bourbon-ontherocks · 2 years ago
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X + Y for the alphabet ask game, just in case you want to procastinate for a bit 👀
Thank you!!! ❤️❤️❤️ (the procrastination bit is much appreciated 😘)
X - 3 OTPs from 3 different fandoms
Okay, let's say
Morgane Alvaro x Adam Karadec (HPI)
Laure Berthaud x Gilles Escoffier (Engrenages)
Ruth Wilder x Sam Silvia (GLOW)
Y - A fandom you’re in but have no ships from
Mhhh, probably Derry Girls? I didn't really care about James x Erin, I mean I was happy for them but I didn't mind them as just friends either, so really I didn't exactly ship anyone in this show besides a Sister Michael x Father Peter enemies clergy folks to extremely grumpy lovers sitch😂
Fun fandom asks
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morpheeecrit · 2 months ago
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L'importance de la lecture chez les enfants
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La lecture, pour un enfant, n’est pas utilisée simplement pour les divertir, nous nous rendons bien compte qu’un livre dont les images ne bougent pas est vraiment moins intéressant que Pat Patrouille, j’admet. Cependant, les enfants, surtout s’ils sont dans les premiers mois de leur vie, sont des créatures d’imitation. Ils mimiques les comportements des adultes dans leur vie et apprennent de nouveaux mots et leur utilité dans les phrases grâce à la lecture. Lorsqu’ils manipulent des livres, en plus d'améliorer leur motricité fine, les enfants interagissent avec ceux-ci. Certains vont même créer des scénarios suivant l’histoire qu’ils viennent d’entendre.
Grâce aux livres spécifiquement faits pour les enfants (cartonnés, livres de bain, albums) les enfants peuvent apprendre sur une panoplie de thèmes, tout en se plongeant dans un monde imaginaire, ET apprendre de nouveaux mots. Ça permet aux enfants de mettre des mots et des images sur des émotions ou des situations qu’il peut vivre à la maison, ou ailleurs, et les comprendre. De plus, c’est un moment que vous partagez avec votre enfant, donc vos liens se resserrent. 
Plus on commence à présenter des livres aux enfants dès leur plus jeunes âges, plus tôt on leur apprend que la lecture peut être amusante et plaisante. Ils apprennent également que la langue parlée est différente de la langue écrite. C’est aussi à ces moments, si les adultes de leur entourage font des voix pour les personnages, que les enfants peuvent commencer à incorporer la théâtrale à leurs jeux. 
Ainsi, nous observons que l’introduction des livres tôt dans la vie des enfants est une facilitation à la communication et à la compréhension, en plus de cultiver leur imagination. L’animation des livres par les adultes dans l’entourage de ces enfants est importante pour cette raison. 
Voici donc quelques albums que (personnellement) j’ai adoré animer aux enfants: 
C’est mon arbre et J’aurais voulu - Olivier Tallec Chevalier Noir - Michael Escoffier C’est  moi le plus beau - Mario Ramos Je suis un lion - Antonin Loubard La corne des Licornes - Béatrice Blue Max et Sam creusent, creusent, creusent - Mac Barnett L’école Buissonnière - Clothilde Goubely La nature Sauvage - Steve McCarthy La grosse gratouille - Victoria Cassanell 
Textes ressources pour ce document : 
Les bienfaits de la lecture avec votre enfant (naitreetgrandir.com) Les bienfaits de la lecture - Lire à son enfant, une histoire sans fin? - LibGuides at Bibliothèque et Archives nationales du Québec (banq.qc.ca) Lire pour la vie : Les bienfaits de la lecture chez les enfants | Revue Les libraires
(lien en direction de mon site internet ici)
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stateofsport211 · 8 months ago
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Hamburg Ch R1: Michael Agwi [Q] def. Cem Ilkel 6-0, 6-2 Match Stats
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📸 ATP official website
Agwi was flawless in this match thanks to his powerful groundstrokes and aggressive play to back up his massive serves. This way, he controlled predominantly most of the flows until he outhit Ilkel from the latter's baseline side, overwhelming him cross-court until he had limited options. As a result, Agwi could create 7 of his break points, converting 5 of them thanks to his anticipation in this pace as evident from his swift returns compared to Ilkel, who was unable to convert his sole break point due to Agwi's unforced error, which was saved on the Irish's serve.
Furthermore, Agwi had a more functional service game than Ilkel. The latter, who only won 16% of his first serve points in the first set, improved to 50% overall in the match, but it was insufficient to counter Agwi's consistent serving, who scored 5 aces for his 75% first serve winning percentage. Besides, Ilkel could only win 30% of his second serve points, twice lesser than Agwi, who won twice the percentage the Turk has (60%) despite double-faulting twice.
An interesting test will await Agwi, where he faces eighth seed Marc-Andrea Huesler, who earlier defeated Antoine Escoffier 6-3, 6-1 in a convincing manner. This could be interesting to see how their explosive games fared against each other, taking into account the possibly thin margin between both players, where their pressure points handling could also be tested. Should be an exciting match for the day!
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rjhamster · 1 year ago
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The 2024 @pac12
The 2024 @pac12 🔹ASU🔹Escoffier Culinary🔹Pasadena Art Center College of Design🔹U of Puget Sound🔹Evergreen State🔹Lewis and Clark🔹George Fox U🔹Point Loma🔹Cal State San Bernardino🔹Grand Canyon🔹Michael Crow College of Retirement Real Estate (MCCRRE)🔹Utah — Ralph Amsden (@ralphamsden) July 26, 2023
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ecoleplonevez · 2 years ago
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Leny, GS nous raconte : “Plus gro que le ventre” de Michaël Escoffier & Amandine Piu.
