#i will be making more sets when theres a hd version soon but this is all youre having for now

[yrsonpurpose]

Mary & George (2024) Episode 3 'Not So Much as Love as by Awe'

[angrylizardjacket]

All That Glitters {Roger Taylor}

A/N: 1917 words! Hi, okay so this is really a bit of a weird one. It’s difficult to try and demonstrate such a visual medium through, you know, writing. So this is the teaser trailer for Giselle’s biopic that’s being made around the same time as BoRhap, or like, a little bit before. I think I’m gonna make the plot a separate post, so I guess enjoy this trailer lmao. Big Love to @ginghampearlsnsweettea, who I love and would die for, for being the co-captain of this runaway OC that’s gotten much more involved than I thought it would. I’d really really appreciate feedback on it. 

[And All The Queen’s Men ‘verse masterpost]

All That Glitters (2018) | "Midas" Teaser Trailer [HD] | 20th Century FOX

[id: It’s a close up on Young Giselle’s hands playing the piano, playing the opening notes of what is recognisable as Trot, Canter, Pirouette (The Show Pony Song), she is wearing gold nail polish. The background is blurry but it shows a pale cream lounge room, an indistinct painting on the wall, and a beige sofa. Her father sits on the sofa, he wears a pale yellow sweater and beige slacks, and sits with one leg crossed over the other, he’s reading a thick, old book.

[GISELLE’S FATHER] Have I ever told you the story of King Midas?

Young Giselle’s hands still on the keys. The image fades through as the brass and drums section of the song come in and Trot, Canter, Pirouette (The Show Pony Song) plays over the following scenes;

We see a hazy room filled with golden light streaming in through a set of blinds on the right. Giselle sits in the middle of the shot, not facing the camera, on a brown leather sofa. Gold records lining the walls, and in front of her is a large, wooden desk with an ashtray on it, the person behind the desk is blocked from view mostly by Giselle, but it’s Ray Foster; he’s wearing a Hawaiian shirt.

Cut to; Giselle in a classroom, studiously taking notes. It’s mid afternoon, the light coming in hitting her face is a pale, cool yellow; mid-afternoon sunshine. She sits at a pale wooden desk, hunched over, wearing a soft orange sweater, but her pants are not visible. She’s surrounded by other students, all in greys and beiges, all taking notes; she stands out, vibrant amongst them. She looks up sharply, as if to take more notes and we cut to;

She’s sitting alone in a dressing room, looking into a mirror lined with golden bulbs; her hair is slicked back, she’s wearing a white silk slip dress; she’s wearing eyeliner and red lipstick, and is looking at herself a little disbelievingly. She turns to look over her shoulder, as if hearing her name; the camera pans to follow the movement and;

The camera keeps panning, keeping the movement kinetic as we see her on stage, looking back at her band with a nervous smile. She’s wearing a black velvet bouffant number, and the band are all dressed in black waistcoats ensembles with red pocket squares matching her lipstick. The camera pans around until it’s behind Giselle and she’s silhouetted by a warm white light against the darkness. After a beat, the lights come up on the audience to reveal a full house cheering for her.

Cut to; the lights are down on the audience but it’s a close shot of John Deacon watching her from the audience with an expression of awe, stage lights shining in his eyes; he’s on the very right of screen in the foreground. He’s near the middle on the bottom level of the theatre, the people in front of him as all standing, dancing together, some are jumping trying to get her attention. Giselle in the background, out of focus, is swaying to the music, eyes closed as she sings.

We see a wide shot, John and Giselle facing away from the camera, with Freddie Mercury, Roger Taylor, and Brian May in that order facing them. They’re in a rehearsal room, space half setup with a drum kit at the left of screen, a guitar case on the floor to the right of Brian, and a bass leaning up against the wall. The walls are dark wood varnish and all four members of queen are wearing pale or white clothes. Giselle wears a yellow sundress, her shoulders are tense.

Close shot of Giselle and Freddie shaking hands, both in profile, Freddie grinning and Giselle wearing a small smile.

Cut to; Giselle in Ray Foster’s office, the light is still golden, coming in through the blinds, but Giselle looks relaxed, her hair slicked back and wearing a black blouse and pencil skirt, one leg crossed over the other, arms out across the back of the brown leather sofa. She wears a smug smile.

