#redmond barry

[alchemisland]

Yesterday, I started and finished this track which contains a Barry Lyndon sample. Then, no sooner than I had uploaded the song, I see an oilspill of sad headlines about Ryan O'Neal having died. Worst!

"Are ya afraid of getting' yer ears boxed?'

[zonetrente-trois]

Cassidy Barry and Andrew Legg

[travisdermotts]

found my fave clip of sanchez in honour of his return

[alwayschasingrainbows]

Diana was described as a clever girl and a bookworm. I have always felt she should have had her chance.

Thank you for voting!

[elise-51-blog]

"Run to Daylight" WIP snippet

“Why do you love sports so much?”

“‘Cos I’m a dumb jock,” Guy laughs, bunting the question away. “Plus there’s beer. And it’s easier than readin’ books and shit.”

“Shut up,” Kyle laughs, shakes his head.

It’s about dinnertime, and he wonders what he has in the fridge or if Kyle might want to get something in a bit except he’s probably not hungry after all the beer and hotdogs. 

“I dunno. I guess it’s just. When everything else in my life was shit, sports seemed like the real thing. Like the only real thing in a world of bullshit.”

Kyle hums. “It’s weird, I mean. I always thought the opposite, to be honest. Everyone cared so much about the football team, or how the basketball team was doing, and just seemed like a distraction from…from actual life. From more important things.”

Guy’s heard this spiel a million times. Mostly from chicks.

Kyle clears his throat. “I mean I--I’m not saying I’m right. It just seemed like everyone always acted like winning on Friday night was like, it’d be the end of the world if the guys lost. But I mean…I didn’t get it. It’s just--it’s literally just a game.”

“And paintin’ pictures, what’s that?” Guy almost tries not to sound too dickish.

Kyle sighs, rolls his eyes, looks away. Oh, but there’s an edge there. Something old. “I don’t think you’d understand what…what that gave me. Art. What it still gives me. It’s making something…something meaningful out of,” Kyle gestures in the air. “Out of what was meaningless.”

Guy knows if this was a movie, he’d be the asshole. Well this ain’t a fuckin’ movie.

“And the football team, just a bunch of morons tossin’ a ball back and forth?”

“That’s not what I said!”

“It’s what you meant.”

“No it’s not--”

“Listen, you say it’s only a game. And you’re right but you’re wrong too.”

There’s a long pause. They’ve never really dug into this truth between them. The gulf of difference. The dumb jock and the sensitive artist thing. Kyle tilts his head at Guy, giving him his full attention. “So tell me.”

“You can’t just put it down on a--on like a postcard. It’s…you gotta see it, right?”

“Sure. Like coming to this game? Green grass and red dirt and, and all that.” 

Guy shakes his head, it’s not what he means, he hates trying to say what he means. 

“It’s more like…it’s Michael Jordan’s jump shot.”

Kyle stares back blankly.

“David Beckham’s corner kick. Joe Montana and Jerry Rice on a Sunday. And it’s--it’s Bob Gibson 1.12 ERA and refusing to shake Joe Torre’s hand ‘cos it’s war and not a picnic. It’s Zizu’s head and Materazzi’s big mouth. It’s Curt Schilling’s bloody sock. It’s Derek Redmond limping to the finish line and Bronko Nagurski crawling to the end zone. It’s a routine ground ball rolling under Bill Buckner’s glove and Steven Gerrard slippin’ on the grass. It’s Barry Bonds’s hat size and Pete Rose’s bookie.” 

Guy doesn’t know how else to say it. It’s just all of it. It’s life but boiled down to the stuff you need. Forget tax returns and the DMV. Just good guys and bad guys. Pure love, pure hatred. Grief, agony, pain you wouldn’t believe. Outrageous joy. Selfishness, sacrifice. Blood, sweat, tears. War. Love to last a lifetime. 

“It’s everything. All of it. It’s all there. On a pitch, or a diamond, or a gridiron. Just…everything. Waitin’ on a whistle.”

“Wow.”

“Fuck off.”

“No, really!” Kyle laughs, clasping Guy’s forearm. “I mean I don’t know who any of those people are--”

“You fucking know David Beckham--”

Kyle laughs, looking away with his eyebrows raised, his dimples deep, his cheeks a little pinker. He looks so good in the ballpark lights, they should wash him out, but they can’t. “Yeah, I know David Beckham.”