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genevieveetguy · 5 years ago
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Why do you think the same five guys make it to the final table of the World Series of Poker every year? What, are they the luckiest guys in Las Vegas? It's a skill game Jo.
Rounders, John Dahl (1998)
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albarrancabrera · 4 years ago
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Albarran Cabrera   —–   Instagram
The Mouth of Krishna
2019, #370 Toned gelatine silver print.
“Light gives me a feeling of spiritual atmosphere. Light is with you –you do not have to feel you are alone.”- -Sven Nykvist . It is generally believed that to have a “good light” one must have "a lot of light". It may seem that more light will allow you to see the space better, but the quality of the light is even more important than the quantity. A photograph represents a specific space. It is usual to think that the photographer is always trying to find the right scene when in reality we are always trying to find the "right" light. Light is qualified as such when its quality and quantity are appropriate for the space and is able to shape it. . We usually say that a good cinematographer is a good photographer 24 times per second. We deeply admire that profession. If you love photography, we think that one of the best things that you can do to learn more about light is to read what great cinematographers (and directors) say about this subject and what they do with it. . We have an old copy of "Vördnad för ljuset"/"Reverence for the light" in Spanish "Culto a la luz" full of notes and with all the pages yellowed. We bought it 15 years ago but what Sven Nykvist explains in this book is as relevant today as when he wrote it. . Please, do not miss the work and the words of: Andrey Tarkovsky, Sven Nykvist, Néstor Almendros, Christopher Doyle, Stanley Kubrick, Cristopher Nolan, Kazuo Miyagawa, Vittorio Storaro, Janusz Kaminski, Emmanuel Lubezki, Laszlo Kovacs, Robby Müller, Gordon Willis, Michael Chapman,  Wang Yu, Roger Deakins, Janusz Kaminski, Zhao Fei, Darius Khondji, Lance Acord, Jean-Yves Escoffier... . That's just the tip of the iceberg. We have learned a lof from these professionals. If you're interested, we hope that it can be a suggestion to make you enjoy googling, reading, watching and learning.
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manganic-malaria · 7 years ago
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Les amants du Pont-Neuf (The Lovers on the Bridge),1991
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travel-voyages · 4 years ago
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The Lusitania, shown here on its arrival to New York City in 1907, was one of the ships which launched the modern era of leisure cruising
 The Monster Ships That Changed How We Travel
The beauty salons, swimming pools and even wireless communications of today’s huge cruise ships all got their start with the “floating palaces” of a century ago. BBC FutureKat Long
When the world’s then-largest ocean liner embarked on its first transatlantic voyage in September 1907, thousands of spectators gathered at the docks of Liverpool to watch. “She presented an impressive picture as she left, with her mighty funnels and brilliant illumination,” wrote one reporter. Cunard’s RMS Lusitania had been outfitted with a new type of engine that differed from that of its rivals – and would go on to break the speed record for the fastest ocean crossing not once, but twice.
Between 1850 and 1900, three British passenger lines – Cunard, Inman and White Star – dominated transatlantic travel. Toward the end of the century, as increasing numbers of emigrants sought passage to the US and a growing class of Gilded Age travellers demanded speed and luxury, corporate rivalry intensified. Pressure from other European lines forced the British companies to add amenities like swimming pools and restaurants.
Not unlike today's rivalries between, say, aircraft manufacturers like Airbus and Boeing, each raced to make its ocean liners the largest, fastest and most opulent. In the process, they launched the modern age of leisure cruising – and developed innovations and technologies that continue to be used on cruise ships today.
Comfort Class
In the mid-19th Century, there were two main players. Inman’s inaugural steamship, launched in 1850, made it the first major British line to replace traditional side-mounted paddlewheels with a screw propeller – an apparatus with fixed blades turning on a central axis. With the added speed and fuel efficiency this brought, plus a sleek iron hull that was more durable than wood, Inman established itself as a company unafraid to try new technology for faster crossings.
 ‘For safety and comfort, take the old reliable Cunard Line’, reads this advertisement from around 1875. Credit: Alamy.
Inman’s main rival, Cunard, focused on safety instead. “The Cunard way was to let competitors introduce new-fangled technology and let them deal with the setbacks,” says Michael Gallagher, Cunard’s company historian. “Once that technology had proved itself, only then would Cunard consider using it.”
But Cunard risked being left behind both by Inman and by a new rival which burst onto the scene in 1870 – the White Star line’s splashy debut included five huge ocean liners, dubbed “floating hotels”. Their flagship, RMS Oceanic, launched in 1871 and had efficient compound engines that burned just 58 tonnes of coal per day, compared with 110 tonnes consumed by Inman’s ships. That gave White Star the budget to invest in comfort.
The contrast with Cunard was stark. “Where Oceanic had bathtubs, Cunard offered a basin; where Oceanic had central heating, Cunard offered stoves; and where Oceanic had lavatories, Cunard managed with chamber pots,” says Gallagher. Architects for Oceanic also moved first-class cabins to mid-ship for less rocking on the waves.
In the 1880s and 1890s, each of White Star’s new ships captured the Blue Riband, an unofficial accolade which recognises the passenger liner able to make the fastest average speed on a westbound Atlantic crossing. In answer, Inman built SS City of New York and SS City of Paris. The City of Paris won the Blue Riband several times thanks to its expensive but fuel-efficient triple-expansion engines and twin screw propellers. The innovation was a first for an ocean liner, and meant that if one propeller broke, the other could compensate – finally ending the need for auxiliary sails. This suddenly freed up a lot more space on deck that would later be put to good use by providing luxury facilities for their passengers.
 In 1888, Inman introduced ships which no longer required auxiliary sails, giving ocean liners a similar look to the one they have today. Credit: Alamy.
