#you have to remain present & not lose yourself in a movie script that tells you what to do & how to be. instead you have to keep being

[textualviolence]

okokokok you know what. the lesbian label fits me best specifically because i hate romance & falling in love i think all that shit's stupid. The only thing thats worth it in life is having a tension filled two-little-girls-on-the-playground-pretending-to-be-horses level intensity friendship where basically no words or outside concepts exist beside the deep fascination and kinship you have with another human being & its a friendship to the outside world but on the inside its an unspeakable understanding of self & other with no limits or boundaries as to the aspects that are concealed and revealed and the kind of intimacy that is possible & the only rule is having fun and keeping up the synchronicity thats vibrating between your two spirits. Sorry if that makes me sound like a cringe hippe but genuinely people who are like i wanna fall in looooove im like your desires are lame & small and i pity you. Romance-love is inferior to playground bff friendship-love in every way but we live in a society that does everything to hide this fact from people....why.....

[pochiperpe90]

Luca Marinelli: "Without growing you get lost"

When director Pietro Marcello asked him to play Martin Eden in his film in competition at Venice, Luca Marinelli was moved. "Many things have changed in recent years, maybe me as well"

From written words to moving images: «When you make a film based on a book, the book, at a certain point, tends to overlap. You no longer know what the novel is and what the screenplay is. Today I remember the end of Jack London's Martin Eden: that poignant conclusion, with him in the cabin reading that poem and deciding about his life».

Luca Marinelli, star of Pietro Marcello's Martin Eden, in competition at the next Venice International Film Festival and in theatre from September 4th with 01 Distribution, brings together memories and emotions, and gives them a precise order: everything starts from there, from the novel by the American writer.

"What was the soul of the book, which in my opinion is above any kind of discourse, political, social and idealistic; that soul, I said, was respected. Because it’s embodied in the character of Martin Eden. And then when you translate a book into a film it happens that some things take another form: it's normal in an adaptation." In the case of this film, says Marinelli, it all started from Marcello's point of view, from his vision: "Which perhaps is not like what someone else can have or like mine, because it’s a vision that belongs to the director: it’s the vision of the artist Pietro Marcello. The first scripts were certainly different, they were longer, denser, full of references to the book. The very first, if I'm not mistaken, was nearly 300 pages long. And this is because we were dealing with a masterpiece, and we didn't want to leave out anything».

Could this film be different?

“No, this film is how it was supposed to be. But with a book like this you can do anything: a 12-hours play, a film, a short film. Martin Eden is one of the best books ever written. Cinema imposes different times and measures from written narration; the balance that Pietro and Maurizio Braucci, co-screenwriter, found and the work they did were excellent, in my opinion".

Let's start with when they proposed you the role of Martin Eden.

“I remember my tears as I was watching “Bella e perduta”; I remember my emotion, and I also remember that immediately after I finished watching it I told myself that it would be nice to work with this director. It was 2015. Three years later they call me, and they tell me that Pietro Marcello wanted to meet me. Imagine my happiness. Knowing, then, that this film would be born from Jack London's book moved me even more».

What convinced you to accept?

«Martin Eden is a human being of great sensitivity, great curiosity and great empathy; he has an enormous desire to discover, to see, to touch with his hand. However, he suffers countless disappointments. He climbs a mountain only to learn, once he reaches the top, that a sad camp resides there, and that the best thing was never to get there, to the goal, but perhaps the very start. The journey".

And was it difficult to make this journey?

“It's a question that I have asked myself too, and the answer I have given myself is both yes and no. No, because being next to Pietro, Maurizio, colleagues and all the people who collaborated on the film, I found the right push and the right support to get into the character. But the difficulties, of course, are always there. What I really wanted to understand was Martin Eden. I abandoned myself to the first sensation I had while reading the book and the screenplay».

What was that feeling?

"A gigantic emotion. This character speaks directly to each of us because everyone shares something with him. Each of us wants to do, to exist. To reach a goal. Only then we come up against obstacles that make us lose hope - in part or in whole».

But when did the spark go off?

“I've always been passionate about writers like London or Stevenson. Adventurers, capable of creating worlds, of giving life to characters with their eyes open to the society around them. Entering a life like that, a life where the sea is so present, a life made of traveling, of seeing, made of pure passion, intrigued me a lot. And then there was Naples".

Compared to Jack London's book, Pietro Marcello's film is a rewrite set in the Neapolitan capital.

“I had never lived all this time in Naples; and I had never known it so much. I have not yet been able to fully understand it; not completely. Naples is a place apart. I have come to love it. Naples is a whole people. Something fantastic. It’s a place with a huge identity. A very strong identity. Think of the language: it’s not a dialect, it’s a language. And then you meet people who make you realize how beautiful it is to be Neapolitan: how welcoming it is, how fascinating it is, how deep it is. Naples, for me, was a great discovery».

