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holydepths-blog · 6 years

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tag drop;

001. emma / phillips » interactions — with elisabeth dent.

001. emma / phillips » interactions — with mikhail talbot.

001. emma / phillips » interactions — with odette alvarez.

002. emma / phillips » visage — it feels like warm honey.

003. emma / phillips » musings — starlight; unseen all these years.

004. emma / phillips » all posts.

005. emma / phillips » all interactions.

001. philippa / espina » interactions — with kevin oswalt.

001. philippa / espina » interactions — with georgia aguirre.

001. philippa / espina » interactions — with joseph estrada.

002. philippa / espina » visage — she got that rich girl la vibe.

003. philippa / espina » musings — might be a sinner; might be a saint.

004. philippa / espina » all posts.

005. philippa / espina » all interactions.

001. averett / alvarez » interactions — with odette alvarez.

001. averett / alvarez » interactions — with casper mullin.

002. averett / alvarez » visage — this is not a phase nor a coming of age.

003. averett / alvarez » musings — i got news; i am not a little girl.

004. averett / alvarez » all posts.

005. averett / alvarez » all interactions.

001. theodore / larsen » interactions — with margaret larsen.

001. theodore / larsen » interactions — with julian apolskis.

002. theodore / larsen » visage — i am a lost boy.

003. theodore / larsen » musings — tried not to overthink this; do my best to fight it.

004. theodore / larsen » all posts.

005. theodore / larsen » all interactions.

001. alexander / weathers » interactions — with elizabeth weathers.

002. alexander / weathers » visage — my time is like water down the drain.

003. alexander / weathers » musings — tell me it gets easier; that i’ll figure it out.

004. alexander / weathers » all posts.

005. alexander / weathers » all interactions.

#001. emma / phillips » interactions — with elisabeth dent.#001. emma / phillips » interactions — with mikhail talbot.#001. emma / phillips » interactions — with odette alvarez.#002. emma / phillips » visage — it feels like warm honey.#003. emma / phillips » musings — starlight; unseen all these years.#004. emma / phillips » all posts.#005. emma / phillips » all interactions.#001. philippa / espina » interactions — with kevin oswalt.#001. philippa / espina » interactions — with georgia aguirre.#001. philippa / espina » interactions — with joseph estrada.#002. philippa / espina » visage — she got that rich girl la vibe.#003. philippa / espina » musings — might be a sinner; might be a saint.#004. philippa / espina » all posts.#005. philippa / espina » all interactions.#001. averett / alvarez » interactions — with odette alvarez.#001. averett / alvarez » interactions — with casper mullin.#002. averett / alvarez » visage — this is not a phase nor a coming of age.#003. averett / alvarez » musings — i got news; i am not a little girl.#004. averett / alvarez » all posts.#005. averett / alvarez » all interactions.#001. theodore / larsen » interactions — with margaret larsen.#001. theodore / larsen » interactions — with julian apolskis.#002. theodore / larsen » visage — i am a lost boy.#003. theodore / larsen » musings — tried not to overthink this; do my best to fight it.#004. theodore / larsen » all posts.#005. theodore / larsen » all interactions.#001. alexander / weathers » interactions — with elizabeth weathers.#002. alexander / weathers » visage — my time is like water down the drain.#003. alexander / weathers » musings — tell me it gets easier; that i’ll figure it out.#004. alexander / weathers » all posts.

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ridleymocki · 2 years

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So I finally watched Netflix’s Persuasion and yes, I pretty much hated it, but not for the reason you’d expect. My Austen-loving friend and I set aside a whole night for this. We watched three films as follows:

Appetizer: Persuasion (2007) with Sally Hawkins and Rupert Penry-Jones

Main course: Persuasion (2022) on Netflix with Dakota Johnson and Cosmo Jarvis

Palate cleanser: Emma (2020) with Anya Taylor-Joy and Johnny Flynn

Watching things in this order really threw some things into relief. Now, obviously as an adaptation Persuasion 2022 is inaccurate in ways people have already explained. There are significant disparities between the film and the source text (Anne’s a wine lush now?). There are also egregious anachronisms in costuming, hair, and makeup (through pure oversight the side characters end up being the most historically accurate). But, that aside, in my writerly opinion this isn’t even a competent stand alone film. You know the whole rule of “show don’t tell”? This film is fundamentally incapable of following that rule. Everything its told -- verbally, explicitly, almost condescendingly -- to the audience.