Cunard, meanwhile, ventured into the new world of telecommunications by installing the first Marconi wireless stations, which allowed radio operators to transmit messages at sea, on its sister ships RMS Lucania and RMS Campania. First-class passengers could even book European hotels by wireless before reaching port.
“Connectivity was just as important to passengers in the past as it is today,” says William Roka, historian and public programmes manager at South Street Seaport Museum in New York City.
In 1897, Germany entered the fray. Shipping company Norddeutscher Lloyd unveiled its colossal Kaiser Wilhelm der Grosse – which shocked its rivals by taking the Blue Riband from Britain after 52 years. Another German liner, the SS Amerika, wowed its well-heeled guests by introducing the first à la carte restaurant at sea: the Ritz-Carlton, brainchild of Paris hotelier Cesar Ritz and renowned chef Auguste Escoffier. It allowed guests to order meals at their leisure and dine with their friends rather than attend rigidly scheduled seatings – a forerunner of the kind of freestyle dining seen on today’s cruise ships.
 The freestyle dining seen on today’s cruise ships dates back to 1905. Credit: Alamy.
To complicate matters, American banking tycoon JP Morgan was buying up smaller companies to create a US-based shipping-and-railroad monopoly. In 1901, White Star became his biggest acquisition. Inman, too, now was US-owned, having been bought by an American company in 1893. Suddenly, the battles weren’t only in the boardrooms: building the world’s top ocean liners was now a point of national pride.
With the help of a £2.6 million government loan (equivalent to more than £261 million today), Britain’s Cunard line launched the massive twins RMS Lusitania and RMS Mauretania. Both had the first steam turbine engines of any superliner. To reach its sustained speed of 25 knots (46.25 km/h), the Lusitania had “68 additional furnaces, six more boilers, 52,000 sq ft of heating surface, and an increase of 30,000 horsepower,” reported the New York Times. “If turbines had not been employed, at least three 20,000-horsepower engines would have been necessary.”
White Star fought back with RMS Olympic, RMS Titanic and HMHS Britannic. Like the Lusitania and Mauretania, White Star’s trio would feature double hulls and watertight bulkheads. With standard reciprocating engines, they were slower than the Cunarders, but surpassed them in size and elegance. The Olympic and another White Star liner, the Adriatic, even debuted the first indoor swimming pools at sea. A first-class passenger “may indulge in Turkish and electric baths, take recreation in the gymnasium or [with] a squash racket or divert himself in the swimming pond,” marvelled one newspaper.
“It was fun for the first-class passengers to send postcards back home saying, ‘Writing to you from the deck of the world’s biggest ship, wish you were here,’” says historian William H Miller Jr.
 First introduced on ocean liners more than 100 years ago, gymnasiums – shown here on Cunard’s Berengaria around 1930 – remain a staple of cruise ships today. Credit: Alamy.
History changed course when Titanic hit an iceberg on 14 April 1912 and sank on her first transatlantic voyage. As a result of the tragedy, safety regulations were updated to require lifeboat berths for every passenger and 24-hour radio surveillance (rules which are still in place).
But there were more challenges to come. World War One broke out in 1914 and European governments requisitioned liners for war service. Then a German submarine torpedoed Lusitania off the coast of Ireland on 7 May 1915, killing more than a thousand of those on board.
Cruising On
Despite a post-war liner-building boom, US anti-immigration laws reduced the number of transatlantic emigrants – the liners’ bread and butter – in the 1920s.
“Ships only made money when there were passengers aboard,” says David Perry, a maritime historian. “The companies needed to do something to stay afloat, so they created the tourists.”
Cunard modernised the aging Mauretania to burn oil instead of coal (most liners were converted to burn oil after World War One), painted its dark hull white to reflect the sunlight and sent her to the tropics as the first cruise ship catering to the new class of passengers: US vacationers who wanted a holiday at sea, replete with the nostalgic glamour of yesteryear. “Cruising offered a way for steamship companies to keep using their older transatlantic vessels and [make] additional revenue,” says Roka.
 Cunard modernised the Mauretania and gave it a white hull, as shown in this 1930s illustration. Credit: Alamy.
After the Depression forced a struggling Cunard and White Star to merge, the new Cunard-White Star built the immense RMS Queen Mary and RMS Queen Elizabeth. To compete with German, American and French liners, designers ratcheted up the creature comforts, like air-conditioning and private bathrooms in every stateroom. The Italian liners Conte de Savoia and Rex featured the first outdoor swimming pools “with real sand around them to make it look beachy – completely over the top,” Perry says. By 1957, more people crossed the Atlantic by ship than ever before.
But by the following year, jet passengers outnumbered them.
“Cunard said flying was a fad,” Miller says. “But if, like the company slogan said, ‘Getting there is half the fun’, then getting there faster was a lot more fun.”
 Despite Cunard’s best efforts, by the late 1950s more people were flying than taking ships to their destinations. Credit: Alamy.
Air travel and high operating costs doomed most transatlantic liners by the 1970s – only Cunard’s RMS Queen Mary 2 makes regular transatlantic crossings now.
Even so, cruising itself grew more popular over the ensuing decades. And not only does the idea of leisure cruising stem from these early days of competition, but so do many of the specific features of today’s massive ships.
Today’s vessels still feature oil-burning engines, though the power and propulsion systems are much more sophisticated. Modern perks like barbershops and beauty salons, freestyle dining, pools and libraries all were introduced on the original “floating palaces.” Even internet communication has its roots in the wireless rooms aboard the great ocean liners.
But the most important similarity may be the most basic.