Is sensitivity a condemnation?

"I don’t know. On one hand, yes, it can make you suffer more. But I wouldn't see it as a sentence. Sensitivity allows you to see the world; it leads you to respect what is around you».

But it also brings loneliness with it.

«Martin Eden distances himself from everything and from himself: he can no longer be in contact with anything or anyone, he is disappointed».

In this film, the clash between the class of intellectuals and the so-called people also finds space.

"I think that the true intellectual, like Pasolini was, manages to put himself on the same level as the society, to look at it in the eye, to speak to the common man without being opinionated, just showing what is there: what is happening".

At one point, you find yourself sharing the scene with Carlo Cecchi, who plays Russ Brissenden.

«I was very excited because I found my teacher. And it was great to be with him there, on the set, more than six years after we had last acted together."

You said you got excited

“Because in the film he plays Martin Eden's mentor, and Carlo was a mentor to me too. It was a real gift”.

How many things have changed over the years?

"Many."

And you? Have you changed as an actor?

“I don't know, I swear. But maybe I was better before (laughs)».

What do you mean?

"I started with the theater, where there is no safety net, there is no" stop, let's do it again!" and there is no possibility to stop, start over, rethink. I miss that courage».

Is theater a torment or an obsession?

"It’s never a torment or an obsession. Sometimes at night, however, I dream of going on stage and not remembering anything anymore».

Perhaps it’s today's cinema that tends to be not very brave.

«In my opinion it’s experiencing a new period. And it’s not a coincidence that Marcello's Martin Eden arrives right now, in this moment. Surely we could give a voice to many more people. Even that, if you like, is a question of courage».

Martin Eden also speaks of talent and perseverance. What is more important, in your opinion?

“They go hand in hand. Talent is the first thing you see. It’s the primordial spark. But you can't just rely on that. You have to be curious, eat life, live it to the fullest, intensely and consciously. But to live it, one must also commit oneself: and one must be prepared».

You need to read.

«For me a book is always a victory. Because you have been elsewhere and have lived a story that is different from yours."

What kind of reader are you?

“I wouldn't call myself an avid reader: but the more I grow, the older I get, the older I get and the more I read. Because I am more and more aware of how beautiful it is».

Reading isn’t just a hobby.

"Thoreau says: "As if you could kill time without injuring eternity". It’s important not to waste time; but it’s important to do it without causing anguish or fear. You have to be there, stay there, live in the moment. But without exaggerating».

When you were younger - when you were a child - what were you like?

“I've always been surrounded by curious people. Even my friends, the ones I had as a child and the ones I still have now, are curious. We liked to move, to go around, to be together; we lived the street. We also enjoyed listening to music, reading comics and books, and watching movies."

And curiosity soon turned into fascination.

“Acting has always fascinated me. And only at a certain point did I manage to find the right courage to try. And I don't know why: I really don't know. In the Academy this phrase was always repeated: “play seriously”. And maybe was this that interested me; or not".

We talked about teachers. Who were they to you?

«People like Carlo Cecchi or Anna Marchesini. They were moments, very important meetings».

How did you come in contact with Marchesini?

"We studied with her for three months at the Academy, and it was wonderful because for the first time I wrote something of my own. Each of us, each of the students, had to write something about himself, starting from his identity card - this was the initial task. And it was, believe me, very difficult».

What impressed you about her?

"The energy, the dedication, the beauty. I remember the moments with her, the wonderful phrases she said. What has always fascinated me to see was the passion she put into it».

Other teachers?

"My grandfather. I always liked the job he did: he was a carpenter. In the academy they told us many times: "you have to be a craftsmen". And I was always thinking of him».

What, in the end, do you have left of Martin Eden?

«The sense of collectivity. Passion. The importance of looking around. To always look at others and at themselves. The adventure of life, and the wonder it represents. What deeply tears Martin Eden apart is betraying himself and being disappointed in his own dreams. We can fight against this only if we are faithful to ourselves, to our beliefs, to our places of origin. And then, you know, all the rest remains: remains all that world».

VANITY FAIR

Just wanted to translate this old interview for the non-italian’s fans ^^ (sorry for my English)

[stevenuniversetanzanite]

could you write about a cordelia x reader proposal? (maybe reader proposing to her and the rest of the coven helping the reader do it) lots of fluff with smut after the proposal

While writing it I forgot it mentioned lots of fluff. To be honest I don’t know if I can write effective fluff without some form of angst as a contrast but I tried anyway. I hope this is to your standard.

The Birthday Proposal

Warnings: Smut.