[RAY FOSTER VOICE OVER] I’ve never had a single go gold like this before.

[GISELLE] It’s a blessing and a curse.

The music starts to really pick up as we get into the chorus, overladen with shouts of various and indistinct reporters as we fly through various headlines (‘A GENERATION’S INFATUATION WITH MEDIOCRITY’, ‘STEALING FROM ROYALTY’ accompanied by a picture of Giselle and Freddie having lunch together, ‘“JAZZ ROCK” PERFORMERS, POINTLESS AND PANDERING?”) and interviews with various people (‘The Secret Life of Giselle’ a very smug looking former assistant smiles at the camera, sitting primly as she’s interviewed. / ‘She Should Be So Lucky’ an angry reporter in a suit rants at the screen, flicking back and forth between the video of Giselle’s ‘the should be so lucky’ comment. / ‘Songbird of a Dying Genre’ interviews with critics (all of them old white guys) who just wave her off and roll their eyes.)

We zoom out of this final clip to see a wide shot of Giselle sitting at a desk at the very right of the screen, lit by the warm white light of a lamp while the rest of the room is lit by the cool blue light of the night sky streaming in through a large set of glass doors that separates her from the television that’s running the slander piece on her.

Close up over her shoulder reveals her to be writing the lyrics for Dinner and a Show and the music seamlessly transitions into a fast-paced version of Dinner and a Show as she rips the page from her notebook. The page moves to cover the screen for a moment and when it comes away we’ve transitioned to;

Giselle in her first performance at Top of the Pops, singing to a cheering crowd. She’s wearing a black, floor length slip gown with glass beaded detailing, and black gloves with red glitter and sequins on the hands, reminiscent of blood. Giselle belts along with the music as the song ends and there’s an extreme close up on her lips, painted red, with red glitter trailing from the corners. She takes in a shaking breath. The cheering grows louder, drowning out the final notes until it becomes overwhelming, and we can see that Giselle is still breathing hard, shaking a little. The sound and the picture fade out.

[GISELLE] (She sounds tired, a little forlorn) Everything I touch turns to gold.

It shows a close shot of Roger Taylor smiling mischievously at something on his left, he’s holding a cymbal in one hand and offers the other.

[ROGER] Is that a promise?

Cut to a shot of Giselle, standing up and looking over him, smirking and raising her eyebrows at him.

[GISELLE] (far happier, a little amused) I think it’s a threat.

Wide shot; she takes his hand. Trot, Canter, Pirouette (The Show Pony Song) picks up as soon as their hands touch. The song slowly gets faster over the following images.

Smash cut to the two of them on stage holding their joined hands above their head as they take a bow, in slow motion, facing an arena crowd in the middle of the day. Brian, Freddie, and John stand either side of them, but they’re the only two holding hands. Queen, again, is very casual attire, pale jeans and t-shirts and singlets, and Giselle wears a blood orange cocktail dress, off the shoulder, fitted until it flares out around her hips, falling just above her knees.

Cut to Giselle leaping into Roger’s arms wearing a white, flowing dress, and him in a fitted black tuxedo, he spins her around, kissing her passionately, and the camera spins the opposite way around them. They’re outside, under fresh green trees and dappled sunlight.

Cut to; Giselle and Roger are sitting on either ends of a sofa, their backs to the audience, watching the Rolling Stone Reporter pace back and forth, talking animatedly; the setting is a lot like Ray Foster’s office, however the decor is all modern, slick and white, and the fluorescent light bathes them all in a cold white light. Giselle and Roger share an amused look.

There’s a top-down shot of the two of them lying side by side in bed, but not touching. The bed is large with cream coloured sheets that are slightly tousled and plain white pillows, there’s a lamp on either side, illuminating them both in a peachy-gold light. Giselle wears a pair of pale blue pyjama shorts and a matching singlet top. Roger’s wearing a pair of tight black jeans and an open fringe vest. Neither looks happy; Giselle is contemplative and Roger is frowning. Giselle turns to look at him and the light around the room starts shifting until it’s made clear that these are two different shots side by side, spliced together. Roger reaches up and turns off his light, the whole room bathed in blue light, and he sits with his head in his hands at the edge of the bed. Giselle is still looking at the point where he was, squinting as a few golden-orange rays of a sunset hit her face. Roger looks up, as if he hears something, and walks out of shot.