“The feeling of the deck under your feet is the same,” says Perry. “That’s the transformative power of a voyage at sea.”
https://getpocket.com/explore/item/the-monster-ships-that-changed-how-we-travel
More Stories from Pocket
How to Fly the Best First-Class Seats, Cheaper Than Economy
The Deadliest Disaster at Sea Killed Thousands, Yet Its Story Is Little-Known. Why?
Why Bigger Planes Mean Cramped Quarters
The Quest to Find—and Save—the World’s Most Famous Shipwreck
Aboard the Giant Sand-Sucking Ships That China Uses to Reshape the World
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foreverlostinliterature · 5 years ago
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1/10 Book Deals
Happy Friday! I hope you’ve all had a fantastic week and that your weekend is equally great. I only recognize about half of the books on sale today (read Locke Lamora!), but they all seem pretty interesting so I’d say to take a look and see if anything appeals to you. :) I also highly recommend The Unlikely Escape of Uriah Heep, it’s such a wonderful story. Anyway, I hope you all have a wonderful day and weekend!
Today’s Deals:
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Jonathan Strange & Mr Norrell by Susanna Clarke - https://amzn.to/2uC4t53
The Lies of Locke Lamora by Scott Lynch - https://amzn.to/36JP7K2
Hyperion by Dan Simmons - https://amzn.to/2FBccT7
The Ruin of Kings by Jenn Lyons - https://amzn.to/39XLfH9
The Unlikely Escape of Uriah Heep by H.G. Parry - https://amzn.to/36IRAEl
The Vine Witch by Luanne G. Smith - https://amzn.to/2R2geta
The Mystery of Ireta by Anne McCaffrey - https://amzn.to/2QH6xkU
Ritz & Escoffier by Luke Barr - https://amzn.to/2t4VMjd
The Cat's Table by Michael Ondaatje - https://amzn.to/37XXS31
Whisper of the Moon Moth by Lindsay Jayne Ashford - https://amzn.to/39YBdFV
Seduction: A History From the Enlightenment to the Present by Clement Knox - https://amzn.to/36ItEkD
Hardcover 73% off <$5--Courting Darkness by Robin LaFevers - https://amzn.to/35Kkxyh
Paperback 55% off <$5--Sky in the Deep by Adrienne Young - https://amzn.to/2QHlYtp
NOTE:  I am categorizing these book deals posts under the tag #bookdeals, so if you don’t want to see them then just block that tag and you should be good. I am an Amazon affiliate in addition to a Book Depository affiliate and will receive a small (but very much needed!)  commission on any purchase made through these links.
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in-flagrante · 5 years ago
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The wait is over
THE TIARAS HAVE BEEN DUSTED OFF AND THE PEARLS POLISHED. FOUR LONG YEARS AFTER THE FINAL INSTALMENT OF DOWNTON ABBEY, IT’S BACK, THIS TIME ON THE BIG SCREEN. BEN LAWRENCE WENT ON SET TO UNCOVER SOME FAMILY SECRETS
The Daily Telegraph
31 Aug 2019
As Downton Abbey sweeps majestically on to the big screen, Ben Lawrence joins the cast reunion on set
It is a crisp, clear morning at Wentworth Woodhouse, the stately home in South Yorkshire. Built by the 1st Marquess of Rockingham, it has the widest façade in Europe, boasts at least 365 rooms (no one is certain of the exact number), and represents two and a half acres of building. This perfect specimen of English baroque is the setting for the new Downton Abbey film – in which George V and Queen Mary tour the north of England (which also includes a visit to Downton itself, filmed as usual at Highclere Castle in Berkshire) – and today they are shooting a grand ball at the home of the Countess of Harewood in the film, attended by the royal couple and Downton’s Crawley family.
Inside the house, a production unit zigzags in and out of huge vaulted rooms with cables and film cameras, while extras in 1920s ball attire chat nonchalantly on makeshift chairs. Meanwhile in the ballroom – a giant marble space, adorned with deep-red damask wallpaper and enormous flower arrangements – Maggie Smith and Penelope Wilton (two of the stars of the original series) slip through the lines of dancing couples in diaphanous silks, as a small orchestra plays a waltz. In the background, an assistant producer is being told off by one of the volunteers of Wentworth Woodhouse for wandering into a disused room. This isn’t jobsworthiness. The carpet in some rooms is nearly 300 years old and will disintegrate
if anyone breathes on it. The wallpaper, meanwhile, is laced with arsenic (as was the fashion at the time) in order to make it a certain shade of green.
Away from the action, Michelle Dockery, who plays Lady Mary (the eldest Crawley daughter), is sitting in her trailer, her sharp features accentuated by period make-up, feeling slightly in awe of the whole process. ‘It was during my costume fitting when it hit me. I got really emotional.’
Downton Abbey made Dockery and many of her fellow cast members international names, and no wonder. The ITV series, which ran from 2010 to 2015 and followed the lives of the aristocratic Crawley family and their servants, was sold to 220 territories worldwide, achieved a global audience of 120 million and was nominated for 53 International Emmys. In America, it became the most successful British drama import of all time. It also set the bar for costume dramas, at least in terms of visual sheen. The Crown, Netflix’s lavish regal series (which returns this autumn), has clearly been influenced by Julian Fellowes’ series, which cost, on average, £1 million per episode to make.
Everyone expected that a film would be made, but it was quite a feat getting the cast together. ‘It was like herding cats,’ says Dockery. ‘But I just love it. It’s so familiar and doesn’t feel like work.’
