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ridleymocki · 2 years

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

But, it doesn’t work.

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

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

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

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slasher-male-wife · 1 year

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Horror characters heights

I made a post about this awhile ago and I thought I would update it for y'all. All of the horror related characters I write for are on this list in order of shortest to tallest. Also this is based off my research so if you have a source saying something else let me know and I'll fix it because I usually base the characters height on the actors height unless canon says differently. With that out of the way here is the updated list. I do say which characters I couldn't find a set in stone height.

Amanda Young-5'3

Carrie White-5'3

Star-5'5

Billy Lenz-5'6 (Not set in stone)

Lester Sinclair-5'6

Adam Faulkner-5'7

Herbert West-5'7

Marko TLB- 5'7

Martin Mathias-5'7

Tiffany Valentine-5'7

Vanita "Stretch" Brock-5'7

Corey Cunningham-5'9

David TLB-5'9

Will Grahm-5'9

Baby Firefly-5'10

Danny Johnson-5'10 (I saw average height so I'm adding an inch)

Leslie Vernon-5'10

Michael Emerson-5'10

OG Michael Myers-5'10

Paul TLB-5'10

The Grabber/Albert Shaw-5'10

Dwayne TLB-5'11

Kurt Kunkle-5'11

Asa Emory-6'0 (Not set in stone)

Billy Loomis-6'0

Chop Top Sawyer-6'0

Dan Cain-6'0

Hannibal Lecter (Mads Mikkelsen)-6'0

Harry Warden-6'0

Mark Hoffman-6'0

Nubbins Sawyer-6'0

Otis Driftwood-6'0

Patrick Bateman-6'0

Peter Strahm-6'0

Severen-6'0

Bo Sinclair-6'1

Tommy Jarvis-6'1

Vincent Sinclair-6'1

Doomhead-6'2

Brahms Heelshire-6'3

Candyman/Daniel Robitaille-6'4

Norman Bates-6'4

Stu Macher-6'4

Jason Voorhees-6'5

Thomas Hewitt-6'5

Bubba Saywer-6'6

Jesse Cromeans-6'6 (Not set in stone)

RZ Michael Myers-6'9

Pyramid head-7'0

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dalekofchaos · 2 months

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If Freddy vs Jason was made in the 80's edit source

Story idea:

The early scripts were terrible. So I would mesh together the movie we got, the cancelled Dream Lover script and most importantly cancelling Dream Child and New Blood.

So instead of Dream Child and Jason Takes Manhattan, we get Freddy vs Jason. Though I would elect to not do New Blood either for my idea to work.

The reason why I'd choose to retcon New Blood because going from Tommy confronting and stopping Jason to "lol Jason vs Carrie" and being dragged down by muddad was just dumb. Not to mention it was butchered by the MPAA and Dream Child was just garbage.

Plot is kind of the same.

After Alice fucked Freddy up, Freddy lost his powers. The children of Elm Street are kicking his ass and he's been made a joke. Jason has been left down in the bowels of Crystal Lake ever since Tommy chained him down there. Freddy sees potential. Use Jason Voorhees to kill for his power to return, Jason kills too much so it all leads to Freddy vs Jason.

And unlike the movie we actually got, we'd get some main stays from both franchises

Alice Johnson

Tommy Jarvis

Plotwise for the survivors/teens of Elm Street. It's winter. Alice and Dan are enjoying Christmas Vacation and all of a sudden, Alice gets nightmares. Only. It's nothing. Alice isn't afraid. She took Freddy's power over her away. He's nothing to her. Teens around Elm Street are kicking Freddy's ass and making him a joke. Meanwhile. Tommy Jarvis has been watching over Crystal Lake periodically. Jason has been dormant, filled with rage. Wanting revenge on Tommy and to purify Crystal Lake. Freddy and Jason want something similar. So Freddy offers to free Jason in exchange to kill the children of Elm Street. Jason rises from the lake and kills across from Crystal Lake to Springwood. Freddy becomes powerful enough to kill. He kills Dan and several other teens. Jason kills too much and eventually they fight.