“Geez Y/N relax everything is going to be fine. You’re overthinking this-”

“It needs to perfect-”

Madison rolled her eyes, she was shoved into looking after Y/N while the others gathered materials. Amongst the chaos of everything going on as of late, with the mysterious possible threat of Michael, they found time to celebrate the good that’s come of all of this. Madison was excited at first, she enjoyed poking fun at Y/N as well as planning the whole swaray. 

“Is it too much, maybe I should replan-”

“Their buying stuff as we speak”

“Should it be more private?”

“Everyone  in the coven already knows, I’m surprised she doesn’t.”

“She might- maybe I should postpone it.”

“No. You wanted to give her the best birthday gift, right?” You nodded in response. “Then do it.”

“Alright.” She glared at you. “Alright, I’ll do it.”

“You’re a really good friend. You don’t get enough credit.” You hugged her. She complained that you were going to ruin her reputation. You pull away from Madison as you heard a creak at the doorway. You looked over towards the source of the sound to see your girlfriend looking as breathtaking as ever. She managed to travel around the school without her heels making a sound. If the school wasn’t old and creaky you wouldn’t have noticed her presence. 

“What are you two doing?” she asked having witnessed you ‘terrorising’ Madison with kindness. 

 "Organising your birthday party.“ She didn’t want you to go to the trouble of organising a big celebration for her, she was content with a simple kiss on the cheeks and a nice lunch with just the two of you and a nice dinner with the girls. She was aware of your plans, you had begged her to allow you to throw a celebration for her, only cracking when you gave her puppy dog eyes. 

"Y/N-" 

You walked over to her, placing your hands on her hips and pulling her close. You laid your chin on her shoulder, gently swaying side to side as if it were a gentle dance- the action was calming to you.

"I know you don’t really want one but it will be nice to celebrate. The girls deserve it. You deserve a break.” You whisper in her ear. “Plus I got a great gift for you” she smirked assuming you were referring to sex.

“I’m looking forward to it,” her voice was laced in sex.

“Get a room,” Madison called from her spot at the dining room table.

“I can get behind that,” you said. 

“Unfortunately I have a lot of work to do and so, my love, do you,” Cordelia said. She pressed a kiss on your cheek before breaking apart. Now that she had to factor a party into her schedule tomorrow she had to do a days worth of paperwork in advance. 

She needed a break from work which is why she checked on you. She noticed the other girls were out, it being a Saturday there was no work and most of the students were out enjoying their weekend. 

It was an hour into the party and you were getting the jitters, bouncing about, never in on spot too long. Cordelia was stolen away from the beginning of the party by a couple of students. She was in the mix of some party games she had been dragged into by some of the younger girls. She chuckled at one of the students jokes, occasionally checking over her shoulder to where she last saw you. One of the times, your eyes met and you gave her a quick smile before turning your attention back to the older students who were trying to convince you to calm down about the party and enjoy the day. 

Worrying about the party was distracting you from the more daunting task that grew closer every minute. So you filled your mind with anxiety about whether there were enough snacks out for the girls or that everyone was having fun. When lunchtime came around you called in everyone to serve the food you ordered in, hoping it would clear the backyard long enough for you and a couple of younger girls to set up for the activities for tonight. 

A couple of months back you ordered a projector and screen for outdoor movie nights. It was too early to set up the projector, knowing some of the younger girls would need to release their energy before tonight’s movies- it wouldn’t be the first time someone ran into the projector, nearly breaking it, so you to take that into consideration when planning today. Thankfully one of the girls was a wiz at fixing technology and saved you a couple 100 on fixing it. 

You strung up some fairy lights onto some of the surrounding trees out the back using levitation. Hands wrapped around your waste causing you to jump and lose concentration. You chuckled as light kisses were feathered onto your neck. “Babe~” you whined. She hummed moving further down your neck. She moved the fabric of your blouse to allow more access to your skin. On instinct, you tilted your head allowing her more room. “The girls-”

“Are eating lunch.”

“Have you eaten?”

“I had something else in mind.” The hand on your hip shifted upwards under your shirt. 

“If we do it now, it will ruin our fun tonight.”

“I doubt that, you know I can’t get enough of you sweetheart.” Her hand ran up your stomach towards their desired destination. “Anyway, from what I heard about the agenda tonight I won’t get a private moment with you.” You asked her what she meant. “The movie marathon?”

“Who told you about that? Was it Michelle? I knew I couldn’t trust her.” 

Cordelia chuckled, knowing the student had a horrible guilt complex and therefore couldn’t keep a secret. It was hard to keep things from Cordelia, ever since what happened with her ex-husband and the witch hunters she liked to know as much as in her right to know. 

“Surprisingly no, I overheard Zoe talking about it to one of the students.”