Despite rumours to the contrary, Maggie Smith is back as the Dowager Countess, famous for her
‘When we finished the series, we didn’t envisage a film. We had a party at The Ivy and everyone cried’
withering put-downs, as are Hugh Bonneville’s paterfamilias the Earl of Grantham, his American wife Cora (played by Elizabeth Mcgovern) and his two surviving daughters, Lady Mary, of course, and Laura Carmichael’s Lady Edith. Others involved include Penelope Wilton’s sensible cousin Isobel and many of the downstairs staff: Jim Carter’s stentorian Mr Carson and his wife, the no-nonsense housekeeper Mrs Hughes (Phyllis Logan); Mrs Patmore (Lesley Nicol), the plainspeaking cook with Escoffier abilities, and her protégée, the occasionally mutinous Daisy (Sophie Mcshera).
When I talk to Fellowes though, he is adamant that a film was never inevitable. Rumours circulated about a prequel, following Robert’s courting of Cora for her money and subsequently falling in love with her, but nothing came of it. ‘When we finished the series, we didn’t envisage a film. We had a lovely party at The Ivy and everyone cried, but that was it as far as I was concerned. Then, as the years rolled by, there was a sense that people hadn’t quite finished with it, and eventually I formed an idea for a feature film.’
The Downton Abbey film, directed by Michael Engler, is set in 1927, just over a year after the series ended, and focuses on the Crawleys and their servants as they prepare for a royal visit. It causes much excitement below stairs, but the staff soon find the monarch’s entourage taking over – including a temperamental French chef (played by Philippe Spall) and a pompous head butler, played by David Haig, who refers to himself as the ‘King’s page of the back stairs’. Other new cast members include Simon Jones and Geraldine James as the King and Queen, Imelda Staunton (real-life wife of Carter) as Lady Bagshaw, lady-in-waiting to the Queen and a relative of the Crawleys, and Tuppence Middleton as her mysterious lady’s maid, Lucy.
Fellowes was inspired, in part, by a book he had read called Black Diamonds by Catherine Bailey, which details a 1912 visit by King George V and Queen Mary to South Yorkshire. As well as tucking into lavish 13-course dinners, which included puddings served in sugar baskets that took four days to weave, they also met local miners and toured pit villages. Although the film is set 15 years later, the King and Queen did make similar, unlikely tours around the country, as Fellowes explains. ‘After the First World War, there was a period of unsettled feelings about things – not least the monarchy. It had to re-establish itself as many members of European royalty had disappeared – the German Emperor, the Austrian Emperor, the Tsar of Russia. The structure had to be restated as having an integral role in society and they [George and Mary] were very successful in doing so. By 1930, the Crown was back at the heart of English life.’
For Dockery, making the film was not only a chance to catch up with old friends, but also to further develop a character that the nation took to their hearts.
‘Mary is so complex. We met her at 18 and she was this rebellious teenager – she was bored, and
‘It is pompous, but if you are recreating the ’20s you may as well get it right’
because she was a girl, she wasn’t what her father wanted [an heir to Downton]. Ultimately he became very proud of her, though, and I think everyone really responded to that. Seeing her journey was what hooked people.’
Now we see Lady Mary very much in control, happily married (to Matthew Goode’s Henry Talbot) and more than capable of taking over the ancestral pile when the time comes.
‘Julian writes really well for women and I think that has something to do with his wife, Emma [a descendant of Lord Kitchener]. I see a lot of her in Mary, just her expressions and things,’ she says.
Dockery has had a particularly successful career post-downton. She brought rigour and a dash of fun to her part as an ambitious TV exec in Network (the National Theatre production based on the acclaimed ’70s film), and a sort of watchfulness to the role of a hard-edged widow in Netflix’s warped western Godless. Next year, she will be showing her versatility further in Guy Ritchie’s film The Gentlemen, in which she plays the wife of a drug lord (played by Matthew Mcconaughey).
One character who has a particularly meaty storyline in the film is gay footman Thomas, played by Robert James-collier. We meet at Shepperton Studios, where the kitchen scenes are being filmed. It’s a cavernous setting which production designer Donal Woods describes as ‘like a noirish, Scandi film, as opposed to the glorious technicolor of upstairs’. For the TV series, the servants’ quarters were created at Ealing Studios, but the set has been flat-packed and sent over, as have the copper jelly moulds, kettles and pans.
This time, we see Thomas befriend a footman from the Royal household (played by Max Brown), and he ends up in an illicit gay drinking den in York. This was an era when homosexuality could result in a prison sentence, but, says James-collier, for one brief moment his somewhat malevolent character is liberated.
‘He is introduced to this other world that he doesn’t know exists, and there is this sense of relief, this sudden realisation that there are kindred spirits and that he is not this “foul individual” as Mr Carson once described him.’
The irony that Downton Abbey has been sold to countries where homosexuality can be punished by death is not lost on James-collier, and he feels a grave sense of responsibility about his role. ‘I have received letters from young men who say that watching Thomas’s journey has helped them. All I can say is that it’s an utter privilege. It’s the reason why I do it.’
The film’s 1927 setting marks a period in Britain when country houses such as Downton were beginning to feel the austerity of the interwar years. Death duties had to be paid and households streamlined, which meant that many servants lost their jobs. Meanwhile, the General Strike of 1926 – in which the TUC fought against worsening conditions for the country’s miners – underlined a growing sense of solidarity among the working class. In the film, however, there are no such concerns, and that reflects the point that Downton is in many ways a fantasy. One criticism of the original scripts was that the Crawleys were too benign as employers, that the relationship between master and servant was much more remote, without any of the Earl of Grantham’s well-meaning paternalism. Fellowes disagrees.
‘This notion that people were horrible to their servants is wrong. Most of us, if you think about it logically, and putting aside the moral view that that life should exist at all, would want to get on with the valet or lady’s maid. When you see a character snarling at his butler, you think this isn’t a way of life. None of us would want to be in a position of speaking to people you disliked.’