[awardseason]

2023 Critics’ Choice Awards — Film WINNERS

Best Picture “Avatar: The Way of Water”  “Babylon” “The Banshees of Inisherin”  “Elvis”  “Everything Everywhere All at Once” — WINNER “The Fabelmans”  “Glass Onion: A Knives Out Mystery”  “RRR”  “Tár”  “Top Gun: Maverick”  “Women Talking” 

Best Actor Austin Butler – “Elvis” Tom Cruise – “Top Gun: Maverick” Colin Farrell – “The Banshees of Inisherin”  Brendan Fraser – “The Whale” — WINNER Paul Mescal – “Aftersun”  Bill Nighy – “Living”

Best Actress Cate Blanchett – “Tár” — WINNER Viola Davis – “The Woman King”  Danielle Deadwyler – “Till”  Margot Robbie – “Babylon”  Michelle Williams – “The Fabelmans”  Michelle Yeoh – “Everything Everywhere All at Once” 

Best Supporting Actor Paul Dano – “The Fabelmans”  Brendan Gleeson – “The Banshees of Inisherin” Judd Hirsch – “The Fabelmans”  Barry Keoghan – “The Banshees of Inisherin” Ke Huy Quan – “Everything Everywhere All at Once” — WINNER Brian Tyree Henry – “Causeway” 

Best Supporting Actress Angela Bassett – “Black Panther: Wakanda Forever” — WINNER Jessie Buckley – “Women Talking” Kerry Condon – “The Banshees of Inisherin”  Jamie Lee Curtis – “Everything Everywhere All at Once” Stephanie Hsu – “Everything Everywhere All at Once”  Janelle Monáe – “Glass Onion: A Knives Out Mystery” 

Best Young Actor/Actress Frankie Corio – “Aftersun” Jalyn Hall – “Till”  Gabriel LaBelle – “The Fabelmans” — WINNER Bella Ramsey – “Catherine Called Birdy”  Banks Repeta – “Armageddon Time”  Sadie Sink – “The Whale” 

Best Acting Ensemble “The Banshees of Inisherin” “Everything Everywhere All at Once” “The Fabelmans”  “Glass Onion: A Knives Out Mystery” — WINNER “The Woman King” “Women Talking”

Best Director James Cameron – “Avatar: The Way of Water” Damien Chazelle – “Babylon”  Todd Field – “Tár” Baz Luhrmann – “Elvis” Daniel Kwan, Daniel Scheinert – “Everything Everywhere All at Once” — WINNERS Martin McDonagh – “The Banshees of Inisherin” Sarah Polley – “Women Talking”  Gina Prince-Bythewood – “The Woman King”  S.S. Rajamouli – “RRR”  Steven Spielberg – “The Fabelmans” 

Best Comedy “The Banshees of Inisherin” “Bros” “Everything Everywhere All at Once” “Glass Onion: A Knives Out Mystery” — WINNER “Triangle of Sadness” “The Unbearable Weight of Massive Talent”

Best Animated Feature “Guillermo del Toro’s Pinocchio” — WINNER “Marcel the Shell with Shoes On” “Puss in Boots: The Last Wish” “Turning Red” “Wendell & Wild”

Best Foreign Language Film “All Quiet on the Western Front” “Argentina, 1985” “Bardo, False Chronicle of a Handful of Truths” “Close” “Decision to Leave” “RRR” — WINNER

Best Original Screenplay Charlotte Wells – “Aftersun” Martin McDonagh – “The Banshees of Inisherin”  Daniel Kwan, Daniel Scheinert – “Everything Everywhere All at Once” — WINNER Steven Spielberg, Tony Kushner – “The Fabelmans” Todd Field – “Tár”

Best Adapted Screenplay Rian Johnson – “Glass Onion: A Knives Out Mystery”  Kazuo Ishiguro – “Living”  Rebecca Lenkiewicz – “She Said” Samuel D. Hunter – “The Whale” Sarah Polley – “Women Talking” — WINNER

Best Cinematography Russell Carpenter – “Avatar: The Way of Water” Linus Sandgren – “Babylon”  Roger Deakins – “Empire of Light” Janusz Kaminski – “The Fabelmans” Florian Hoffmeister – “Tár” Claudio Miranda – “Top Gun: Maverick” — WINNER

Best Production Design   Dylan Cole, Ben Procter, Vanessa Cole – “Avatar: The Way of Water” Florencia Martin, Anthony Carlino – “Babylon” — WINNER Hannah Beachler, Lisa K. Sessions – “Black Panther: Wakanda Forever” Catherine Martin, Karen Murphy, Bev Dunn – “Elvis” Jason Kisvarday, Kelsi Ephraim – “Everything Everywhere All at Once”  Rick Carter, Karen O’Hara – “The Fabelmans” 

Best Editing Stephen Rivkin, David Brenner, John Refoua, James Cameron – “Avatar: The Way of Water” Tom Cross – “Babylon”  Matt Villa, Jonathan Redmond – “Elvis”  Paul Rogers – “Everything Everywhere All at Once” — WINNER Monika Willi – “Tár” Eddie Hamilton – “Top Gun: Maverick”

