#janus schrader

[stels-sanderssides-au]

I've made some MAJOR changes to my au so here's some details that are important

This is a 'human' au. The sides are reincarnations of spirits. And Thomas is there too

It doesn't take place on Earth; it takes place on an alternate Earth called Azeron.

Roman Mixon, she/they trans woman. 36

Remus Mixon, he/him trans man. 36

Patton Liddell, he/she cis man. 35

Virgil Moriarty, he/she/they bigender. 34

Thomas Sanders, he/him, cis man. 34

Nico Flores, any/all cis+. 34

Emile Picani, he/they, cis man. 34

Janus Schrader, she/he/it transfem genderfluid. 31

Remy Smith, ze/hir trans man. 30

Logan Redd, he/it trans man. 29

Roman and Remus are the princess and prince of the country Enteralia.

Virgil is the prince of the country Kora, just north of Enteralia.

Roman and Virgil are married.

Patton and Janus are married.

Logan and Remus are married.

Thomas, Nico, and Remy are all engaged to each other.

Patton and Logan are friends with benefits.

Janus and Remus are dating.

Roman and Remus family members: Terry Mixon (father, deceased), Gina Mixon (mother), Julie Mixon (older sister)

Patton family members: Franklin Liddell (father), Tonya Liddell (mother, deceased), Drew Emily (stepfather), Mildred Liddell (younger sister), Jason Liddell (son)

Virgil family members: Kai Moriarty (father), Karen Moriarty (mother), Veronica Moriarty (older sister)

Janus family members: unknown father, Kira Schrader (mother), Linda Schrader (grandmother, guardian)

Remy family members: Westley Vella (father), Thalia Smith (mother)

Logan family members: Reginald Redd (father), Ashley Redd (mother), Xyler Redd (younger brother), Fran Redd (younger half-sister), Tuesday Redd (younger sibling), Michael Redd (younger half-brother)

Emile is Thomas' twin brother.

Patton had his son Jason with his ex girlfriend Jessica. They have split custody.

Patton has PTSD. His emotional support animal is a pit bull named Lolli.

Janus has fibromyalgia and epilepsy. Her service animal is a golden retriever named Tuck.

Remy is blind. Hir seeing eye dog is a husky named Venti.

Logan has schizophrenia and PTSD. His emotional support animal is a sphinx cat named Lulubelle.

Roman and Remus are Christian

Patton is Jewish

Virgil was raised Christian but has never practiced

Janus is agnostic

Logan was raised Catholic but is atheist due to religious trauma

[trickster-tabby]

Okay so here's what the merc sides look like

Spy Janus

Medic Patton

Heavy Roman

Sniper Remus

Scout Logan

Pyro Virgil (he uses fire magic instead of a flamethrower)

Demo Xyler

Engie Thomas

Soldier Dodger

[nftcenter]

“Loopinglovers X Paul Schrader The "Janus" Head series symbolizes duality in eternal laws, such as creation/destruction, light/darkness, future/past. The series merges multi-layered hues of a real painting with the virtual reality of the three-dimensional. Various heights and depths of the face, underscored by the colors reflect what affects and shapes us as beings. A moment ago, it was the future and now it is the past. How long is the now? Is it only future or is it only past? Now is always!” @loopinglovers available on @withfoundation Past" "Present" "Future" “LoopingLovers is formed by the Multidimensional Artistduo Philipp Ries and Thomas Mayer, capturing an exciting contrast between realism and surreality which they define as digital sensuality.” #nfts #nft #digitalart #art #cryptoart #raredigitalart #ethereum #artoftheday #cryptoartist #blockchain #contemporaryart #animation #modernart #abstractart #crypto #bitcoin #generativeart #nftdigitalcommunity #digitalillustration #nftsstories #digitaldrawing #artgallery #digitalcollectibles #stopmotion #entrepreneurship #digitalmarketing #billionaire #Virtualreality #augmentedreality #investmentideas https://www.instagram.com/p/CO54DaZAZki/?igshid=a0j2t0z3p86f

[seedofmemoryblog]

T-MEN (1947) 

Starring Dennis O’Keefe, Charles McGraw, Alfred Ryder, June Lockhart; dir: Anthony Mann

 The ‘T’ stands for ‘Treasury’, whose agents (aligned with the Secret Service) resonate with G-Men in this quasi-documentary style account of an actual counterfeiting investigation, ‘The Shanghai Paper Case’.