Cut to a camera whip-panning to a moment during Freddie’s birthday party. Freddie stands in the middle of the frame, back to the camera, wearing his military jacket and ostentatious crown. The world around them is bright and joyful, with gold lights overhead, and the crowd in brown, yellow, and orange attire, but Giselle is wearing a midnight blue cocktail dress and a silver shawl, and Roger’s wearing a white blazer with blue shirt underneath. Freddie is standing between both of them in the foreground, separating them visually, and both look shocked, but Giselle doesn’t even look at Roger before she stalks off camera. He chases after her, both of them heading to the left and we crash cut to;

The music cuts out and we hear and see a door slam in Roger’s face. He’s still in the same outfit as the previous shot, but he’s put in sharp relief by the cold white light of a streetlamp, the rest of the world a dark grey-blue behind him. We fade to black.

A golden spotlight fades in with the first notes of Ache being played on piano, and the very faint roar of a crowd. All that can be seen is Giselle, illuminated by the singular spotlight, wearing a cool-toned copper, crushed velvet slip dress, tears in her eyes, everything behind her is a void of darkness. She’s holding a microphone, taking deep, shaking breaths.

[YOUNG GISELLE VOICE OVER] It sounds like he got everything he ever wanted.

Giselle takes a deep, shaking breath, closing her eyes, the sound of the crowd roaring and of Ache’s beginning dies down and a singular tear escapes her eyes.

[GISELLE’S FATHER VOICE OVER] Yes, but at a terrible price.

She opens her mouth to sing but we cut to black.

The title card; “ALL THAT GLITTERS” lights up in a block font, with lights in the letters, reminiscent of a Broadway sign. We hear Giselle sing ‘I feel the ache, feel the ache, feel the ache.’ but it’s just her vocals, ghostly, echoing, and a little ethereal. End id.]

[viralhottopics]

Nintendo Switch review: a brave and fascinating new console

At 280 the Switch is a gamble, but Nintendo has again done its idiosyncratic best to challenge the way we think about games hardware

Nintendo remains a puzzling phenomenon for a lot of modern gamers. The company never makes powerful consoles, or cool consoles; it never pushes the processing envelope, and it always seems a little eccentric when it comes to online infrastructure. Unlike Sony and Microsoft, it isnt trying to make gaming PCs designed to resemble dedicated games machines it just makes games machines.

The Switch is the latest evolution of an idea Nintendo has been playing with since the arrival of the Wii in 2006 a console for everyone, with an interesting, accessible and flexible interface. The console itself is basically a tablet, and completely portable, but plug it into the stand and the action immediately appears on your TV. It is a weird hybrid, a new mid-point between home and handheld.

The big question is is it fun?

The basics

Priced at 280, the Nintendo Switch is a hybrid system a cross between a home console and a handheld. When you buy one, you get the console itself, as well as the two JoyCon controllers, the stand for plugging the device into your TV, and a controller grip. HDMI and power cables come too.

Nintendo Switch whats in the box. Photograph: Nintendo

Games are on small cartridges (that rattle rather suspiciously) and they slot into a port at the top of the console. Unlike with PS4 and Xbox One, you dont need to install the software on to your hard drive, which is just as well as the Switch drive is a measly 32GB. Theres a Micro SD slot at the rear of the Switch, which adds additional storage capacity.

Optional accessories include a wired LAN adaptor and pro controller which offers a more refined and traditional interface for 65. Extra Joy-Con controllers (necessary for multiplayer games like Arms) cost 75.