Best Costume Design Mary Zophres – “Babylon” Ruth E. Carter – “Black Panther: Wakanda Forever” — WINNER Catherine Martin – “Elvis”  Shirley Kurata – “Everything Everywhere All at Once” Jenny Eagan – “Glass Onion: A Knives Out Mystery”  Gersha Phillips – “The Woman King”

Best Hair and Makeup “Babylon”  “The Batman”  “Black Panther: Wakanda Forever”  “Elvis” — WINNER “Everything Everywhere All at Once”  “The Whale” 

Best Visual Effects “Avatar: The Way of Water” — WINNER “The Batman”  “Black Panther: Wakanda Forever”  “Everything Everywhere All at Once”  “RRR” “Top Gun: Maverick” 

Best Song “Lift Me Up” – “Black Panther: Wakanda Forever” “Ciao Papa” – “Guillermo del Toro’s Pinocchio” “Naatu Naatu” – “RRR” — WINNER “Hold My Hand” – “Top Gun: Maverick” “Carolina” – “Where the Crawdads Sing”  “New Body Rhumba” – “White Noise”

Best Score Michael Giacchino – “The Batman” Justin Hurwitz – “Babylon” John Williams – “The Fabelmans”  Alexandre Desplat – “Guillermo del Toro’s Pinocchio”  Hildur Guðnadóttir – “Tár” — WINNER Hildur Guðnadóttir – “Women Talking” 

[aneurinallday]

Part I: By What Means Redmond Barry Acquired the Style and Title of Barry Lyndon

[latenightcinephile]

Film #608: 'Barry Lyndon', dir. Stanley Kubrick, 1975.

I suspect that Stanley Kubrick, like Alfred Hitchcock and Orson Welles before him, has become one of those directors that it is difficult to enjoy. What I mean by this is not that they make films that are hard to like, but that they have become so lionised by the history of cinema that watching anything they've made starts to feel a bit like homework. With Kubrick in particular it feels like there is a 'right way' to enjoy his films, which is to say, to study them intently and thus not enjoy them at all. Even his broadest comedy, Dr. Strangelove (1964), has had most of its pleasure leached out of it by successive generations of film scholars avidly discussing it as high art, repeating the same stories about Kubrick's perfectionism over and over until the film basically ceases to matter - it becomes, in this form, just an object one can point to and declare genius. So, you can imagine that I went back to Barry Lyndon with a bit of nervousness. After all, this is a three-hour period drama, and the first film Kubrick had released after 2001: A Space Odyssey (1968) and A Clockwork Orange (1971). Was this going to be enjoyable at all? Or was it going to be a final exam?

This isn't the first time I've seen Barry Lyndon, according to my notebooks. That said, I think that my first viewing must have been a hazy post-midnight watch a decade ago, because I have barely any recollection of it. This is true of many of the films early on in the list, which is partly the reason why I'm writing these summaries/essays - so that I don't have to rewatch a film in order to reflect on it years from now. What I certainly didn't remember from that first viewing was the scope of Kubrick's vision here - how lush the sets and locations and costumes are - or just how much story and how many events Kubrick has crammed into the three-hour runtime. Nor did I remember how witty and engaging the film actually is.

In the 1750s, young Irish rake Redmond Barry (Ryan O'Neal) is incensed when his cousin, Nora, falls in love with the advantageous Captain Quin, and challenges Quin to a duel. After his victory, Barry is quickly persuaded to leave town to avoid the repercussions, leaving his mother Belle (Marie Kean) and taking refuge in the British Army. Here, life for Barry is difficult but respectable - after the death of a family friend, however, Barry deserts his regiment and tries to escape to a peaceful country. He poses as a British lieutenant, but this disguise is seen through by a Prussian captain, who forces him to join the Prussian army instead. When Barry saves this captain's life, he is honoured and, following the Seven Years' War, given a job as a spy in the Prussian Ministry of Police. This continues one of the dominant threads in Barry's life: that of playing both sides until he determines where the advantage lies. Unbeknownst to Captain Potzdorf, he schemes with the professional gambler he has been asked to spy on, and the two escape the country before the Prussian government can arrest them. The life of a gambler is Barry's introduction to noble society, although initially an undignified one, as Barry is often called upon to fight duels in order to collect outstanding debts. However, when he lays eyes on Lady Lyndon (Marisa Berenson), he sees an opportunity for legitimate wealth and privilege. Lord Lyndon's abrupt death means that before long, Barry takes the title of Barry Lyndon, much to the disapproval of Lady Lyndon's son, Lord Bullingdon (played for most of the film by Leon Vitali).