If Fellowes is the arbiter of psychological accuracy, then Alastair Bruce is the gatekeeper of protocol. He was Downton’s historical adviser at the beginning and describes himself, among other things, as the posture monitor.
He explains. ‘The cast tend to put their bums here on the seat,’ he says indicating the back of his chair. ‘But in those days, you didn’t – you would sit at the front. Also, [people’s] shoulders have fallen forward because everyone is on their mobile phone all the time.’
Bruce also helps the actors with their diction and mentions the word ‘room’. Many tended to accentuate the ‘o’s when it fact it should be shortened, so they sound very nearly like a ‘u’.
‘It is pompous bollocks, but if you are recreating the ’20s you may as well get it right,’ Bruce adds. ‘Michelle would quite happily let me describe her evolution in life as a long way from Downton Abbey, but I have some pretty grandiose friends who can’t believe this is the case. I am very proud of the fact that she now has this incredible poise – you never see a curve in her back – and her accent is on point.’
Several months later, I ask Fellowes whether he has plans for a sequel (although in truth, certain scenes in the film suggest a full stop rather than a pause). ‘There is never any point in answering that,’ he says. ‘In this business as soon as someone says that’s the last time I’ll put on my ballet shoes, there they are, a year later, dancing Giselle.’ Downton Abbey is released on 13 September
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biblical-womanhood · 6 years ago
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Reading Record (2016 - 2019)
Adams vs. Jefferson: The Tumultuous Election of 1800 John Ferling ⭐⭐⭐⭐⭐
Memories of My Life Auguste Escoffier ⭐⭐⭐⭐⭐
Different By Design: Discovering God's Will for Today's Man and Woman John MacArthur ⭐⭐⭐⭐⭐
Christian Modesty and the Public Undressing of America Jeff Pollard ⭐⭐⭐⭐⭐
JFK, Conservative Ira Stoll ⭐⭐⭐⭐⭐
Domestic Tranquility: A Brief Against Feminism F. Carolyn Graglia ⭐⭐⭐⭐⭐
Feminist Fantasies Phyllis Schlafly ⭐⭐⭐⭐⭐
Marriage: From Surviving to Thriving Charles Swindoll ⭐⭐⭐⭐⭐
What Our Mothers Didn't Tell Us: Why Happiness Eludes the Modern Woman Danielle Crittenden ⭐⭐⭐⭐
Mastering The Art of French Cooking Volumes I & II Julia Child et al. ⭐⭐⭐⭐⭐
Science in the Kitchen and the Art of Eating Well Pellegrino Artusi ⭐⭐⭐
Fascinating Womanhood Helen Andelin ⭐⭐⭐⭐⭐
The Shaping of a Christian Family: How My Parents Nurtured My Faith Elisabeth Elliot ⭐⭐⭐
Beautiful in God's Eyes: The Treasures of the Proverbs 31 Woman Elizabeth George ⭐⭐⭐⭐
The Remarkable Women of the Bible: And Their Message for Your Life Today Elizabeth George ⭐⭐⭐⭐⭐
Dancercize Debbie Drake ⭐⭐⭐⭐⭐
Vintage Secrets: Hollywood Diet and Fitness Laura Slater ⭐⭐⭐⭐⭐
Dressing With Dignity Colleen Hammond ⭐⭐⭐⭐⭐
Love for a Lifetime: Building A Marriage That Will Go The Distance James Dobson ⭐⭐⭐⭐⭐
Real Marriage: The Truth About Sex, Friendship, and Life Together Mark and Grace Driscoll ⭐⭐⭐⭐
The Great Marriage Q and A Book Gary and Barbara Rosberg ⭐⭐⭐⭐⭐
He Said. She said.: Eight Powerful Phrases That Will Strengthen Your Marriage Jay and Laura Laffoon ⭐⭐⭐⭐
Side Effect: Skinny: Denise Austin's Fat Blast Diet Denise Austin ⭐⭐⭐
His Needs, Her Needs: Building An Affair-proof Marriage Willard F. Harley, Jr. ⭐⭐⭐⭐⭐
The Love Dare Stephen and Alex Kendrick ⭐⭐⭐⭐⭐
The Marriage You've Always Wanted Gary Chapman ⭐⭐⭐⭐⭐
10 Pounds in 10 Days: The Secret Celebrity Program for Losing Weight Fast Jackie Warner ⭐⭐⭐⭐⭐
The 5 Love Languages: The Secret to Love That Lasts Gary Chapman ⭐⭐⭐⭐⭐
Bringing Up Boys: Practical Advice and Encouragement for Those Shaping the Next Generation of Men James Dobson ⭐⭐⭐⭐⭐
Love Busters: Overcoming the Habits that Destroy Romantic Love Willard F. Harley, Jr. ⭐⭐⭐⭐⭐
How to Encourage the Man in Your Life H. Norman Wright ⭐⭐⭐⭐⭐
The Global Sexual Revolution: Destruction of Freedom in the Name of Freedom Gabriele Kuby ⭐⭐⭐⭐⭐
Straight Talk to Men: Timeless Principles for Leading Your Family James Dobson ⭐⭐⭐⭐⭐
Sacred Marriage: What If God Designed Marriage to Make Us Holy More Than to Make Us Happy? Gary Thomas ⭐⭐⭐⭐⭐
For Women Only: What You Need to Know About the Inner Lives of Men Shaunti Feldhahn ⭐⭐⭐⭐⭐
For Men Only: A Straightforward Guide to the Inner Lives of Women Shaunti and Jeff Feldhahn ⭐⭐⭐⭐⭐
The Marriage Builder Larry Crabb ⭐⭐⭐⭐
Husbands Who Won't Lead and Wives Who Won't Follow James Walker ⭐⭐⭐⭐⭐
Wild at Heart: Discovering the Secret of a Man's Soul John Eldredge ⭐⭐⭐⭐⭐
The Lost Art of True Beauty Leslie Ludy ⭐⭐⭐⭐
What the Bible Says About Love, Marriage, and Sex David Jeremiah ⭐⭐⭐⭐⭐