Ends with Jason decapitating Freddy and Jason entombed in a frozen Crystal Lake

#Friday The 13th #A Nightmare On Elm Street #Freddy vs Jason #Horror #Jason Voorhees #ALice Johnson #Tommy Jarvis

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abcnewspr · 2 years

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ABC AUDIO’S HIT PODCASTS ‘THE DROPOUT’ AND ‘START HERE’ TO RELEASE BONUS EPISODE ON ELIZABETH HOLMES FOLLOWING HER SENTENCING

The Special Episode Premieres Friday, Nov. 18

*ABC News

ABC Audio announces a special bonus episode of podcasts “The Dropout” and “Start Here” following the Elizabeth Holmes sentencing. The new episode covers the details of Elizabeth Holmes’ sentencing, the events that led up to Friday’s decision and what happens next for the disgraced founder and CEO of Theranos and others tied to the blood-testing company. The special episode with “The Dropout” host Rebecca Jarvis and “Start Here” host Brad Mielke will be available on both podcasts on Friday, Nov. 18, at 6 p.m. ET.

“The Dropout” podcast debuted in 2019, featuring exclusive interviews with former employees, investors, patients and the never-before-aired deposition testimony of Holmes and others at the center of the story. The ABC Audio production is written by ABC News chief business and economics correspondent Rebecca Jarvis as well as Victoria Thompson and Taylor Dunn, with Jarvis and Dunn serving as producers and Thompson as executive producer. The critically acclaimed Hulu Original limited series “The Dropout,” from Searchlight Television and Disney Television Studios’ 20th Television, is based on the ABC News podcast.

“Start Here” launched in 2018 as ABC News’ flagship daily news podcast, delivering the day’s top news in 20-minute episodes. Award-winning ABC News correspondent Brad Mielke hosts the program, covering the world's biggest events with an in-depth, straightforward look at how they shape American lives. New episodes are posted every weekday by 6 a.m. ET on Apple Podcasts, Spotify, Amazon Music and other major podcast platforms.

About ABC Audio:

ABC Audio is America’s premier source for radio news, entertainment and lifestyle content, and podcasts. ABC News Radio reaches more Americans than any other commercial broadcaster through its network of more than 1,600 radio stations and digital distributors. ABC Audio also offers stations access to Air Power, which provides on-demand access to original video and social media content, and ABC Digital, a 24/7 service providing stations news, entertainment and lifestyle digital text stories. ABC Audio is also part of the Walt Disney Company’s top ranked podcasting network. ABC’s growing podcast portfolio includes ABC News’ flagship daily news podcast, “Start Here,” as well as the critically acclaimed, chart-topping hits “The Dropout” and “In Plain Sight: Lady Bird Johnson.”

*COPYRIGHT ©2022 American Broadcasting Companies, Inc. All photography is copyrighted material and is for editorial use only. Images are not to be archived, altered, duplicated, resold, retransmitted or used for any other purposes without written permission of ABC News. Images are distributed to the press in order to publicize current programming. Any other usage must be licensed. Photos posted for Web use must be at the low resolution of 72dpi, no larger than 2x3 in size.

--ABC--

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scotzwife · 2 years

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Persuasion 2022

My thoughts on "Persuasion" 2022, as presented to us by Netflix. My thoughts are my own and are completely subjective.

Let me preface this by saying I got my Bachelor's Degree in English Literature (many, many years ago) and was introduced to the writing of Jane Austen during my studies. Somehow I had not read her in high school, although I did read "Wuthering Heights" by Emily Bronte. It all seems a little backward considering the small, conservative, private school I attended. Bygones.

The first time I read "Pride and Prejudice" I yawned through the first half, but by the end was completely hooked and started reading it again. I love to re-read books because knowing where we will end up makes the journey so much more interesting and layered for me. I read "Persuasion" soon after that, was immediately delighted with it. I completely fell in love with the 1995 adaptation starting Amanda Root and Ciaran Hinds. I was so happy that the film matched the story that I loved so much.

When I found out that there were a couple of new "Persuasion" adaptations coming out, I was interested to see what they would do with it this time. I loved the idea of Henry Golding as Mr. Elliot and was interested to see how Dakota Johnson would do in this role. I had never heard of Cosmo Jarvis, so was not sure what he would bring to a character who was capable of writing that famous love letter.

Before I get started on my opinions about this film, I must set the stage. I adore the "Pride and Prejudice" mini-series from 1995 with Jennifer Ehle and Colin Firth. Because It was a four-part series, they were able to really tell the story in a way a reader of the beloved source material could appreciate. When the 2005 movie came out with Keira Knightley and Matthew Macfayden, I hated it with the fire of a thousand suns. I didn't like Macfayden as Darcy. I didn't like how choppy the story felt because they spent so much time filming the main characters walking slowly through beautiful landscapes and leaving out what I considered important bits of the story. I went on hating it for years.