Lord Bullingdon is right to disapprove - despite the birth of a second son, on whom Barry dotes, the marriage is toxic, with Barry wasting his wife's fortune and restricting her to the house. Most of Barry's financial ineptitude is devoted to the attempts to gain a permanent title as part of the landed gentry. Barry's mother, reunited with her son, also pushes him to attain a title, although it seems that Barry doesn't really need any more encouragement. Barry's relationship with his stepson grows more antagonistic, culminating in an outright brawl during a concert. After this, Lord Bullingdon abandons his family's estate, seeking to make his own way in the world. Tragedy strikes when the younger son is thrown from a horse which is to be his birthday present, despite the boy's promise that he will not ride the horse unsupervised. Barry is inconsolable, and Lady Lyndon's condition worsens. For a time, the estate is left in the care of Barry's mother, who makes several calculated staff cuts under the guise of attaining financial stability. Several of the estate's long-standing staff persuade Lord Bullingdon to return and challenge Barry to a duel. Despite the opportunity to easily win the duel against the petrified Lord Bullingdon, Barry refuses, believing that Lord Bullingdon will have received his satisfaction. He is wrong about this, though, and gets shot in the leg, requiring amputation. Barry is offered one final lifeline: an annual stipend from his wife's estate, as long as he never returns to Britain. He accepts, and the final scene of the film shows a recovering Lady Lyndon, pausing thoughtfully as she signs Barry's annuity check.

That description should give a sense of just how eventful Barry Lyndon is as a film. I haven't even mentioned the minor events - Barry's brief relationship while posing as a lieutenant; the scene with the highwaymen; the fact that Captain Quin survives the duel after all - because they're of limited importance to the main plot. What Kubrick has succeeded in is bringing the fullness of a picaresque novel to the screen and giving it the true ambience of a serial novel. One element that really adds to this is the perfect casting of even the smallest roles. All the minor characters who appear, from the highwayman's teenaged son to the soldier that Barry bests in a boxing match to Captain Potzdorf's governmental uncle, are all given performances of such precision and vividness that they feel like entire chapters of Barry's life, even though they spend mere seconds on screen. Kubrick also makes Barry Lyndon's literary sources explicit by dividing the film into halves, each with its own wordy subtitle that tells us what we're about to see. There's also a significant shift from William Makepeace Thackeray's original novel which is largely unavoidable: the novel is told in the first person while the film, out of necessity, takes a more objective third-person approach. Kubrick has kept an omniscient narrator at times, to clarify events that Barry is not present for or which lack an impartial observer to explain. However, the majority of the film comes to us seemingly unmediated, which I think might be partly responsible for the reputation that has become attached to the film: that it's cynical and cold.

On the charge of cynicism, it's hard to disagree. Redmond Barry undergoes a slightly odd shift of personality when he meets Lady Lyndon, suddenly becoming cruel and callous in a way that seems too quick, even for a film that compresses time in this way. He's started as a deeply romantic figure, but one of the first times we see him after his marriage, he's blowing pipe smoke into Lady Lyndon's face despite her protests. His drive has become naked greed, which seems a little out of proportion with his behaviour immediately prior to the wedding. When this change has been commented on, it's usually suggested that Barry's romanticism has been dashed by his wartime experiences. I think this is a perfectly fine explanation, but I just don't see it on the screen to quite the degree I would anticipate. The events following the death of Barry's son are also deeply cynical - Lady Lyndon's depression and Barry's turn to alcoholism are indicative of Barry's failures as a husband and of the futility of his aspirations for wealth. Lord Bullingdon fights for his family's honour, but is terrified as he does so, and death would in some ways be a kindness to Barry, who faces mounting debts. Even his exile does not rid the Lyndon estate of him, as they are perpetually bound to pay his annuity. All ends as well as it could be expected to, but that does not mean unencumbered happiness for any of the characters. But does this mean that the film is 'cold'? I don't think so at all. Kubrick paints the first two thirds of the film with streaks of broad comedy, the effects of which linger long afterwards. Barry's awkward courtship with his cousin, the ruse by which he and the Chevalier de Balibari (Patrick Magee) escape Prussia, and even the duels Barry fights on the Chevalier's behalf, were all met with loud laughter from the packed Embassy Theatre screening. Even in the duel against Lord Bullingdon, there are beats of humour to leaven the gloom that hangs over everything. The film may be judgmental of its protagonist, but it does so while looking at a world full of witty and absurd characters.