“It doesn’t matter anyway, the movies are just for the girls. We have other plans.”

“Like what?”

“Well I thought we should watch at least one movie, your favourite, of course, then the rest of the night is up to you. We could go out or stay inside ‘admiring each other’.”

“I like the sound of the second one.”

“Thought you would.” You chuckled. “We should get you some food.” You noticed her smirk. “Actual food.”

“Fine”

She was stolen away from you as soon as you got yourself food. She minded more than you did, her eyes begged for you to ask her to stay. Another student interrupted any chance of you stopping her from leaving. Neither of you could say no to a student unless you felt forced too. You only caught up with her after she opened her presents and the first movie began. During the presents, you set up the projector. She asked you to say but you apologized, giving her a kiss on the check (causing some of the younger girls to go “aww”) and told her you would come back as soon as you were done and that after that you wouldn’t leave her side. 

You didn’t make it back to see her open her presents but you here relieved of your duties by the time everyone was outside on their respective picnic blankets (or whatever they used to sit on). You snuggled up into her side, once again apologies for leaving her side. She didn’t get to say too much as the opening scene of the film began. She laid a kiss on your forehead and brought you closer to her as the two of you watched the movie.

The film came to an end your nerves shot up. Your body began to tremble. Cordelia noticed this, she glanced away from the credits, down at you. “Are you alright baby? you’re shaking.” You gulped. 

“Yeah, I’m alright. Great actually, which is making this more difficult.” You fiddled with the fabric of your cardigan. Cordelia began to grow anxious. What could be causing you stress? Are you going to break up with her on her birthday? No, that’s not something you would do. Did something not go as planned tonight? You were a control freak, you needed to know exactly how things were going to be planned out to a T, otherwise, you had a mental breakdown. “I didn’t think I would be the one to do this, is all. I’m terrified of what you’re going to say.”

“You can tell me anything, you know that.”

“Life’s unpredictable. I didn’t expect to find love, especially here of all places.” You couldn’t look her in the eye. Your eyes darted about at the ground as you tried to gather your words. The ones you scripted, long forgotten. In the heat of the moment, your words came from the soul. “You’re the most amazing woman, I have ever met. You have remained kind even when the world keeps throwing curveballs. You have every right to be a bitter person but your not. You’re an inspiration not only to me but to your students.” Cordelia teared up. She tried to wipe them away before you would catch on, aware that if you noticed you would start too but you caught her in the act. “Oh God your crying. I made you cry. No, don’t cry, it’s making this harder.” She nodded her head once wiping her eyes on her sleeve before she gestured for you to continue. “Though I didn’t plan to fall for you, I wouldn’t have it any other way. You make the unpredictable more bearable. I would gladly walk through the dark as long as you were by my side.” Your hands go to your cardigans pocket and pull out a box a small black box. She watched your every move.  “So, I was wondering, if you would give me the honour of marrying me.”

“Yes. A million times yes.” She tugged you close before you had the chance to give her the ring. She kissed you until you were winded. You both laughed out of pure joy. The students who watched on cheered for the two of you. 

You took the ring out of the box, slipping the ring onto her your fiance’s hand. It was a perfect fit. The attention on both of you died down with the beginning of the second film. The two of you kept talking quietly as to not ruin the film for the students in close proximity to both of you. 

“Is this what you’ve been stressing about all day?” Cordelia pulled you close to her. She ran her hand through your hair carefully not to get her engagement ring stuck in your hair. She kept her eyes on you, unable to look away from the love of her life. 

“More or less.” She didn’t need to know how long you spent planning on all of this. 

“It’s been a couple weeks hasn’t it?” She knew you too well. You might as well have told her the truth.

“Before I told you about the party.”

“Jesus Y/N, that was ages ago.”

“I had to make it perfect.”

“Was it?”

It was so perfect and it had nothing to do with the planning. The whole plan could have fallen apart and it still would’ve been perfect as long as she said yes. She was your now and you were hers. Your beautiful wife to be. 

“The night is still young. Still up for admiring each other?”

“Evermore so”

“Okay, so here’s my plan to sneak away-” She chuckled, knowing you had planned out every detail to a T. “We stay here, cuddled up- hey stop laughing-”

“But you’re too adorable.”

“And all yours,” you purred. 

“Quit talking like that or I’ll take you upstairs now.”

“Maybe I want that.”

Before you could register anything, you were teleported to your shared bedroom. She tackled you to the bed, trapping you underneath her. You tried to squirm away, this was her night, you were meant to make her feel good. 