Mann’s T-Men is a surprisingly un-prole thriller for such an extremely dark gangster noir.  Its environments linger in managers' offices, luxury pads and specialist labs, giving it more the air of a chiaroscuro corporate struggle (albeit a violent one) than a back alley gang war.  This impression is strengthened by cinematographer John Alton’s predilection here for shots of long corridors, suggesting flows of institutional power.  They reinforce its odd mix of rarefied air and extreme darkness. 

Nevertheless this is a truly underworld excursion.   With its dark aesthetic we feel totally submerged, almost underwater, and certainly cut off from any elements of ‘known’ life.  Hence the impact on the viewer of the movie's riff of identity transference and shifting personas as the agents go undercover.  Because it is so all-consuming we respond almost as viscerally as its protagonists do, making the shocks that come – and their psychological violence – felt, rather than merely seen.

T-Men is renowned for this subtext of Janus-like duality, attracting noir cred for suggestions of cops internally crossing the line, and vicarious evil becoming a bit too natural.  Certainly Dennis O’Keefe takes to the more superficial aspects of his deep cover role as a hood with relish - flipping cards, dressing crassly, etc. But undue emphasis on this dualism diminishes the artistry of the filmmakers here – we don’t want O’Keefe mugging for the camera to remind us he’s really a good guy like it’s some Burt Reynolds movie.  Its toughness is part of its quality and the film has a deserved reputation for being unusually objective, rather than romanticising the participants in crime.  This is reflected in 21st century audiences’ sombre, respectful viewing of it. 

Something else that’s unusual is remarked upon by the film’s voiceover - the gang’s unusually clandestine and highly organized nature.  This has led to retrospective interpretations seeing T-Men as a paradigm of espionage movies.  Such a McCarthyist reading (as in Carlos Clarens’ Crime Movies) sees the counterfeiters – who after all are in foreign cells of anti-Uncle Sam activity – as just stand-ins for the Commies.

Certainly John Alton’s uber-dark cinematography does carry the suggestion of a shadow hanging over the country.  But such an interpretation only works in the head, not the gut.  In essence the film plays like a straight, unvarnished thriller.  These guys aren’t fifth columnists, they’re hoods!  It’s true that T-Men is overly encrusted with kitsch newsreel-style propaganda (the voiceover, ‘public service announcement’ introduction, etc) but it comes across as if the Hollywood/Washington nexus was still fighting the last war, not the next one.  This does allow for an interesting reflection on how addicted America became in the 40s to its war footing (a state of affairs which would become institutionalized in the military-industrial complex to come). 

For all this seriousness there’s inadvertent humor too, particularly in the bathhouse investigation: “Have you ever spent ten days in steam baths looking for a man?” asks O’Keefe after tracking down bit player ‘The Schemer’.  Bill Collins was more coy:  “One could also question the true nature of the relationship between The Schemer and his murderer…”, suggests Bill in his Golden Years of Hollywood anthology. 

As Images Journal points out, longtime Mann collaborator Alton loved steam, fog and smoke and T-Men’s murder-by-steam scene has spawned countless imitators.  It was restaged (so closely as to be homage - intentionally or not) by Paul Schrader (who wrote about T-Men in Notes On Film Noir) in his Blue Collar (1978) with Yaphet Kotto going down in the Dodge Main paint room, a particularly grisly death.  But the Mann/Alton noirs are no strangers to grisly violence either, with an ear assault here that makes one wince in memory of the hearing-aid torture in the Alton/Lewis The Big Combo.   

The team of Mann and Alton is arguably the greatest collaboration in noir, as evinced by Raw Deal, T-Men, Border Incident and He Walked By Night (Mann uncredited).  Suggestions of a noir repertory arise from the other elements common to T-Men and Raw Deal: Dennis O’Keefe and music from ‘B’ legend Paul Sawtell.  It adds up to T-Men being an intriguing film whose impact lingers well after the viewing experience.

[therealpedrolee]