Four Pillars of a Man's Heart: Bringing Strength into Balance Stu Weber ⭐⭐⭐⭐
Storm Warning Billy Graham ⭐⭐⭐⭐
The Journey Billy Graham ⭐⭐⭐⭐⭐
In Praise of Stay-at-home Moms Laura Schlessinger ⭐⭐⭐⭐⭐
Hope Again: When Life Hurts and Dreams Fade Charles Swindoll ⭐⭐⭐⭐⭐
Growing Wise in Family Life Charles Swindoll ⭐⭐⭐⭐⭐
The Grace Awakening Charles Swindoll ⭐⭐⭐⭐⭐
The Strong Family: Growing Wise in Family Life Charles Swindoll ⭐⭐⭐⭐⭐
Men Are Like Waffles - Women Are Like Spaghetti: Understanding and Delighting in Your Differences Bill and Pam Farrel ⭐⭐⭐⭐⭐
The Hidden Value of a Man Gary Smalley and John Trent ⭐⭐⭐⭐⭐
In the Footsteps of Faith: Lessons from the Lives of Great Men and Women of the Bible John MacArthur ⭐⭐⭐⭐⭐
Treasures from the Heart: The Value of Godly Character Cheryl Ford ⭐⭐⭐⭐
Romancing Your Husband: Enjoying a Passionate Life Together Debra White Smith ⭐⭐⭐⭐
Every Woman's Desire: Every Man's Guide to. . . Winning the Heart of a Woman Stephen Arterburn and Fred Stoeker ⭐⭐⭐⭐⭐
That's My Son: How Moms Can Influence Boys to Become Men of Character Rick Johnson ⭐⭐⭐⭐⭐
The Man Whisperer: Speaking Your Man's Language to Bring Out His Best Rick Johnson ⭐⭐⭐⭐⭐
Captivating: Unveiling the Mystery of a Woman's Soul John and Stasi Eldredge ⭐⭐⭐⭐
Communication: Key to Your Marriage H. Norman Wright ⭐⭐⭐⭐⭐
A Sacred Foundation: The Importance of Strength In The Home School Marriage Michael Farris and L. Reed Elam ⭐⭐⭐⭐⭐
31 Days to a Happy Husband: What a Man Needs Most from His Wife Arlene Pellicane ⭐⭐⭐⭐⭐
Bringing Up Girls: Practical Advice and Encouragement for Those Shaping the Next Generation of Women James Dobson ⭐⭐⭐⭐⭐
A Boy's Passage: Celebrating Your Son's Journey to Maturity Brian D. Molitor ⭐⭐⭐
Rocking the Roles: Building a Win-Win Marriage Robert Lewis and William Hendricks ⭐⭐⭐⭐⭐
Men's Relational Toolbox Gary Smalley, Greg Smalley, and Michael Smalley ⭐⭐⭐⭐
Love is a Decision Gary Smalley and John Trent ⭐⭐⭐⭐⭐
Holding On To Romance: Keeping Your Marriage Alive and Passionate After the Honeymoon Years Are Over H. Norman Wright ⭐⭐⭐⭐⭐
Love and Respect: The Love She Most Desires - The Respect He Desperately Needs Emerson Eggerichs ⭐⭐⭐⭐⭐
The 5 Love Languages of Children Gary Chapman and Ross Campbell ⭐⭐⭐⭐⭐
The Four Loves C. S. Lewis ⭐⭐⭐⭐⭐
Catechism of the Catholic Church
How to Be a Hepburn in a Hilton World Jordan Christy ⭐⭐⭐⭐
Money Secrets of the Amish: Finding True Abundance in Simplicity, Sharing, and Saving Lorilee Craker ⭐⭐⭐⭐
The Bridesmaid Beverly Lewis ⭐⭐⭐⭐⭐
Every Man's Battle: Every Man's Guide to. . . Winning the War on Sexual Temptation One Victory at a Time Stephen Arterburn and Fred Stoeker ⭐⭐⭐⭐⭐
Let Me Be a Woman Elisabeth Elliot ⭐⭐⭐⭐⭐
Marriage On The Rock: God's Design For Your Dream Marriage Jimmy Evans ⭐⭐⭐⭐⭐
Finding Your Perfect Mate H. Norman Wright ⭐⭐⭐⭐⭐
The 5 Love Languages of Teenagers Gary Chapman ⭐⭐⭐⭐⭐
Having a Mary Heart in a Martha World Joanna Weaver ⭐⭐⭐⭐
Biblical Womanhood in the Home Nancy Leigh DeMoss ⭐⭐⭐⭐⭐
Heirloom Recipes: Yesterday's Favorites, Tomorrow's Treasures Marcia Adams ⭐⭐⭐⭐⭐
Cooking from Quilt Country: Hearty Recipes from Amish and Mennonite Kitchens Marcia Adams ⭐⭐⭐⭐
Heartland: The Best of the Old and the New from Midwest Kitchens Marcia Adams ⭐⭐⭐⭐⭐
When God Writes Your Love Story Eric and Leslie Ludy ⭐⭐⭐
Billy Graham in Quotes Franklin Graham ⭐⭐⭐⭐⭐
Austrian Cooking and Baking Gretel Beer ⭐⭐⭐⭐
The Pilates Powerhouse: The Perfect Method of Body Conditioning for Strength, Flexibility, and the Shape You Have Always Wanted in Less Than An Hour a Day Mari Winsor ⭐⭐⭐⭐⭐
What Every Man Wants In A Woman/What Every Woman Wants In A Man John and Diana Hagee ⭐⭐⭐⭐
The Way Home: Beyond Feminism, Back to Reality Mary Pride ⭐⭐⭐⭐⭐
Are You a Jackie or a Marilyn?: Timeless Lessons on Love, Power, and Style Pamela Keogh ⭐⭐
Every Woman's Battle: Discovering God's Plan for Sexual and Emotional Fulfillment Shannon Ethridge ⭐⭐⭐
When Sinners Say "I Do": Discovering the Power of the Gospel for Marriage Dave Harvey ⭐⭐⭐⭐⭐
The Mark of a Man: Following Christ's Example of Masculinity Elisabeth Elliot ⭐⭐⭐⭐⭐
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michaelparque · 6 years ago
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PALM UNIT @ Atlantique Jazz Festival, Brest 12/10/2018
Concert - La Carène
Lionel Martin (ts)
Fred Escoffier (keys)
Philippe “Pipon Garcia” (dms)
Copyright Michael Parque 2018 All rights reserved
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stateofsport211 · 2 years ago
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📸 ATP Challenger Livestream (via website)
Meanwhile, in Drummondville...