There seems to be a fundamental lack of trust in the audience, and our ability to interpret visual cues like facial expressions and tone of voice. There literally is nothing in this film that is conveyed subtly on good faith that people will understand what’s going on.

This is a faith that Austen herself and previous adaptations had in abundance. A key theme in much of Austen’s work is that because of social mores and the rules of propriety, people couldn’t just say what they meant, but had to obfuscate and convey intention through subtlety like double-speak, tone, facial expressions, etcetera. Think Darcy helping Elisabeth into the carriage in Pride & Prejudice (2005). Emma (2020) also does this particularly well; a good example is when Mr Martin runs after Harriet to advise that the road is flooded and she should take another route - meanwhile their facial expressions are full of an aching longing and pain, and while he’s talking about roads he’s really saying I still care for you even though you rejected me. And the Sally Hawkins Persuasion (2007) spares no amount of film in showing longing, yearning looks between characters, while Hawkins does something I would call ‘lung-acting’ where she conveys emotion merely by how she struggles to take a breath.

Netflix’s Persuasion wouldn’t know subtlety if it hit it over the head. The writers, for example, presume that we need not only the image of Anne crying in the bathtub to understand that she is sad and anguished, but that for proper comprehension we also need Anne telling us directly how awfully terribly sad she is (and this is one of the better parts of narration she has).

The choice to have Anne talk directly to camera, in some misguided attempt to replicate the charm of Fleabag, means that Johnson spends much of her dialogue in pure exposition which is neither interesting nor necessary. Plot points that could be made obvious from making the characters actually, you know, interact are substituted with sweeping faux-prophetic explanations of Anne’s relationship to others from her own mouth.

Moreover, other characters make a particular point to express how wonderful Anne is, verbally and very on-the-nose. I can’t direct-quote because I can’t bring myself to watch it again, but Louisa, Mr Harville, Mr Elliot and others all verbally extol Anne’s virtues in a rather heavy-handed attempt to convince the audience that Anne is really, truly, a very good and clever woman. But the thing is, you don’t need that if your character is behaving in a way consistent with those aforementioned virtues. Because then we can just see it. Show, don’t tell. And fundamentally, Johnson’s Anne Elliot does not behave consistent to how others describe her.

In the 2007 adaptation with Sally Hawkins, we as the audience see her exhibit deeply capable and compassionate behaviour, so that when characters later on sparingly praise these characteristics in her, the audience already agrees with it from the evidence of our own eyes. By contrast, the Netflix adaptation alters some fundamental points at which we see these virtues displayed.

When Little Charles falls from the tree, this is how it plays out in the book: “ Anne had every thing to do at once; the apothecary to send for, the father to have pursued and informed, the mother to support and keep from hysterics, the servants to control, the youngest child to banish, and the poor suffering one to attend and soothe; besides sending, as soon as she recollected it, proper notice to the other house, which brought her an accession rather of frightened, enquiring companions, than of very useful assistants.”

Ron Bass and Alice Winslow (the writers of the script for the Netflix adaptation) have Johnson’s Anne peace-keepingly agree to miss the party and watch over the boy purely to diffuse Mary’s complaining. Then, she gets drunk on a windowseat overlooking the party, presumably while the child himself is asleep downstairs. She opens the window and yells out to Wentworth, ducking down below the window when he hears and looks over. She accidentally knocks over a gravy boat in her inebriated stumbling and the gravy drips onto her head where she sits hiding on the floor.

This disparity between book and film is not just a quibble about wanting the source material accurately honoured. It is a problem because through making this change to the plot the narrative loses the characterisation of Anne that it fundamentally needed in order to be coherent. The audience requires scenes of her deftly handling the crisis with little Charles’ fall in order to validate Anne’s characterisation as capable, good in a crisis, level-headed, and strong. We need to see that this is the case, not merely be told it is so.