She trapped your hips and ordered you to stop moving. “But it’s y-your day-”

“You said I could spend the night how I liked.” Her hands slipped underneath, feeling your body underneath your shirt. “I want to show you how much I appreciate you. In order for me to do that you need to stop trying to get away from me.” She didn’t say it but she believed you had already done enough for her today. 

She removed her hands from under your shirt, instead opting to remove your cardigan. She disgusted the fabric, a quiet click could be heard from the Engagement rings box against the floor.

“But-” You were cut off by Cordelia smashing her lips against yours. She gently guided you to lay down, moving your pillow to your head all while holding the kiss. She left you gasping for air and silently begging for more. 

“Shush love, you think too much,” she said between breaths. Cordelia brushed your hair out of the way, allowing more access to your neck. She took her time allowing her fingertips to graze your skin with her feathery touch. 

You continued to squirm but this time you weren’t trying to getaway. Her soft touch was ticklish. She chuckled to herself as she leant down to nip at your neck. You gasped, not suspecting it nor the next that followed soon after. The biting turned to sucking as she worked on marking your skin. “You’re so beautiful, baby,” she mumbled as she worked. Even over your panting, you could hear her clear as day. “I can’t believe all this is mine. All this… hotness.”

“Babe~” you whined turning your head away to hide your embarrassment. Luckily, you were already red and worked up, you couldn’t turn a deeper shade of red if you tried. She moved down your body, readjusting herself to remove the next article of clothing from your body. She grabbed your chin and guided it back to look at her. “No, I want to see those dazzling eyes of yours.”

You don’t know why this question came to you, or why you asked it, “D-Do you- wanna know w-why there’s a movie night tonight?” You choked out your question. Maybe, just maybe it would help you out. Cordelia never thought anything more of your plan, it was over right? 

“Why sweetheart?” Cordelia rose her brow not sure where you were going with this.

 “We can be as loud as we want.”

She smirked, revelling in the idea of making you scream her name. Your obsessed planning had come in handy tonight after all (not that it hadn’t the rest of the night, but this time, the results wouldn’t be the same if you hadn’t). You really had planned this out for her, it almost made up for the fact that she hadn’t been by your side all day- not that she complained, usually, it was her out of bed before you rose and busy with work all day, you never complained so why should she?

Cordelia quickly finished working on your shirt before moving onto your pant’s button. You knew she was going to take that for a challenge and you were looking forward to it.

The two of you were rarely allowed to make more than the occasional grunt or a muffled moan when you had sex in fear of the students hearing their Supreme (and headmistress) and teacher going at it. Once or twice you had both received knowing glances from either older students or your fellow colleagues.

It wasn’t long before your shirt and pants were in a pile on the floor. She took her sweet time with your bra causing you to complain. She ignored them, not wanting to give you what you wanted this second knowing as soon as she did you would try to take control. 

“You’re so slow~”

“Patience baby. I want to make you feel good.”

“I already feel good-” She took one of your nipples into her mouth and started to suck it. You moaned loudly.

“But you could feel better.” She circled your nipple with her tongue while her other hand reached up and played with your other breast.

“Please” You begged not wanting to wait any longer. You lacked any patience in the bedroom on the best of days unless she was the subject being worshipped then you had all the time in the world. 

“We need to work on your patience.”

“Not now, please not now~” You whined grinding up against your body trying to get some friction. 

“Okay, sweetie, not tonight.” She gave in to your need. Allowing her hand to venture down to where you desperately needed it. On contact, you moan loudly. Too caught up in the feeling, you didn’t notice her making her way lower down until you felt a hot breath on your cunt. She flicked your clit with her tongue, listening to you continue to beg for more. She slowly inserted two fingers into you, pumping them back and forth. Gradually the pace increased. She was tempted to slow down, old you on the edge for as long as you could, but there was more time for that later. You pleaded with her to allow you to cum. She curled her fingers upwards and told you to scream her name as you crashed.

She didn’t stop working on you until you had come down from your high. As you caught your breath, she lapped up all your juices. She hummed.

“How was that baby?”

“Amazing,” you smiled, happy from your state of euphoria.

“Up for round two?” She wasn’t going to be letting you go for a while.

[redshirtgal]

Do you know in which episode this scene appears?  Hint: Spock has just called for an armed team to report to the bridge. The man behind him is the Security Chief, one of the two security guards who show up in answer to Spock’s call.  * all screencaps from Memory Alpha except when otherwise noted

If you guess the episode was “The Menagerie, Part I” you were correct. And if you recognized this is the scene where Spock has turned himself over to Dr. McCoy to be arrested for mutiny, you can give yourself two points. Bonus point - what is the name of the Security Chief? 