Another element that has contributed to the film's chilly reputation is its visual style. Kubrick was partly inspired by the paintings of William Hogarth, and in one of the film's most famous images, Barry is shown in an almost identical pose to Hogarth's Marriage A-la-mode 2 (a painting which could basically sum up the entire second half of the film). What this means, on a practical level, is a large number of carefully-constructed tableaux, expressive lighting techniques, and landscapes in which the power of the elements overwhelms the human figures. The cinematography was the work of the Academy Award-winning John Alcott, who also worked with Kubrick on 2001 and A Clockwork Orange, and it is in every respect remarkable: stately and dramatic when it needs to be, caring and intimate at other times, but never obtrusive when the performances need to carry all the weight of a scene. I'm not completely sure where this style's association with 'coldness' comes from, but I imagine it's probably been reinforced by Kubrick's reputation as a perfectionist, which I think usually robs a director's films of warmth, too, which is what I was thinking of way back in my opening paragraphs. A reputation like this is almost never factually accurate, and stories tend to get blown out of proportion. Kubrick and Alcott shot many of these scenes without electric lighting, and famously borrowed three large and expensive lenses left over from the Apollo missions which enabled them to shoot some indoor scenes by candlelight. However, this fact has been blown out of proportion, and it's now commonly said that the production used no electric lighting at all - a story that's completely implausible if you look at any of the exterior nighttime scenes. Even the artificial lighting, however, successfully mimics the natural lighting to such a degree that it feels like it was filmed on location in time as well as place.

Because Kubrick's previous films were heavily based in more popular genres, and because they all shared a more acidic and satirical edge, many audiences were unsure what to make of Barry Lyndon, and the film was a disappointment at the box office. Critics were equally dismissive - multiple critics, including Charles Champlin and Pauline Kael, referred to it being less of a film and more of a coffee-table book, with Kael adding that Kubrick had "drained the blood" out of the source material. Even Vincent Canby, in an otherwise positive review, described the film as "another fascinating challenge". I find these statements a little odd, given that Kubrick's other films were no less weighty or accessible than Barry Lyndon was, but I think this is always one of the problems of trying to anticipate what a director renowned for being surprising will do. Although making a slow and stately film is entirely appropriate to what Kubrick clearly wanted to say about Thackeray's novel, it seems like this was the wrong type of surprise to viewers who wanted another breaking of their expected boundaries. In any event, this critical disappointment had an apparent impact on Kubrick. It definitely factored into his decision to make a slightly more traditional genre piece next... The Shining (1980).

Despite this, Barry Lyndon underwent a reappraisal over time, and it is now recognised as one of the director's masterpieces. Although I'm usually loath to rank films, I think Barry Lyndon definitely falls in my top three for Kubrick's films, and it certainly seems like one of his most accessible films. It merges the farcical comedy and bleak satire that his films are known for, while also being endlessly appealing on a visual level. Far from being worried that it was going to be homework, I'm tempted to go and watch it again already - and that's not something I say about a lot of Kubrick's three-hour-long doorstops.

[lyledebeast]

I say that I hate revenge stories, and yet when Lord Bullington puts a ball in his stepfather's knee at the end of Stanley Kubrick's Barry Lyndon, I am delighted every single time. It's the moment I watch the previous three hours in anticipation of. So, what makes this vengeance acceptable when, for me, it so often isn't? Three things.

The avenger cannot be culpable in the grievance being avenged. Vengeance is not a substitute for reckoning with one's own responsibility. Lord Bullingdon is a child when Redmond Barry marries his mother, and he watches his exploitation of her for years while also suffering abuse at his hands (quite literally) himself.

The vengeance has to solve an ongoing problem. Harming an avengee who has not themselves harmed anyone for years, or is no longer capable of causing harm, always makes the avenger look at least a little shitty in my opinion. Barry may be a shell of his former self owing to his grief over the death of his young son, but his and his mother's exploitation of Lady Lyndon has not only continued but gotten worse. Bullingdon is seeking to free her as much as to avenge himself.

Vengeance should be proportional to the grievance. Shooting Barry in the knee is serious enough to require hospitalization--during which time Bullingdon restores order to his mother's household--but not enough to kill him. The narration tells us that Barry takes up his former profession as a gambler without his former success, which may have been his lot had he never met Lady Lyndon. Bullingdon essentially leaves him where he found him.

[variouspolltournaments]

Propaganda

Eric Cartman: No Propaganda Submitted

Ainz Ooal Gown: No Propaganda Submitted

Barry Lyndon: Starting as a sympathetic if hotheaded young man, Redmond Barry ends up working with a card shark and traveling Europe scamming rich gamblers. He meets Lady Lyndon, who is unhappily married, and seduces her, eventually marrying her when her elderly husband dies and taking the name "Barry Lyndon". At this point, he starts ignoring Lady Lyndon, openly cheating on her, and beating her son. He squanders her money, trying to buy his way into even higher society.