Specifications

Size: 10cm x 24cm x 1.4cm (with Joy-Con attached)

Screen: 6.2-inch LCD Screen, 1280 x 720 resolution

Processor: Nvidia Custom Tegra processor

Storage: 32GB (with Micro SD card slot for additional space)

Connectivity: wifi (IEEE 802.11 a/b/g/n/ac) and Bluetooth 4.1

Weight: 300g (400g with Joy-Con attached)

A design of two halves

The Nintendo Switch looks like a very small, budget-conscious tablet, with the same sort of build quality (ie solid and kind of sleek). The capacitive touchscreen is not as precise as youll find on your new smartphone, but its a definite step up from the spongy Wii U GamePad and reacts to the slightest touch rather than a frustrated jab. The experience really does merge the accessibility of playing on a tablet with the added controller accuracy of a handheld. Its like a modern take on the multifaceted approach of the DS and 3DS, but with a larger screen and much more granular control.

When you want to plug it into into your TV, you slide the Switch into the dock, until it clicks into the port. This is a smooth, seamless procedure, but the console does rattle a little in its toaster-like home. The dock has HDMI, three USB ports and a power socket but thats all. Its just a hunk of plastic.

Nintendo Switch compared with a Wii U GamePad. Photograph: Keith Stuart for the Guardian

The Switchs built-in 6.2-inch display is 720p HD, and the picture quality is usually very good, with rich colours and a nice sharpness. When you plug the console in to your TV, Switch can output in full 1080p (though not 4K). On a larger display, its very clear this console is far behind Xbox One and PS4 in terms of visual fidelity the graphics have that familiar Nintendo look; cartoony, slightly hazy, but also artful. Titles like Legend of Zelda, Mario Kart and, later, Super Mario Odyssey do look beautiful, but in a more stylised way than the photorealistic aspirations of the other consoles.

Shared pleasures

Once charged, the Switch can be taken wherever you go and this is a key feature. With this console, you can put the screen down wherever you are, slide the Joy-Con off, hand them out and start multiplayer sessions with friends. The fact that the controllers can be used independently means Mario Kart, Bomberman, Just Dance and SnipperClips can all be played without the need to buy extra pads. Its the whole games-for-everyone philosophy of the Wii, joyously emancipated from the home.

On top of this, the console offers ad-hoc local networking for up to eight Switches. The idea of being able to meet up with pals wherever you are and play Mario Kart or Splatoon 2 together in big team sessions is an enticing one and the concept becomes even more interesting if/when we start seeing community-focused titles like Monster Hunter and Pokemon coming along. It was the former that more or less kept the Sony PSP alive, exploiting the machines ad-hoc connectivity; and we saw how powerful Pokemon Go was as a roving social experience. If Nintendo can harness this potential, it would be a major plus for the console. Sitting in a park with a whole bunch of people playing Mario Kart is a really fun proposition.

Joy or con?

Perhaps the most intriguing element of the Switch is its two Joy-Con controllers, which can be used separately, or snapped either side of a plastic grip to make a standard pad. Each Joy-Con has an analogue stick, a button array on the front, and four shoulder buttons along the edges. They also have built-in accelerometers and gyroscopes for motion control, while the right Joy-Con has a motion-sensitive IR camera, which can sense movement in front of it. Theres also a Capture button which lets you take, store and share in-game screenshots (but not video just yet).

The Switch Joy-Cons, close up. Photograph: Nintendo

The Joy-Con are small, but theyre very comfortable in the hand and the plastic is good quality. To make them more sturdy, there are wrist strap sections that slide on to the side of each controller, clipping into place. Theyre easy to get on, but removing them is an unnecessarily fiddly process of lifting a small locking mechanism, pressing a tiny black button then sliding them off it takes some practice (and brute force) and if anyone accidentally puts one on the wrong way round which really shouldnt be possible they become wedged pretty fast. It doesnt really feel like the neat, graceful, child-friendly industrial design were used to from Nintendo.

But theyre definitely good fun to use. Gripped in your hands they become almost invisible facilitators of ridiculous interactions. Whether thats milking a cow or pretending to scoff sandwiches in 1-2 Switch, or cutting out shapes in Snipperclips they take on the forms that each game requires; like the computer mouse, they simply become extensions of your own movements. This could (and in Nintendos hands should) lead to whole new interactive experiences

The Zelda box?

The Switch is launching with eleven games, but many of these are updates of already released titles like I Am Setsuna, World of Goo, Skylanders Imaginators and Just Dance 2017. One exception is Super Bomberman R, a re-invention of the classic multiplayer maze battler.