Until I decided to give it another chance because a friend of mine loved it so much. As I watched it a couple more times, I understood that there were things to love about this version of the story. Macfayden brought Darcy to life in a different way that I could now appreciate. The scenery and score are really lovely. And I decided it was good on its own and stopped comparing it to other adaptations and even to the original novel. So now I watch it probably once a year.

Now. On to this new "Persuasion" film. I have seen a lot of negative posts about it all over social media. And I will admit, the first time I watched it, I agreed with most of it. Anne was too snarky and broke the fourth wall too much. Wentworth was too stiff. The main couple had no chemistry. Mr. Elliot was more interesting than Captain Wentworth. Some of the language was too modernized.

However, because of my enemies-to-lovers experience with 2005 P&P, I decided to watch it again. I found the soundtrack on Apple Music and fell in love with it, listening to it on repeat for about a week. And I watched the film again. A few times.

Each time I watch it, I find something to like, or even love, about it. Here are my top eight things I appreciate about this film.

8. The wardrobe and hair. I don't care if it's not period appropriate or whatever. I love it.

7. I appreciate the updates they made to Anne's relationship with Lady Russell. At the stage we see in the film, it's like their relationship is partly a friendship of equals, and partly a mother-daughter dynamic. This gave it some added complexity, and I liked that Anne felt confident to be herself and speak her mind instead of continuing to be under Russell's influence completely.

6. The relationship between Henrietta and Louisa was sweet. There was zero competition between them for the attention of Captain Wentworth in this version of the story. Instead, Henrietta is fully devoted to Hayter the whole time.

5. Wentworth v. Elliot. When they first meet, Wentworth is pretty confrontational with Elliot, but Elliot bows out for now and continues on his way. Then with each meeting we see Elliot gaining ground and Wentworth losing ground, until Wentworth quits the field at the musical concert. I just haven't seen their rivalry for Anne presented in this way before, and I enjoyed watching it.

4. Mary Musgrove. Everything about her. This character always adds something special to the family dynamic and this time is no exception. The scenes with and about her children, the "soggy jam" comment, the "I need you with me on that holiday" conversation, the prissy little toss of a stone into the ocean on the beach in Lyme, and her comments about self-care and gratitude. She's a treasure.

3. Captain Harville, upon being introduced to Anne Elliot for the first time on the beach, gives Captain Wentworth this little look like, ah, here is the one you have been talking about for so long. I love how much he communicates in just a couple seconds without even saying anything.

2. At the Musgrove dinner, even though Anne avoided sitting next to him, Frederick waited until she sat down until finally sitting down himself.

1. The embrace at the end. She's so happy. He's so relieved and content to finally hold her in his arms. Even though you can't hear them talking it seems like Anne is saying yes to something, which I imagine is Frederick asking her to marry him as soon as possible. Before his ship leaves, perhaps? Can it happen that quickly? Is that part of his thinking and planning? I like to picture them running off together right then, leaving everything else behind, and starting their new life together.

All in all, I quite like this version of the story now, and you cannot persuade me otherwise. ;)

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corgisindoggles · 2 years

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Are there any active followers on this blog?

I started this blog as a joke for Frogman. But my chronic illness quickly made clear that I did not have the energy to source content and attribute it correctly myself. I have since improved, but have been trying to stay off of Tumblr as I need an alternate source of revenue for savings. So, I have started painting watercolor. But I hate Instagram. Plus Jarvis Johnson just did a whole video on how Instagram changes were making it so images can't be seen.

(Plus the day I made the account, some dude I know started following me and I'm such a Tumblr nerd that I'm like, um, no thank you, I do not wish to be known. YOU SIR belong on FACEBOOK ONLY!)

And because I already have 5,003,249 blogs, I'd like to change this to start posting my watercolor paintings. I am going to delete the photos here and move them to my "happy place" blog @lookoverheremom. So just in case anyone comes here strictly for these pictures, I will tag them corgisindoggles so that you can easily find them.

I'm also going to leave this post and the pics up here for a while, just in case there are people who only visit once in a while. But I know me and it will eventually bother me to have the "incorrect" content on my blog. I say it in quotes because it's my brain that seems to have that opinion, not me. If I could help it, I would, lol. But eventually I get tired of arguing and just do it so I can get some peace. #mental illness problems!