For another example, the case of Anne and Mrs Smith is treated thusly in the book (skip to tl;dr if you cbf): “ Anne had gone unhappy to school... and Miss Hamilton... had been useful and good to her in a way which had considerably lessened her misery, and could never be remembered with indifference... ”

And also: “She was a widow and poor. Her husband had been extravagant; and at his death, about two years before, had left his affairs dreadfully involved. She had had difficulties of every sort to contend with, and in addition to these distresses had been afflicted with a severe rheumatic fever, which, finally settling in her legs, had made her for the present a cripple. She had come to Bath on that account, and was now in lodgings near the hot baths, living in a very humble way, unable even to afford herself the comfort of a servant, and of course almost excluded from society. Their mutual friend answered for the satisfaction which a visit from Miss Elliot would give Mrs. Smith, and Anne therefore lost no time in going. She mentioned nothing of what she had heard, or what she intended, at home. It would excite no proper interest there.”

and: “ Anne found in Mrs. Smith the good sense and agreeable manners which she had almost ventured to depend on, and a disposition to converse and be cheerful beyond her expectation. Neither the dissipations of the past--and she had lived very much in the world--nor the restrictions of the present, neither sickness nor sorrow seemed to have closed her heart or ruined her spirits.”

Tl;dr: Mrs Smith is Anne’s old school friend who is widowed and poorly. Despite being of significantly higher social status than Mrs Smith, Anne goes to visit her in Bath on the pretense it will raise Mrs Smith’s spirits and doesn’t tell her family about it. Anne rekindles an affectionate friendship with her, even admiring her for her optimism.

But... Mrs Smith is erased from the Netflix version.

Again, this is not a quibble about accuracy, it’s about whether the text can actually function coherently.

In losing Mrs Smith, we lose everything that this friendship contributes to the text. We lose the understanding that Anne values the qualities of other people’s characters over their social status or wealth (particularly when we contrast her like for Mrs Smith with her dislike for Lady Dalrymple). We lose that insight that she has this mentality contrary to the values of the rest of her family who are insufferably social-climby -- i.e.: unlike them, Anne’s not a snob. To wit, we lose the evidence that Anne’s rejection of Wentworth eight years ago was definitely not for classist reasons, as here she is having a social connection to a poor and disabled widow without a care for their class difference. We also lose the second example (along with Wentworth) of how Anne’s affection for someone can be long-running and endure many years without contact, and thereby, how in this respect her character is constant and loyal despite the logical conclusion from her mistake eight years ago and Wentworth’s suppositions.

We as the audience not only need these things, the other characters need it, too, in order to judge Anne’s character as highly and praisingly as they do. The showing of these qualities in her through her actions legitimises all the conclusions other characters make about her, and helps those characters and the audience both to comprehend how and why the plot plays out as it does, with Anne and Wentworth’s eventual reconciliation.

The absence of this observational evidence from the Netflix adaptation means that the other character’s insistence on Anne’s virtuousness is compensatory. It aims to do what the movie visually and narratively has not provided. I can only presume that the writers realised they were writing-out these character-building moments in favour of snappiness and comedic scenes, and sought to reinstate Anne’s integral characteristics through dialogue.

But, it doesn’t work.

We end up with characters doing one thing and saying another. And I as an audience member felt particularly patronised for having all the authorial intentions spelled out to me.

And so, even if I put some mental blinkers on and pretend the source material doesn’t exist. Even if I pretend the anachronisms in the worldbuilding, dialogue, costuming and plot are deliberate and considered a-la Bridgerton. Even if I try to the see the merits of the film for themselves (I thought Cosmo Jarvis was quite good and wish he was in a better version, and Mia McKenna-Bruce was kind of delightful as Mary in a way Mary never is). Even with all that, the Netflix version is not a functional text. And it’s not bad because of any of those other reasons, it’s bad because of that. It’s badly written. It condescends its audience. And the facts of the events don’t match the testimony of the characters. It just, makes no sense.

#persuasion #netflix persuasion #dakota johnson #jane austen #pride and prejudice #persuasion 2022 #emma 2020 #austen

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quaylinsims · 3 years

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Meet the Characters: Lizzy Baden

Lizzy Baden is the governess who watches over the three Baden boys.