The final has both Vasek Pospisil, who fought a long way to defeat Antoine Escoffier in the semifinal, and Michael Mmoh, who defeated Michael Geerts in a more straightforward manner. Interestingly, they both vied for the same position: the return to the Top 100 and the ability to play the Australian Open as a direct entrant.
The first set saw Mmoh breaking early at 1-0 at the expense of Vasek's failed volley. However, Vasek found a way to break back at 3-3 at the expense of Mmoh's double faults, but preceded with his working forehands in the first few points. Both players went on holding their service games forever until the tie-breaker.
The tie-breaker was level until Vasek drove a little rally that resulted to Mmoh's backhand misfire in response to Vasek's previous shot, hence Vasek led 5-4. However, while Vasek's set point was saved by Mmoh's unreturned serve earlier, his successful volley to end the point enabled him to take the first set 7-6(5). That was close, but Vasek was slightly better, especially at the net and considering the solidity of his service games.
While the Drummondville finals' second set was ongoing, here came the third set of Champaign...
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callasdaily · 2 years ago
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May 22
On May 22, 1939, Marianna Kalogeropoulou (age 15) sang arias with piano accompaniment at a student recital at Parnassos Hall in Athens.
On May 22, 1964, Maria Callas opened an eight-performance run of “Norma” at the Paris Opera in a production designed by Franco Zeffirelli designed to look like the original production in 1831; Georges Prêtre conducted. This was her first staged opera in what had become her adopted home (she had sung concerts in Paris just twice before, in 1958 and 1963). Michael Scott states “She was richly costumed [by Marcel Escoffier]… a little too opulently for a Druid priestess; but at this stage Callas was more significant than Norma.”
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Opera magazine’s editor, Harold Rosenthal, had followed Callas since 1952 and reviewed it under the title “The Callas Magic”. He noted that the Paris Opera was enjoying a very glamorous period, with starry casts and posh audiences. “Even now, with her flawed vocal technique, Callas can get more out of this role than anyone else, and the weight and vocal colour she gives to individual words and phrases is still an object lesson to all.” She started off in a careful, subdued manner with “Casta diva” almost like a lullaby. Things came alive in the scene with Pollione and Adalgisa, but “Mira, O Norma” “was not what it used to be”. “Then in the last scene, the miracle happened…there was a slight vocal mishap which seemed to act as a spur for after that moment until the end (some 25 minutes) she produced a stream of tone, firmly-based, such as I had not heard from her since those first Covent Garden ‘Normas’ [in 1952]. She raged, she pleaded, she was in complete command of the stage and had an electrifying effect on her companions. The audience went mad and rightly so.”
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Library Lesson:  Spelling
Lesson Objective: 
 Dictionary Skills -Why is spelling important?
Grade Level:  
1st grade
2nd grade
Subject Area Integrated:  
Reading and Writing 
(ELAR)
Materials:  
English dictionary 
Spelling worksheet
Pencils
Book Take Away the A by Michael Escoffier
Related Materials & Resources:  
Merriam Webster Dictionary (online resource)
Assessment:  
Spelling worksheet
  Suggested Instructional Strategies:  
Direct Instruction 
Cooperative Learning
  Information & 21st Century Skill Objectives:
Students: Empowered Learner:  1b. Students build networks and customize their learning environments in ways that support the learning process.
Students: Global Collaborator:  7c.  Students contribute constructively to project teams, assuming various roles and responsibilities to work effectively toward a common goal.
  Instructional Procedures: 
The librarian will read the book Take Away the A by Michael Escoffier and stop at several points for emphasis. 
Students will discuss in groups: 
 Why is spelling important?
 How does it help us in reading and writing?
The librarian will distribute the spelling worksheet to all students. 
Students will work in groups to spell words using the book as inspiration. 
The librarian will guide struggling students as needed. 
The online dictionary resource can be used to help with spelling. 
The spelling worksheet will be used as the assessment for this one day lesson. It will show the librarian if students were able to grasp the concept of how to properly spell words. 
References: 
  Escoffier, M. L. (2015). Take Away the A [Paperback] [Jan 01, 2012] NA. Andersen Press.
  1st Grade Spelling Lists & Worksheets. (n.d.). Https://Www.Superteacherworksheets.Com/. Retrieved March 23, 2022, from https://www.superteacherworksheets.com/spelling-lists/spelling-a1.html
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