The man on the left is Lt. Pitcairn, the Security Chief of the Enterprise during this episode. You never hear his name during the actual episode but it is listed in the script as part of the list of characters and in various stage directions at several points in the scripts. During this episode and the next, you only hear Kirk, Spock, and others refer to him as Security Chief. The other security guard, by the way, is Vinci who often turns up in other episodes. And yes, Pitcairn is the one who was often confused with the Transporter Chief. 

The next time we see Lt. Pitcairn is during the court martial proceedings, standing near the door. Another security guard played by extra Tom Lupo is on the other side of the room. 

Part I ends with the two security guards escorting Mr. Spock back to his quarters and Captain Kirk left alone in the hearing room, trying to make sense of what he has just seen and heard. It appears Lt. Pitcairn (played by actor Brett Dunham) originally had a line of dialogue in this scene. According to the final draft, the scene ends with Lt. Pitcairn saying "We've orders to lock you up." Instead, the line was revised with Kirk saying “Lock him up”  possibly to give it a more dramatic flair. This will not be the only time Lt. Pitcairn loses a line of dialogue. (source of the dialogue change is from a discussion on Memory Alpha).  *screencap thanks to Todd Walkenhorst of Fizbin’s Celebrity Memes. 

Part II of “The Menagerie” begins with the continuation of Spock’s court martial hearing. Mendez reads the charges, Spock pleads guilty to all. Transmissions are now coming directly from Talos IV and that is why the hearing was moved to a closed session - only the court martial panel itself and Spock are allowed to remain.  After watching more of the transmissions, Kirk and Mendez are surprised when they suddenly stop. Spock explains that the Talosians have noticed Captain Pike is fatigued and suggests they reconvene later. After a pause in the proceedings, the earlier security crewman wheels in Captain Pike and Chief Security Pitcairn escorts Mr. Spock back inside. *Screencap by Todd Walkenhorst.

Then the men depart. Scotty, McCoy, and the recorder are not seen again in the hearing room. From the stance in this screencap, Lt. Pitcairn appears to remain on security duty outside the doors of the hearing room. The panel picks up the story of Captain Pike and Vina on the screen. Five of the crew, including Number One, Colt and Spock, prepare to beam down to the planet for the second time. Only this time only the women are beamed down inside Pike’s cage  and the men remain on the pad.  Eventually, Pike finds a way of blasting a hole in the wall and all four of them escape to the surface. Suddenly the transmissions stop so Captain Pike can rest. 

Now the panel is ready to begin again and we see Lt. Pitcairn as well. Hmmmm.... where did he come from?  Wasn’t he last seen at his post outside the door?  Despite this still being a closed hearing, it seems he’s back in his old position (by the way, I am nearly positive this is a unused piece of footage from earlier when the hearing first began). 

Here is where it gets interesting.  Both David Eversole in an article for orionpressfanzines.com and David Tilotta of Lost Trek History reveal that there was another scene between the time security leaves the hearing and the time you see Lt. Pitcairn reappear behind Captain Pike. Indeed, it was even filmed. According to the shooting script, just after the court martial panel has seen Captain Pike and the three women escape from their captors, Lt. Pitcairn appears at the door to announce “ Sir, Engineer and ship's surgeon to see you.” With that, both McCoy and Scotty enter the room and tell Captain Kirk that they were able to isolate the computers that Spock had jammed before and can now return the ship to manual control. However, that scene later gets deleted and Pitcairn loses his second line of dialogue.  And we are left with a mystery as to why he shows up next in a scene inside the hearing room where he shouldn’t have been.  You are only seeing this image from that deleted footage because of David Tilotta and Curt McAloney’s generosity in allowing me to use the one of several other restored frames they presented in their Lost Trek History article.  If you wish to read the articles - and I suggest you do.  Dave Eversole - http://www.orionpressfanzines.com/articles/menagerie.htm (and a special thank you for your additional help)

David Tilotta and Curt McAloney -https://www.startrek.com/article/lost-trek-history-the-menagerie. They are also authors of the excellent book, Star Trek Lost Scenes.  If you don’t already own a copy, it’s available on Amazon. 

Brett Dunham had a very short screen career. In the same year as “The Menagerie” he was in an episode of Gomer Pyle USMC.  He appeared on Mission Impossible as a driver in the episode “The Survivors” in 1967 (photo from Avelyman) . And he also had appearances in The Bionic Woman and a made-for-TV movie titled Crisis in Mid-Air in the late 70s. Those seem to be the last screen roles Brett Dunham had. 

However, there was an acting coach in Hollywood by the name Brett Dunham. He ran The Screen Actors Workshop and his name shows up in many an actor’s resume under training, including Robert Blake (known for his lead role in the television series Baretta). An article on acting classes in 2002 says that this Brett Dunham had been involved in acting, teaching and directing for more than 25 years and had worked under another acting coach named Charles Conrad for eight years prior to that. His name does show up as an actor in several LA newspapers in the theater section during this time period. He even performed in a Paddy Chayefsky play at the Melrose Theater along with Don Eitner, who was an extra and Shatner’s body double in��“The Enemy Within.”

