakland, CA and it wasn’t long until he was introduced to Iturri-Carpenter. Later the pair connected with pedal steel guitarist Evan Hiller and rounded out the lineup with bass and drums, recording and releasing a demo, 3 eps, a handful of singles, and a self titled debut album, all between 2018 and 2020 Upon the arrival of the pandemic, the band’s focus shifted from live arrangements to solo production and home recording, with LoPilato holed up at his home studio experimenting with new sounds and colors. Writing lyrics and structuring songs through the lens of surrealist automatism, LoPilato layed a foundation for Iturri-Carpenter and Hiller to play with textures that moved Credit Electric towards a new sound. What started to emerge was a body of work that drew upon lo-fi jazz, dub, post-rock, ambient music, 70’s studio experimentation, and 90’s indie rock as much as the rustic folk of their past releases. In 2021 the band hooked up with Oakland based record label Royal Oakie and producer David Glasebrook. Working together, LoPilato and Glasebrook refined the album, adding texture and crafting an evocative sonic landscape while Glasebrook mixed the album at his studio in Oakland. Painting with sound while exploring open guitar tunings, esoteric synthesizers, and experimental mixing techniques, the studio itself became the instrument upon which the songs were played. The resulting album “out of love in face of a shadow” calls to mind influences as disparate as Hiroshi Yoshimura, American Football, Dire Straits, and Magnolia Electric Co. All the while inhabiting a world completely of its own design, a sort of unclassifiable post-modern music that defies expectation and aims to reframe the definition of folk music for a new era. クレジット2022年10月14日リリース Recorded by Ryan LoPilato in Berkeley, CA and Richmond, CA Produced by Ryan LoPilato and David Glasebrook Additional engineering by David Glasebrook in Oakland, CA Mixed by David Glasebrook in Oakland, CA Mastered by Timothy Stollenwerk in Portland, OR Executive Producer: David Glasebrook Artwork by Lanéya Billingsley aka Billie0cean All songs by Ryan LoPilato (ASCAP) “out of love in the face of a shadow” vocals, guitar, bass, drums, keyboards - Ryan LoPilato “carrot” voice, drums, keyboards, guitar - Ryan LoPilato guitar, bass - Cameron Iturri-Carpenter synth percussion - David Glasebrook “st francis’s child” voice, guitar, drums, bass, keyboards - Ryan LoPilato “Immunity” vocals, guitar, keyboards, drums - Ryan LoPilato guitar and bass - Cameron Iturri-Carpenter “heights” vocals, keyboards, guitar, bass, drums - Ryan LoPilato guitar - Cameron Iturri-Carpenter synth bass - David Glasebrook “selfus” vocals, guitar, drums, bass - Ryan LoPilato guitar - Cameron Iturri-Carpenter pedal steel - Evan Hiller “silver line” vocals, guitar, keyboards, bass, drums - Ryan LoPilato acoustic guitar - David Glasebrook “summit sipper” vocals, guitar, keyboards, bass, drums - Ryan LoPilato synth bass, DX7 - David Glasebrook “winner” vocals, guitars, keyboards, bass, drums - Ryan LoPilato synth bass, backing vocals - David Glasebrook "mocking bird" vocals, guitar, piano, bass, drums - Ryan LoPilato guitar - Cameron Iturri-Carpenter pedal steel - Evan Hiller organ, backing vocals - David GlasebrookライセンスAll rights reserved

[hillerheightsfanpage]

Goofy ass fanart I did

I need to get better at drawings digitally 😭