"We're hosting an intergalactic kegger down here!" Aug. 10 Saturday at 9:30 PM – 11:30 PM The Armory 312 West 36th Street, New York, New York 10036 SHOT4SHOT is a drinking game with a movie problem... After a government agency makes the first contact with aliens in 1961, alien refugees live in secret on Earth by disguising themselves as humans in the New York metropolitan area. Men in Black is a secret agency that polices these aliens, protects Earth from intergalactic threats and uses memory-erasing neuralyzers to keep alien activity a secret... This is probably made more difficult when a few beers are involved! CAST Stage Directions... Hannah Erdheim Drink Ref... Heather Jewels Booth Jay "James Edwards"... Pedro Lee Kay... Leah Evans Laurel/Elle... Sean Morin (debut!) Edgar... Marcus Haugen Jeebs/Worm Guy/Mikey/Bee/Mrs Redgick... Jerry Burgos Zed/Cop/COOK... Jack Rokicki Frank the Pug/2nd INS Agent/Arquillian/Agent/Vendor... Nick Carrillo Agent Janus/Sergeant/Exterminator/Bob/Man/Elizabeth... Melissa Parker Caron Worm 2/Dee/Inspector/Edelson/Cab Driver/Passerby/Tony... Olivia Olivia Olivia Worm 3/Perp/Voice/Ambitious Recruit/Passport Officer/Rosenberg/Baltian/Clean Up Agent... Matthew A. Schrader Worm 1/Driver/Beatrice/Guard/Idikiukup/Cat/Redgick/Computer Voice... Brennan Lowery Tickets below: https://bit.ly/33gCF2P (at The Tank) https://www.instagram.com/p/B0zA0FkpHFw/?igshid=wq6fcutqzhfh

[mrmichaelchadler]

Believing in Ingmar Bergman's Cinema

It begins with a high overhead establishment shot of a community in postwar Sweden. The narrator sets the serene tone: “This is such a small town. I wouldn’t call this a great or harrowing tale. It is really just an everyday drama. Almost a comedy.”

The 1946 movie, “Crisis” (pictured below) marked the directing debut of 28-year-old Ingmar Bergman. It was not, like “Citizen Kane,” or “Breathless,” a first feature that signified a dynamic new talent behind the camera. The artistic authority existed in a much different register. In retrospect we are just now coming to fully understand the depth and full meaning. The movie launched one of the most significant and polarizing careers in the history of the cinema.

From the moment of his first film until his death, on July 30th, 2007, at the age of 89, Bergman was a towering cultural figure in film, theater, literature and film criticism. From 1946-1982, Bergman directed more than 40 films, the lynchpin of his artistic legacy. It is a body of work at once austere, beautiful, tactile, allusive and deeply generous.

He would have turned 100 on Saturday, July 14th. How do you begin to even fully process or critically assimilate so many films? Bergman’s critical reputation has always been volatile and fluid. There has never been a time when it does not seem essential or important to think about the man or discuss his films. The centennial of Bergman’s birth has reinvigorated the discourse.

The legendary art-house distributor Janus Films is currently presenting the national traveling retrospective, “Ingmar Bergman’s Cinema: A Centennial,” through October. FilmStruck, the essential streaming platform of Criterion and Turner Classic Movies, is showcasing the collection, “Director of the Century,” made up of 29 Bergman features, including the extended, multipart television versions of “Scenes from a Marriage” and “Fanny and Alexander.”

On November 20th, Criterion is issuing a 39-film boxed set, also called "Ingmar Bergman’s Cinema," that features new digital restorations of many of the keys works and a wealth of extraordinary supplemental materials and a 248-page book.

In a remarkable essay published in the current issue of Film Comment, contemporary French master Olivier Assayas writes: “You could ask what Bergman’s work has to tell us today, but you could just as well reverse the question and ask what our relationship to his films says about us.”

Robert Bresson’s “Diary of a Country Priest” is the dominant influence on Paul Schrader’s “First Reformed,” arguably the director’s greatest achievement. Bergman’s “Winter Light” is another essential reference on the film, and it testifies to his impact that Bergman marked the careers of so many critics turned filmmakers like Assayas, Schrader, Francois Truffaut and Jean-Luc Godard.

“It’s ironic to realize that Bergman’s finest work is precisely involved in bringing out the dormant genius in each of the actresses he’s chosen to work with—Maj-Britt Nilsson, Harriet Andersson, Eva Dahlbeck, Gunnel Lindblom, Ingrid Thulin, Bibi Andersson, Liv Ullmann,” Truffaut wrote in a 1973 essay. “They are not kittens or dolls but real women. Bergman films them as they look out at the world, their gazes increasingly intense with toughness and suffering. The results are wonderful movies that, like Renoir’s, are as simple as saying hello. However, is saying hello so very simple?”

He touched all sides. Bergman came to film from theater. Bergman’s 1942 play, “The Death of Punch,” secured his entrée into the Svensk Filmindustri as a young scriptwriter. At SF, he developed under the tutelage of the two greatest figures of Swedish cinema: Victor Sjöström and Alf Sjöberg. Many of the early works are hybrid pieces that play off the expressive and formal differences of theater and film.