Is this the same Brett Dunham who played Lt. Pitcairn in “The Menagerie”?  It seems almost too much of a coincidence that Brett Dunham the actor/the acting coach is in Hollywood around the same time our Brett Dunham was appearing on screen. But so far, we have not located any information that proves this to be true.

As with so many other extras and one-shot appearance actors on Star Trek, we may never know his full story. But the story of his role as Lt. Pitcairn certainly seems to have been well-documented. 

[clarion-call-of-football]

15 Tips For Football Coaches To Fix Their Teams

Winning soccer is all about implementation, not tricking another group. You wish to confuse your competition, not your team. At times, I see that a"flavor of the week" crime, where coaches attempt to spend the best plays that they found in pro or college football during the previous week. I recall coaching against a single group that had almost 30 configurations and conducted two plays out of each. They complained to the athletic director we were calling their plays out until they conducted them.

Settle on a couple of plays and find out the alterations so it is possible to implement them in almost any circumstance. Every trainer has dropped to a team whose crime fits on a note card. You just need one well-executed play if opponents can not stop it. Playing a lot of defenses. It is wonderful how many clubs utilize a multiple-front defense. Now, players need to make sure that they line up properly and fret about their shifting keys and assignments. Even professional teams operate a three- or four-man front.

Opt for a defense that fulfills your team's design and grasp it. It's possible to add blitzes and stunts once everybody has learned their missions and techniques.

Players missing clinics. Every ineffective app I worked with experienced players that did not appear for training. This demonstrates the other matters are more important to them. I hear coaches say,"Well, he is my very best player, and when he does not play we don't have any opportunity to win." If that is his degree of devotion, you don't have any opportunity to win anyhow.

This is what some trainers have done:

Should you miss exercise, you do not play this week. Each evening of exercise missed equals per quarter on the seat. Missing clinic means not beginning, and when your copy is doing a fantastic job, you remain on the seat. I have seen coaches enable one miss for each 10 summer workouts . Some schedule a day or early-morning clinic one day each week to permit parents to look after things such as doctor appointments.

I recommend that training staffs make clear what represents excused and unexcused absence if you're likely to distinguish between them. The difficulty I encountered was that a lot of parents were creating explanations or lying to get their kid, so that I stopped differentiating between them.

Head coaches can opt to provide your position coaches ability to excuse licensed absences, or you could authorize all pre-excused absences yourself.

Insufficient practice business. Losing apps frequently don't have a clinic program or don't follow it. Coaches do not understand how long they must practice particular drills, players rate themselves and do not work hard, and parents do not understand when to pick up their kid.

Take a comprehensive practice program and follow along. With mobile phones and timers, it's simple to place the entire exercise plan in your mobile and possess a buzzer noise when every interval is up. Coaches know how long they have for every drill, and if you post the exercise program, players understand just how long they have and provide more attempt to secure more reps. I suggest posting the clinic plan online so every position coach may add detail for their specific position. If you do not have sufficient time to achieve your purposes, you may have to reevaluate your defense or offense.

I visit groups beat themselves by jumping offsides, prohibited processes, delays of sport along with other penalties. A single late-hit punishment could be excused as an crash, but repeat infractions reveals a deficiency of self-control.

Instantly get your plays into the crime, and telephone penalties in training so that your players know about the results.

Each time these players confront contest, they create a justification, whine or produce an accident popularly called the"loser's limp."

Grow an aggressive environment in clinics. Give the winner a reward, along with the winners a punishment. They know that what is a contest and they should find out to compete, win and lose -- each of three together with course.

If the coaches are not there, you can not expect the players to be there. Training isn't about talking a fantastic game on Fridays; it is about correctly instructing players Monday through Thursday.

I would rather have one great assistant who is present constantly than five poor ones that are part-time. I know a family crisis, but there is a work-life equilibrium.

Trainers not at the faculty. I understand this is quite determined by where you reside, and there are lots of fantastic coaches that are not instructors. But in my own experience, if the trainer and nearly all of his assistants aren't at the construction, it is a challenge knowing the association between the faculty and the app.

Do not have a head coaching position in case you are in the construction, unless government assures you they will hire assistants that are teachers.

Nobody should sit five hours viewing a trainer enter information on a computer. Along with the defensive and offensive coaches do not have to see every additional layout their game programs.

Be organized. As a head coach, you probably hired capable coaches you hope. Give every mentor duties and hold them liable, as you maintain your players liable for their duties. As soon as they are finished, make them go home.