OMG, I think I'm finally old enough to start really going on incorrect memeing. Idk, I find joy in using out of date stuff or working things just slightly differently than they should be? Or putting spaces in hashtags. Holy crap this is a Tangent and a Novel. I wrote that and suddenly wanted a quirky duo detective film. One has adhd, the other has adhd. They never get anything done. The End.

I am only posting because I'm pretty sure no one here is going to care.

I do welcome your feedback. If you are very upset with me changing it, please let me know. It's just there are only 8 followers here, so I thought it would be ok. If you're still reading, thank you for your time! (If you're scanning, thank you as well, lol.)

If anyone knows of a platform that is good for sharing only pictures and no videos, please let me know. I really only ever did Tumblr and Facebook. I don't travel the internet much. I live on YouTube now.

Me tl:dr - I am changing this blog to post my journey learning watercolor.

#lookoverheremom #to delete #to move #reference #because that's what I search when I'm desperate lol #psa #am I enough tags in?#I can't remember how many before tumblr stops showing them in tracked tags #can I still tumblr?#watercolor #i guess we're doing this now

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fmhiphop · 2 years

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Artificial Rapper FN Meka Dropped From Capital Records And Blames "Racist Reporters"

On August 19th, FN Meka became the world's first artificial rapper to sign with a major record label. The virtual artist released singles such as “Moonwalking,” “Speed Demon” and “Internet,” which hit off on TikTok. The rapper has accumulated billions of views and has reached over 10 million followers becoming TikTok's Number 1 virtual being on the platform. Since the rapper's signing, both the rapper and the record label have been facing backlash, leading Capital Music Group to cut ties with the virtual artist. According to HipHop DX, the artificial rapper, FN Meka, has spoken out after being dropped by Capitol Records. FN Meka is now blaming his dropping on “racist reporters.” The source also reports that Capital Records has been receiving an abundance of negative reactions, particularly from the black community. Capital Records issues a statement regarding cutting ties with FN Meka! The label stated, that Capital Music group has part ways with the FN Meka project. The label offers their deepest condolences to the Black community for their insensitivity, signing Meka without asking enough questions about the equity and the creative process behind it. "We thank those who have reached out to us with constructive feedback in the past couple of days — your input was invaluable as we came to the decision to end our association with the project.” FN Meka calls out racist reporters for clickbait! As of yesterday, August 23rd, FN Meka has responded to the news of Capital Music deciding to cut ties. YouTuber Jarvis Johnson reached out on Instagram to show his support for the virtual artist. He said, “Hey fam. i just heard the news. you’ll bounce back from this stronger than ever.” In what Johnson describes as the worst response, Meka say's, “Ty Jarvis!!! Honestly ,its algorithems controlling people." He adds that FN Meka was created by a black lady and a asian guy with a black voice. Racist reporters just want to report clickbait. Meka say's they've told reporters this many times and they ignore it just to make headlines. https://twitter.com/jarvis/status/1562276691551997952?ref_src=twsrctfwtwcamptweetembedtwterm1562276691551997952twgr5fe9098d03fe4b001a765f27131ae99afa78f40ctwcons1_&ref_url=httpshiphopdx.comnewsid.72829title.fn-meka-racist-reporters-capitol-records-dropped Johnson continued to question the real humans behind the artificial artist. He asked if it's an asian dude that sounds black or if it's a voice actor. FN Meka said “Lady came up w/ idea, asian modeled it to give a rapper a voice. Its a simple business cooperation lmao." He adds that the rapper is black as you can tell by his voice. Meka also say's people just want clout and to report false narratives. He then sent a follow-up to Johnson clarifying the voice is a black man and not an asian person putting on a Blaccent. “Btw just to clarify. The voice is a black guy.” https://twitter.com/jarvis/status/1562289040379895809?ref_src=twsrctfwtwcamptweetembedtwterm1562289040379895809twgr5fe9098d03fe4b001a765f27131ae99afa78f40ctwcons1_&ref_url=httpshiphopdx.comnewsid.72829title.fn-meka-racist-reporters-capitol-records-dropped While FN Meka is confident he will make his way back to the top, many people, activists, and other rappers have expressed their anger with Capital Records regarding the deal. The Game even said, “Like it ain’t a million real human artists out here who giving a deal to would change their families’ lives FOH.” https://twitter.com/nojumper/status/1562154663868112897?ref_src=twsrctfwtwcamptweetembedtwterm1562154663868112897twgr5a03c10c490eaf9fc7a0219ee41eeaf7bbdfb1bbtwcons1_&ref_url=httpshiphopdx.comnewsid.72822title.capitol-records-cuts-ties-with-virtual-rapper-fn-meka Stephanie Kinberg Instagram @OfficialWaveyS Twitter @OfficialWaveyS Read the full article

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bux-blurbs · 2 years

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Persuasion (2022)

Genre: Romance, Drama Based on Jane Austen's novel of the same name.