Bergman cannily synthesized, calibrated and usurped the dominant film movements for his own purposes: the French poetic realism of Jean Renoir, the play of memory and time from Max Ophuls and the speed and rhythm of Alfred Hitchcock. The great cinematographer Gunnar Fischer began his professional collaboration with Bergman on “To Joy,” in 1948 and he brought a sharper and more precise visual fluency to the material that fused perfectly with Bergman’s skill with language, ideas and his work with actors. The peerless Sven Nykvist started working with Bergman on “Sawdust and Tinsel,” in 1953, the start of the most celebrated director and cinematographer collaboration in history.

The release of three successive titles: “Smiles of a Summer Night” (1955), “The Seventh Seal” (1957) and “Wild Strawberries” (1957) made his international reputation. He became an avatar, the director as superstar. Assayas writes: “One could even add that Bergman has the privilege—or the curse—of having crystallized in the collective imagination as an archetype of the filmmaker: introspective, chatty, misanthropic, and also a kind of Bluebeard who left little space between life and art in his relationship with his actresses.”

The rise of Janus Films—founded in Boston in 1956—is inseparable from that of Bergman. The beauty of the retrospective and the Film Struck series is the circling back in gaining new appreciation and understanding of the director’s artistic progression.

“Summer Interlude” (1951) is a breakthrough work with a brilliant, tormented performance by Maj-Britt Nilsson as a ballet dancer haunted by the memory of her youthful affair with a young student (Birger Malmsten). Bergman’s use of ellipsis and time is beautiful to behold, and the erotic charge between the two young lovers is palpable and enthralling.

The sexual frankness is what gave Bergman’s work its early cache. He explicitly acknowledges as much in the follow-up film, “Waiting Women” (also known as “Secrets of Women”), from 1952. The framing device, a group of sisters-in-law recounting episodes from their past, is awkwardly shaped over the material, pointing out a structural weakness in Bergman that reflected a mechanical construction.

The second episode, again featuring Maj-Britt Nilsson, is extraordinary, composed of a flashback within a flashback, of a woman about to give birth who recalls her romantic travails in Paris. It’s not just the abundant nudity during a French cabaret sequence that feels shocking. Nilsson is pursued simultaneously by an American serviceman and more furtively by a Swedish painter. She offends the American by taking part in a risqué moment on stage that wins her a bottle of champagne. 

The champagne bottle ends up being an emblem of her sexual assertiveness but freedom as she uses it to extricate herself from the bonds of the judgmental American. In the final sequence, Eva Dahlberg achieves a lyrical lasciviousness as a wife of an industrialist. Trapped in a stalled elevator with her husband, she turns the tables that is absolutely riveting.

The French New Wave undercut Bergman’s influence. The critical backlash followed. “If a movie director isn’t going to provide a joke or two and some dancing girls, if he’s going to be serious, then he’d better have something interesting to say,” Pauline Kael wrote in 1968. “If, despite erratic brilliance, I was fed up with Bergman, it was because the pall of profundity that hung over his work and so many people had come to think that that pall was art.”

With the possible exception of Godard, is there any other filmmaker who has engendered so much remarkable writing about film as Bergman? “There is no happy ending,” Susan Sontag wrote in her landmark 1967 essay on “Persona.”

“At the close of the film, mask and person, speech and silence, actor and ‘soul’ remain divided—however parasitically, even vampiristically, they are shown to be intertwined.” 

In the end, wherever you stand on Bergman, believer, agnostic or somewhere in between, that intertwining has never felt so relevant or meaningful.

from All Content https://ift.tt/2JMl87L

[stels-sanderssides-au]

Name: Janus Schrader

Age: 31

Gender: Transfem genderfluid, she/her any/all

Spirit: Deceit

Animal: Snake

Janus' body is covered in snake scales, however there is a fixed amount. If a new scale grows, an older one falls off. Because of this, the locations of the scaly patches will shift over time.

Janus often lies with no reasoning, but is too embarrassed to correct her words until another opportunity arises. She feels a compulsive need to embellish the truth, or claim that small scenarios she imagined actually happened.

She's a very good friend, and is always there if you need her. She'll talk shit with you, take you out for ice cream, she'll even go full Karen at your manager should they be a dick to you.

Janus has a thick southern accent. She's had many people refer to her as a southern belle.

She has fibromyalgia, epilepsy, ADHD, she's autistic, and she's blind in her right eye (the brown one).

She's married to Patton Liddell, and is dating Remus Mixon. She briefly had a relationship with Roman Mixon, but it has since ended.