Mac McDonald: No Propaganda Submitted

[mellowmaidenhairs]

rad book review time because last week i got the new taz gn early and eleventh hour is my favorite arc so i wanted to jot down a couple of my thoughts on the book

TUMBLR WONT LET ME HIDE THIS SO ‼️SPOILERS FOR THE GRAPHIC NOVEL AND PODCAST AHEAD‼️

one thing is WOW this one is like a whole 100 pages longer than crystal kingdom and petals to the metal… it makes sense tho considering we are entering the latter half of the story. the previously on page is super cute i love the artwork….

stuff i liked ….<3

first of all designs …. and visuals…. the gns always have really vibrant colors and this has some very nice warm color palates which i love….

i have my ummm gripes with some designs in the gns to say the least bur i actually really loved most in here they were super good. also i liked the thbs cowboy out fits that’s all i will say on the main 3’s designs (clenching fist) i loved cassidy istus and ren

new scene at the start i loved that a lot … i will gobble up any redrobe foreshadowing i can get

THEY ADDED THE JOHANN AND VOIDFISH PART YAAAY!!!! i wish he played his harp tho like in the podcast…

i feel like the way they moved things around to fit the format was rlly well done here on my first read i was like oh my god they cut out the whole lunar interlude but they didn’t!!! i love how they incorporated it in between the loops a lot!!!!!!

nailed this scene i think … very pretty page so i will put it here

i loved the 100+ chapter gag i like a lot of the added gags and the jokes that were kept in too

THE CHALICE SCENE!!!! very anticipated scene and even tho it’s kinda condensed i feel like it’s pretty good.., stolen century foreshadowing aswell :-)

BARRY ALERT LUP ALERT ‼️‼️‼️📢📢📢📢

THE END SCENES!!! extended krav scene and merle writing the letter to his kids wjen the stars disappear and magnus ohhhhhffgfg…. so excited for suffering game ^_^

stuff i did not like….<\3

no fanart gallery this book?? maybe it has something to do with the controversy surrounding the payment of the artists which sucks a lot if so

no luca and redmond… they are cut entirely which makes me sad … i can understand this tho since they probably needed to cut something out to condense the plot a bit.. i do like that ren robs the bank tho even if it sacrifices the magic class lie taako does in the show

the diary of sheriff issak scene did not hit for me like it did in the podcast ok………..it’s alright but they changed the diary entry soooo much and didn’t flow as well imo…. i am not a fan of how much they slightly/completely alter a lot of lines from the show randomly but idk maybe they did it for a reason shrug

more nitpicky than anything: i love the chalice scene and the lup foreshadowing made me crazy but i wish the memory montage displayed taakos childhood of moving from place to place/not having a stable home better as it’s pretty important to his character

also nitpicky but i love the magnus redrobe scene a lot still BUT i wish they kept the part where he looks at it after june gave it to him and we don’t see it til later… idk why it’s changed but i think it would’ve been cool to see his silent reaction before we get to see what’s on the page…

ok that’s all for now…. these are just my initial thoughts after 2 reads (last monday and today) so my opinions could change but overall this one was probably a 8.5/10 best tazgn so far for me cant wait for the suffering game 🕺🕺🕺🕺

[theniftycat]

What people don’t understand is that Barry Lyndon is a comedy in the same way as Succession is one.

You gotta be kinda aware of what 18th century comedy was like to get it, but not really. Just know that: Redmond Barry is a stupid, stupid man AND a poor little meow meow.

[mtonino]

...A questo incombente sentimento di morte rimanda in particolar modo la Sarabanda di Haendel, che - derivata dalla prima suite per clavicembalo e riorchestrata da Rosenman - apre il film sui titoli di testa e inesorabilemte lo percorre tutto. Negli studi su Barry Lyndon si è rilevata l'associazione della Sarabanda con i molti duelli che vi ricorrono e in particolare con i due scontri speculari (quello "finto"

con il capitano Quinn e quello "vero" con Lord Bullington) che determinanon il destino del protagonista e che sono correlati tra loro anche dal ricorrere della medesima orchestrazione - un cupo rintocco dei timapni sull'inquieto dei violoncelli e dei contrabbassi. In realtà il tema haendeliano letteralmente "assedia" l'ultima parte di Barry Lyndon, accompagnando implacabile il precipitare del dramma di Redmond Barry verso la perdita del figlio e il successivo disfacimento fisico e psichico fino alla tragica condizione di invalido determinata dal drammatico esito del duello con il figliastro: nella scena in cui il protagonista appare ormai sconfitto a letto con la gamba amputata il tema della Sarabanda ritorna ancora una volta, affidato peraltro al violoncello "solo" secondo uno stilema che - come si è più volte rilevato - è particolarmente caro a Kubrick.