Of the two major Nintendo titles, 1-2 Switch really should be bundled with the hardware. This collection of competitive mini-games is fun for a while, but its purpose is to exhibit the capabilities of the console and with no lasting challenge to any of the 28 tasks, youll soon tire of it. Even a limited demo of the game would have been a welcome addition to the console package.

The key draw right now is The Legend of Zelda: Breath of the Wild, and honestly, what a draw it is. Expansive, refined and exciting, it could well be one of the greatest launch titles ever released.

Later in the year, well get Splatoon 2, Super Mario Odyssey, Arms and Super Mario Kart 8 Deluxe, which all look wonderful; then there will be Xenoblade Chronicles 2 and a Fire Emblem title, pretty much capturing the RPG market. Nintendo claims there are 100 games in development from 70 publishers highlights include the Elder Scrolls: Skyrim conversion, a Dragon Quest, a Sonic game, Ultra Street Fighter II, and follow-ups to cult titles like No More Heroes and Shin Megami Tensei. Thats a lot of fun to be had.

The big draw The Legend of Zelda: Breath of the Wild. Photograph: Nintendo

Nintendo has announced 60 indie titles as well: successful releases like Stardew Valley, Shovel Knight, Cave Story and Overcooked are on the slate, as are newcomers Yooka-Laylee, Snake Pass and Wargroove.

The big test of course is whether the big hitting franchises will come over. We know EA is making a Switch version of Fifa, and theres a Switch Minecraft, but will there be a Switch Call of Duty (and if the series goes back to WWII this will really matter), a Switch Red Dead Redemption?

So far it feels like theres more industry positivity around Switch than there ever was around Wii U. If Zelda starts shifting machines, the big publishers will want a part of that especially with the costs of producing high-end Xbox and PlayStation titles exploding with every new hardware iteration.

The end of the Miiverse

One disappointing aspect is that two favourite connected services Street Pass from the 3DS and Wiiverse from the Wii U will not be returning on Switch. Instead were getting a more conventional online subscription service offering multiplayer gaming and other content including monthly free titles.

At the same time, online lobbies and a voice chat app will replace the community hub that made your Wii U desktop feel like a thriving virtual town rather than a staid menu system. Indeed, the Switch desktop is rather sparse, so far consisting of large icons for any games youve played, as well as smaller options for the eShop, photo album and controller settings. Youll be able to import your Nintendo Account ID, make your own Mii character and set up friends lists, of course but currently the UI is very bare and uninspiring (although you could also see its simplicity as a bonus, especially as it also has to function on a smaller, portable display).

In many ways, Switch is going to be a lot more like Xbox and PS4 in its connected philosophy and thats a shame. And whats missing from this more conventional set-up is apps: currently there are no video-on-demand options like YouTube or Netflix, though Nintendo has said its considering them. Furthermore, we still dont know how much the subscription will cost, but it will be free until the autumn. On a more positive note, the eShop looks to be getting some excellent support from indie developers who are looking to support and explore the unique feature-set of the console.

Verdict

The Nintendo Switch is a brave and fascinating prospect. While the Wii U hinted at a dual screen future (and provided some truly brilliant games), this update truly gives us a strong standalone handheld platform as well as a home console that produces beautiful visuals and trademark Nintendo experiences. Those who well say buy a PC/Xbox/PS4 instead are too entrenched in conventional wisdom to understand the appeal of Nintendo hardware, which has always stood slightly to the side of the industry product pipeline. The Switch is playing in a very different space, a space of its own, and we now need to see if the rest of the industry, and a large enough audience of casual gamers, will join it.

Whatever happens, Nintendo has once again done its idiosyncratic best to challenge the way we think about games hardware. Right now, it has the best launch game in at least a decade, and enough compelling possibilities on the horizon to warrant enthusiasm and hope. At 280 it is a gamble; when the price drops, as it inevitably will before Christmas, it may prove irresistible.

Pros: fascinating hybrid concept; interesting controls; good quality screen; some excellent games on the way

Cons: areas of fiddly and below-par hardware design; limited launch line-up; unclear digital strategy

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from Nintendo Switch review: a brave and fascinating new console