Lizzy, born Elisabeth, is a German immigrant who came to this country at a young age. The immigration officials couldn't pronounce her last name, so they rudely gave her a new one based on where she came from (Baden was a region in southern Germany/northern Switzerland).

A bookworm and a perfectionist, she tutors the boys and demands the best. She is frequently surprised by David's high marks, considering his... attitude. In addition to tutoring, she also performs nanny-like duties and is the main caretaker for the youngest, though her demeanor can't exactly be called "warm."

Lizzy can be considered a bit of a snob. Though she herself was an immigrant, she was taken in by a wealthy family and often looks down on those who are struggling to make a new life in a new land. And she frequently suggests who the boys should and shouldn't interact with.

Is Lizzy heartless, or just super protective of the boys in her care? How does she do her own hair? Will she show sympathy for Emma, a girl who is also trying to make a new life with the generosity of a wealthy family?

#sims 4 story #s4 story #storytelling #Past Perfection #PPcharacters #Lizzy Baden

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kathubs · 4 years

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Wizard World Virtual Experiences is bringing Buffy The Vampire Slayer / Angel to the virtual screen on Saturday, April 11! Join James Marsters (Spike), Amber Benson (Tara Maclay), Clare Kramer (Glory), Emma Caulfield (Anya), Camden Toy (Ubervamp / Gnarl / Gentleman), and from Angel, Elisabeth Rohm (Detective Kate Lockley) for an interactive afternoon which includes a FREE live moderated video Q&A, plus one-on-one video chats, recorded videos and autographs! This event starts at 3pm ET / 12pm PT. Fans can virtually attend sessions on their computers and mobile devices. As part of the event, FANS ACROSS THE GLOBE can: Submit questions via chat during the FREE 45-minute panel featuring all three of our celebrity guests (open to everyone, no entry fee to watch or submit) Participate in a personal, exclusive one-minute live video chat with each celebrity (paid) Purchase a recorded video from any of the three. (specifying the message if desired) Purchase an autograph either on an 8”x10” photo or custom exclusive 11”x17” lithograph designed specifically for this event. (Shipping is included on all Autographs.) 🎟️ GET YOUR TICKETS NOW: http://wizd.me/iigp

APRIL 11 2020

#wizard world #buffy the vampire slayer #angel the series #james marsters #amber benson #clare kramer #emma caulfield #camden toy #elisabeth rohm

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filmreviewonline · 6 years

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Star Trek: Discovery 2x10 Promo “The Red Angel”

New Post has been published on https://filmreviewonline.com/2019/03/15/star-trek-discovery-2x10-promo-the-red-angel/

Star Trek: Discovery 2x10 Promo “The Red Angel”

Check out the Star Trek: Discovery 2×10 Promo trailer. The episode is titled “The Red Angel” and will debut on CBS Interactive on March 22nd, 2019.

Star Trek: Discovery 2×10 Promo trailer

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In the next episode of Star Trek: Discovery… Micheal Burnham (Sonequa Martin-Green): “There are so many reasons to join Starfleet. “We get to reach for the stars… we get to reach for the best in ourselves… we get to reach for each other” Captain Pike (Anson Mount): “On your mark commander” Micheal Burnham: “Ready”

Discovery 2×10 Gallery

Robert Downey Jr as Sherlock Holmes © Warner Bros Pictures

Anna Friel © Universal Pictures

Director Brad Silberling © Universal Pictures

Ben Stiller © 20th Century Fox

Musical moment from Glee © 20th Century Fox Television

Terminator © Warner Brothers

Will Ferrell © Universal Pictures

Sam Raimi © Universal Pictures

Alison Lohman © Universal Pictures

Justin Long © Universal Pictures

Lorna Raver © Universal Pictures

Jessica Biel © Sony Pictures Classics

David Tennant and Elisabeth Sladen © BBCtv

Karen Gillan © BBCtv

Will Ferrell © Universal Pictures

Donald Petrie © Fox Searchlight

Nia Vardalos © Fox Searchlight

Danny McBride © Universal Pictures

Jorma Taccone © Universal Pictures

Brad Silberling © Universal Pictures

David Carradine in Kung Fu: The Legend Continues © Warner Bros

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Sons of Anarchy (Season 6) -From left, creator/executive producer Kurt Sutter, actors Charlie Hunnam and Katey Sagal and director Paris Barclay participate in the “Sons of Anarchy” panel at the FX 2013 Summer TCA press tour at the Beverly Hilton Hotel on Friday, August 2, 2013 in Beverly Hills, Calif ©2013 FX, photo by Frank Micelotta