La composizione di Haendel assume in tal modo in Barry Lyndon un ruolo nodale, tanto più rilevante perché - grazie anche a un'orchestrazione che ne amplifica le implicazioni drammatiche - questa musica tipicamente barocca viene sganciata da una precisa funzione storicizzante, come ci dice lo stesso Kubrick quando riconosce che essa non vuol evocare alcuna epoca in particolare.

La centralità della Sarabanda è ribadita dal suo ritornare anche nei titoli finali sulla base di una scelta che è assolutamente inedita nel cinema di Kubrick, sin qui caratterizzato dalla differenziazione tra musiche di "testa" e di "coda": posto agli estremi di Barry Lyndon, il brano haendeliano viene così a "chiudere" il film, smentendone in certo modo la traiettoria lineare e la connotazione "storica" e svelando l'illusorietà della stessa vicenda del protagonista, ricondotta infine il dove era incominciata.

[gravything]

thank you for the intermission in Barry Lyndon, mr kubrick

yes I did take a three-hour break in the middle of your three-hour movie but I was very very into the movie and I appreciated the signposting for “chapter end; chapter start”

wow what a movie: somehow both maximalist and restrained. multiple contemporary reviews said ~ “this is a coffee table book of paintings not a movie” and sure yeah, that’s somehow the bit I wasn’t at all prepared for. but also it, like, works as a movie, extremely well? somehow. gonna be chewing on it. like a lot of it is in little moments, and then it just strings them all together and suddenly it’s an hour later and you’ve been carried away (kind of a redmond experience too)

[queersrus]

Hi, Fukase anon here! Sorry, It never occurred to me that people may have a hard time coming up with things for characters they don't know a lot about. Sorry :( /gen

Anyways, I really love the clown and red theme ideas! Also, since Vocaloid is technically a music software, I was thinking some music-themed names as well! Also, as long as this isn't too specific, could you maybe do some X-themed things since there's a lot of Xs in his design?

I also like the idea of the darker, edgier themes, but I'd rather not have anything explicitly horror/slasher/demon related... as someone who kins Fukase, being associated with that stuff brings back some rough memories :( /nm

I'm sorry if I'm being too specific or picky or anything like that, and I hope everything I've said makes sense! Once again, thank you in advance :)

no worries!!

heres some names and pronouns based of red, clown, dark/edgy themes and the letter x!

Music names:

muse, musa, musica, musette harmony melody, mic, major, minor clef, capelle, capella, cord, chorus note key tone, tempo, timbre bar, beat, bridge, bass, blue, blues sheet, strum, song, singer, sang, string, sonata, soul acoust, adagio, allegro, andante, arpeggio, amp, alto, aria instro, instra, instrumenta rythm/rhythm, ryme/rhyme, rock, rocker orchest, orchestra pitch, pop funk

list here, here

red names:

Altemur, altan, autumn, apple, amaranth, alhambra, alroy danla, desire, desiree parichat, phoenix, pepper, poppy/poppie cher, cherry/cherrie/cherri, crimson, clifford, copper, candy/candie, currant, carmine, carmin, chili, coral, corsen, clancy maroon, merlot, mahogany, mohagan blood, brick, berry/berrie, blush, burgundy, barn, burn, blaze ruby, rust, rusty, rose, raspberry, redd, rede, redde, reder, redi/redie/redy, reddet/redet/reddett/reddette/redett/redette, redeta/reddeta/reddetta/reddeta, redin/redine, redina, redino, roso/rosso, rufus/rufous, rowan, rosa, rosie, roisin, rory, radley, rudyard, radcliff, redmond, redman, rumo, russel/russell, rohan, redford, rufina, reeding/reading, reed, rogan, roone, roth garnet, ginger, gough scarlet, sangria, strawberry, sienna, sorrel/sorrell jam wine, watermelon fire, flame, ferrari, flan/flann, flannel, flanner, flannery, flyn/flynn, flanna vermilion, venetia imperia tart, torch hazel, harkin

clown names:

Joseph, john, joey grock oleg emmett/emet/emmet/emett bozo, barry ronald krusty penny, pogo, pinto charles sunshine weary, willie albert, antonio, arthur daniel, david, demitri/dimitri, Demetrius/demitrius tinsel

actually found a whole wiki here

Dark/Edgy names:

dusk, dagger, draven, drake, draco, damon/daemon, damion/damien/damian grey/gray, gunner/gunnar, greer keir, khaos, knox, kestrel umbra, umbro poison, pain/payne asteroth/astaroth, asher, ammo, astrid chaos, crow, coen, chase, casper, caspian, cassian, carter, cage, colton hades, hemlock, hex, hunter, hawk, harper somber, sombre, sombra, serpent, snake, saber, stone, storm, slade/slayde, sparrow, salem, snow, smoke, slayer necro, natrix, nox, nix, nyx, nero, nash branwen, briar, blackwell, blade/blaid, blair, blase/blaze/blaise raven, reven, requiem, rhapsody/rapsody, rogue, ryder, ryker, raze, razer eris, elysium, ebony jinx, jett/jet, jack, jason lucien, lucius, lock/locke viper, venom, vlad, vane/vain/vein, veil, vee/v wolf/wolfe trix/tryx, trixie, thorn, tyren/tyrin, tirent, torrent, tyranny, toxin, tank, tempest, tanner zeke, zena fox, flask, falkner, falkon/falcon onyx/onix, obsidian xena

X names:

xen/xene, xavier, xena, xeno, xenon, xeon, xero, xerox, xyx, xyr/xyre, xyra, xray, xeny/xenny/xenie, xenia, xander/xzander, xyla, xyler/xylar, xia, xavi, xylia, xylitol, xioa, xu, xan, xanth/xanthe, xanthus, xavia, Xinjiang, xinia, xenophon/xenophone, xayvion/xavion, xochitl, xio, xion, xiona, xiomara, ximena, xanthia

many here

red 3rd p pronouns:

list here and here

clown 3rd p pronouns:

list here and here

edgy/dark 3rd p pronouns:

list here, here

x 3rd p pronouns:

xe/xem, xy/xem, xy/xyr, xe/xyr, xy/lo, xylo/phone xyi/lotl, x/x's, ex/ex's, ex/exes, xay/xem, xay/xyr, xie/xem, xie/xyr xe/no, xeno/xenos, xeno/morph, cross/crossed, cross/crosses, x'ed/out, exed/out, ex/amble

hope these help!

[maximumwobblerbanditdonut]

"Love… Love means never having to say you're sorry"

Ryan O'Neal was a captivating actor and absurdly handsome movie star who became an instant star in the hit film "Love Story," the highest-grossing film 🎬 of 1970 died on Friday. He was 82. 💔

Ryan O’Neal had made the entirety of American womanhood fall devastatingly in love with him with his breakthrough performance in Arthur Hiller’s Love Story in 1970, the heart-wrenching date-movie weepie, in which he was the entitled Harvard rich kid falling for the smart, tough girl from the wrong side of the tracks: played by the formidable Ali MacGraw, who is to become terminally ill.

Ali MacGraw and Ryan O’Neal in Love Story. United Archives FilmPublicityArchive/Getty Images - Photograph

Their romantic dynamic had something to do with her being stronger and more assertive than O’Neal’s character, who had been so browbeaten by his wealthy father – but he achieves a kind of nobility and hard-won maturity through her sacrifice for him.

"Love means never having to say you're sorry" is a catchphrase based on a line from the Erich Segal novel Love Story and was popularised by its 1970 film adaptation starring Ali MacGraw and Ryan O'Neal.

Love Story was nominated for seven Academy Awards, including Best Picture; Directing (Arthur Hiller); Actor (Ryan O'Neal); Actress (Ali MacGraw); Actor in a Supporting Role (John Marley); and Writing (Story and Screenplay—based on factual material or material not previously published or produced) (Erich Segal), and Best Original Music Score.

But he was later known as much for his personal life, and health problems as for his acting. Ryan was also known for his high-profile relationship with Charlie's Angels actress Farrah Fawcett which lasted decades; The couple never married.

Ryan O'Neal and Farrah Fawcett (photographed in 1989) were romantically involved for nearly 30 years, and they had a son, Redmond, born in 1985. RAY STUBBLEBINE, AP

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

He also starred in comedies, including "Paper Moon" with his daughter, Tatum O'Neal. Ryan worked with some of the top female stars of his day such as Barbra Streisand on What's Up, Doc, and The Main Event, and Marisa Berenson on Barry Lyndon.

Barbra Streisand has paid an emotional tribute to her two-time co-star Ryan O'Neal following his death

He maintained a high profile throughout the 1970s, appearing in films like "Barry Lyndon” a 1975 historical drama film written, directed, and produced by Stanley Kubrick, based on the 1844 novel The Luck of Barry Lyndon a picaresque novel by English author William Makepeace Thackeray.

Barry Lyndon received seven nominations at the 48th Academy Awards, including Best Picture, winning four for Best Scoring: Original Song Score and Adaptation or Scoring: Adaptation, Best Cinematography, Best Art Direction, and Best Costume Design.

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

He will be remembered. 1941-2023 💔

#RyanO’Neal #actor #LoveStory #BarryLyndon @patrick_oneal