[stels-sanderssides-au]

Name: Patton Liddell

Age: 35

Gender: Cis male, he/she

Spirit: Morality

Animal: Bat

Patton's wingspan is 13ft. He enjoys free falling, landing in trees, and wrapping his wings around people.

Patton has a fascination with the morbid and gorey. He collects bones, especially skulls. He also collects knives and swords. He has taxidermy animals that remind him of his friends.

He dual-majored in medicine and forensics. While he doesn't work as one, he is a doctor. He works at the morgue... And may or may not have tampered with a few bodies to avoid getting into shit.

Patton has PTSD, he's autistic, and he's deaf in his right ear.

Patton is married to Janus Schrader, and is friends with benefits with Logan Redd, who is also his ex boyfriend.

[trickster-tabby]

Okay so

The sides are BLU team

Janus is Spy

Patton is Medic

Roman is Heavy

Remus is Sniper

Logan is Scout

Virgil is Pyro

Xyler (Logan's brother) is Demoman

Thomas is Engineer

And I don't yet know who's going to be Soldier, probably Dodger (Janus and Remus' daughter)

[trickster-tabby]

Sides Parents

Father: unknown

Mother: Kira Schrader (deceased)

Raised by grandmother, Linda Schrader

Janus unfortunately was conceived via rape. His mother was too poor to care for him, and gave custody to his grandmother (who he calls "Gran") when he was only a year old. He never saw her again.

Father: Frank Liddell

Mother: Tonya Liddell (deceased)

Stepfather: Drew Liddell

Patton's mother, while very loving, was mentally unstable. She committed suicide when Patton was a child. Patton was confused when his father started seeing Drew, but he grew to love him.

Father: King Terry Mixon

Mother: Queen Gina Mixon

Terry tries his best to be "hip with the kids". He fails miserably. Gina actually does understand gen z culture, and tries to teach him, which makes it a little more bearable.

Father: Reginald "Ren" Redd (unknown for Xyler)

Mother: Ashley Redd

Thankfully, Logan's parents are divorced. Logan's father is a horrible person. He's queerphobic and abusive. He intentionally misgenders and deadnames Logan. Logan's mother is a loving and wonderful person. She always accepted that Logan is not Lauren.

Father: King Kai Moriarty

Mother: Queen Karen Moriarty

Older sister: Princess Veronica Moriarty

Virgil's parents, while very loving and very much loved, don't understand that Virgil is no longer a child. They try to protect him from things like swearing, sex, and even things that used to scare him that he now loves. For example, heavy music bands such as Avenged Sevenfold used to scare Virgil because they were loud, but now A7X is one of his favorite bands. Virgil also dislikes being treated like royalty, despite being a prince. Veronica, while liking more stereotypically "white girl" things, understands Virgil and hangs out with him regularly. Veronica will inherit the throne.

[therealpedrolee]

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"We're hosting an intergalactic kegger down here!" Aug. 10 Saturday at 9:30 PM – 11:30 PM The Armory 312 West 36th Street, New York, New York 10036 SHOT4SHOT is a drinking game with a movie problem... After a government agency makes the first contact with aliens in 1961, alien refugees live in secret on Earth by disguising themselves as humans in the New York metropolitan area. Men in Black is a secret agency that polices these aliens, protects Earth from intergalactic threats and uses memory-erasing neuralyzers to keep alien activity a secret... This is probably made more difficult when a few beers are involved! CAST Stage Directions... Hannah Erdheim Drink Ref... Heather Jewels Booth Jay "James Edwards"... Pedro Lee Kay... Leah Evans Laurel/Elle... Sean Morin (debut!) Edgar... Marcus Haugen Jeebs/Worm Guy/Mikey/Bee/Mrs Redgick... Jerry Burgos Zed/Cop/COOK... Jack Rokicki Frank the Pug/2nd INS Agent/Arquillian/Agent/Vendor... Nick Carrillo Agent Janus/Sergeant/Exterminator/Bob/Man/Elizabeth... Melissa Parker Caron Worm 2/Dee/Inspector/Edelson/Cab Driver/Passerby/Tony... Olivia Olivia Olivia Worm 3/Perp/Voice/Ambitious Recruit/Passport Officer/Rosenberg/Baltian/Clean Up Agent... Matthew A. Schrader Worm 1/Driver/Beatrice/Guard/Idikiukup/Cat/Redgick/Computer Voice... Brennan Lowery Tickets below: https://bit.ly/33gCF2P (at The Tank) https://www.instagram.com/p/B06ixD6HzKG/?igshid=1tg9jz7x0p7k2