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89th Oscars® producers Michael De Luca and Jennifer Todd during the Oscar Nominee Luncheon held at the Beverly Hilton, Monday, February 6, 2017. The 89th Oscars will air on Sunday, February 26, live on ABC.

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Star Trek: Discovery streams exclusively on CBS All Access in the United States. It is distributed concurrently, which in the UK means the next day, by CBS Studios International on Netflix in 188 countries. In Canada, it is on Bell Media’s Space Channel and OTT service Crave.

#Anson Mount #Captain Pike #Micheal Burnham #Sonequa Martin-Green #Spock #Star Trek: Discovery (2017 tv)#Star Trek: Discovery (2017 tv) Season 2

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searchingwardrobes · 6 years

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What My Muse Did On Summer Vacation

I posted that I was out of town for 8 days and hardly wrote a word. However, my muse was still alive and kicking. Therefore, I now have an actual plan for what I'll be writing for Captain Swan is My Favorite Rom Com 2018. So I thought I'd give you all a little preview. Will all this actually get written? Who knows. But this is my grandiose plan at least.

1. Fugitive AU: This is the only one I've actually written anything for. It's five chapters so far. Emma is the federal Marshall and Killian is the fugitive who swears he didn't kill his wife Milah. In my version, these two characters have far more interaction (wink wink)

2. Adventures in Babysitting AU: I wanted to do this one last year, actually. And I mean the 1987 Elisabeth Shue version not the 'tween Disney channel version. And no, Killian won't be driving that wrecker. He'll be the college hottie who can't believe Emma's a senior in high school. And he'll play a much larger role than the character in the movie.

3. Hope Floats AU: I'm not sure yet how I'll translate this one, but it has to be done because . . . Neal the Jerk.

4. Twister AU: You can blame @yayimallamaagain and @kmomof4 for this one. How many fics would never have been written if not for Krystal . . .

5. Girls Just Want to Have Fun AU: I could just see Charming as the over protective dad in this. And Ruby as the wild friend. And Killian as the guy from the wrong side of the tracks. And Regina as the conniving rich girl. Besides, @hollyethecurious had to go and use the quote "It's the safest thing you'll ever have between your legs" in one of her stories. So thanks a lot, Hollye!

6. Bring It On AU: This came to me after chatting about dance movies with @snowbellewells because I started reminiscing about my dance and cheer days. Killian makes a perfect Cliff, but I wasn't sure at first how Emma could fit in that universe. She doesn't work at all as Torrance, but Missy? I could totally see Emma frustrated when her new school doesn't have a gymnastics team and then tries out for the squad when someone (Ruby?) dares her to. Naturally, she wouldn't be Killian's sister though. Mary Margaret would be a perfect Torrance, the hopeful captain, and of course David would be on the squad too. Ooh, and Anna! And of course, Neal is perfect as the cheating scumbag boyfriend who never believes in Emma. I got so into plotting all this, I got distracted and started a Snowing cheerleading AU one shot. It's almost done . . .

7. The Wedding Singer - I haven't decided yet if it should be Emma or Killian left at the altar. Thoughts? I mean, Neal makes such a great scumbag boyfriend, I kind of want to leave the roles the way they are in the movie . . .

Well, I better quit wasting time on tumblr and get to work . . .

@shipsxahoy @tiganasummertree @artistic-writer @kmomof4 @hollyethecurious @thejacketandthehook @shady-swan-jones @bethacaciakay @galadriel26 @teamhook @cat-sophia @coliferoncer @allofdafandoms-blog @phiralovesloki @pocket-anon @dassala @branlovesouat @flslp87 @snowbellewells @thislassishooked

#my writing plans #cs ff ideas #csromcom18 #csromcom2018 #captain swan is my favorite rom com

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