Persuasion centers on Anne Elliott (Dakota Johnson), an unconforming woman with modern sensibilities, living with her snobby family on the brink of bankruptcy.

Eight years after Anne Elliot was persuaded not to marry a dashing man of humble origins, they meet again. Will she seize her second chance at true love? After years of longing and regret, all she wants is to get her life back on track. Anne quickly felt butterflies in her stomach as her old fling walks by. He walked back into her life out of the blue and at the most awkward and funny moment when she was making fun of him as a sailor and they at once noticed each other's years of changes.

Anne (Dakota Johnson) was re-imagined to be a lot more impertinent and awkward than the protagonist of the source material–with a greater taste for alcohol too. She meets and falls in love with Frederick Wentworth (Cosmo Jarvis) at the age of 19, only for her mentor, Lady Russell to persuade her to give him up. Back then, Wentworth had no fortune to recommend him. Now, eight years have passed. Wentworth is a rich captain in the Royal Navy, and Anne is as lovelorn as ever–but he hasn’t forgotten her rejection. This new take on Anne Elliot works in some ways. Johnson is charming, likable, and relatable to this day and age.

Ever since, she’s regretted letting her mentor persuade her away from him. When Anne and Wentworth reunite, she’s penniless and love-struck. He, however, is a rich captain–and he holds a grudge. Eight years later, the Elliot family (Anne, her father, and her sister) face mountains of debt due to the spending habits of Anne’s vain father, Sir Walter Elliot. Debt collectors arrive and seize all of their possessions, forcing them to move to Bath. Anne, while visiting her sister Mary in Uppercross, sees Frederick Wentworth for the first time in eight years. Things have changed, however. He’s a wealthy captain now, and he acts coldly towards Anne, having long held a grudge against her rejection of him. However, the fact that he acted protective toward Anne and he offered his friendship to her shows the lingering love factor deep inside him. Eventually, he left a note telling her how he never stopped loving her all these years and the movie ends with the two love birds' reunion.

Excerpt of the note: 'Dear Anne, I can listen no longer in silence. Anne, you pierce my soul. Dare not say that man forgets sooner than woman, that his love has an earlier death. I am half agony, half hope. ...... For you alone I think and plan. But of course you have not seen this. How could you? Because your love has not lasted as long as mine. Anne, I have loved no one but you. And I don’t think I ever will. I have thought many times about how to tell you this, but the pain of a love unrequited rendered me silent. Tell me not that I am too late. My love for you has never faltered.'

Persuasion (2022) borrows several themes from Jane Austen’s novel: the absurdity of social class barriers, unjust gender roles, and learning from one’s past mistakes.

A significant difference is seen in the two endings, however. The ending of the book has Anne and Wentworth married, but implies that Anne will struggle due to Wentworth’s profession, especially if he is called to serve in a future war.

The 2022 movie ends on a lighter note, attempting a more blatantly feminist message. Early in the film, Wentworth says to Anne that the gender roles forced upon their society are unfair–after all, she’d make a great admiral. In the end, she gets to go to sea with her husband. The last scene implies that they will travel widely together, just like Admiral Croft and his wife.

Reflective quotes: Anne Elliott:- 'It's okay to find love on your terms, however unorthodox. Don't let anyone tell you how to live. Or who to love.' 'Nobody tells you when you’re young that life keeps going. It keeps going whether you approve of the progression or not. And, eventually, you find yourself wondering, “How did I end up here?”

'The truest evidence of an inferior mind is to allow oneself to be persuaded away from one’s deepest convictions.' - Frederick Wentworth

Marriage is transactional for women. Our basic security is on the line. - Lady Rusell

Anne Elliot: My idea of good company, Mr. Elliott, is the fellowship of clever, well-informed people who have a great deal of conversation and liberality of ideas. That is what I call good company.

Mr. Elliot: That is not good company, that is the best.

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