Failing to spot the best players. Every trainer has had the participant that resembles Tarzan and performs like Jane. If a participant is getting his ass kicked all week at training, he will not somehow begin playing nicely on Friday.

Play outcomes, not possible. In the event the 160-pound weakling is playing in a higher level than your 220-pound stud, then perform with him.

Unorganized particular teams. Poor performing teams do not possess a set strategy and frequently only practice particular teams on Thursday. The gamers do not wish to be on special teams, plus they do not know why those teams are essential to winning.

Set aside clinic time for particular teams exactly like every other portion of the game. Educate the players why they are significant. Place your best players . Attempt to win matches with particular teams, rather than treat them as an afterthought.

No parent service. Losing apps have a tendency to lack parent participation, and also the parents aren't supportive of their soccer program.

Find ways for your visitors to get involved -- group foods, mothers and mothers wearing jerseys. Provide a course for parents to educate them soccer. Show them how to be reassuring. Lots of parents wish to be supportive, but they might not understand how to help. Tell them your wants.

Deficiency of psychological control. We occasionally see players react to some taunt or push by throwing a punch. Or they allow competitions take them from the match with taunts. Some trainers attempt to"stick it" to other groups by conducting the scoreboard, or else they lose their cool with referees.

Utilize a diversion drill to instruct your players to concentrate. Teach them the appropriate way to react if another team does something dumb. Show them the outcome of what happens with lousy decisions, and instruct them that their targets and the group goals are more significant. Then, model and practice yourself as a trainer.

Losing teams game program to another group's weakness rather than their particular strengths. They fret about what another team will do rather than about their own group's execution. They frequently add a new crime or defense that week because they think it is the key to winning.

I am OK with a little tweak, but I've never seen anything longer than modest adjustments win a match.

There are a lot of reasons for this: badly drawn scout cards, absence of a script that is practice, playing with the players on the scout team.

Place players on the scout team that will give a fantastic appearance. Reward scout team players so that they feel appreciated and know how they help the team win. Have transparent scout cards, and have the players view movie. Possessing a script so that you know what is coming when you are practicing plays. Concentrate on quitting their best three to four runs and moves. If they could conquer you left handed, then they're likely going to conquer you anyways.

I have always found that tutors will need to quit beating themselves until they may be successful against a different group. I am not promising you will win each match with these hints, but it is my expectation you will observe these issues all encounter common places: being coordinated, with time effectively and being disciplined in all stages of training. The biggest obstacle to implementing those modifications is taking the opportunity to take action.

[beatricethecat2]

out of place, out of mind - 1

Sequel to “one step forward, two steps back (v.2.0)” part 1+ part 2.

“These chapters are short,” she said to herself, “you can knock them out in no time!” But brevity does not equate with simplicity, nor is simplicity easy to accomplish, especially where writing is concerned (for me). So more time has passed before posting than I promised, but thankfully the upcoming holiday break will give me time to focus on future chapters. 

This story is meant to replace “Instinct,” so the timeline starts after 4.14 and moves forward with it’s own trajectory. It does cull hints of plots from episodes afterwards (for instance, Claudia becomes caretaker, you’ll glean the rest) but then spins off in it’s own direction. It is a fix it on many levels and requires some knowledge of the show (as well as "part 1," linked above). 

TV RULES APPLY to this whacky thing, so it moves pretty fast and loose, and hopefully works as a whole. I’m sure there are typos, I’ll fix them later. I hope you enjoy it!

///////////////

"What the hell, H.G.?“

Helena blinks awake and tries to focus on the faces above her, their identities hazy at best.

"Pete, she just woke up!”

“But Myka didn’t."

"Seriously bro, give her a sec.”

The name Myka prompts other names, such as Steve and Claudia, to pop into Helena's head.

“What happened to Myka,” Pete says, stressing each word.

“Mrs. Frederic sent me to help,” Helena says as if it were the answer to everything, unsure of what everything entails.

“A lotta good that did."

“Her vitals are dropping,” a woman’s voice says from across the room.

Pete turns to face the adjacent bed.

“Second’s over, H.G. Come on, think!"

Helena looks at Claudia, yes, Claudia is her name, then at the unconscious woman lying in front of Pete. “No!” she yelps and hops off of the bed, memories flooding back all at once. She dashes toward Myka, but Pete steps in front and holds her at arm's length.

“She’s been shot,” Helena says, glaring at Pete.

“With this?” Steve asks, holding up a static bag containing a pistol.

“Yes, that."

“Where? I don’t see a wound,” Dr. Calder says.

Helena pushes Pete aside and points to Myka’s chest just as a blood stain begins to appear.

“How?” Pete grunts, grabbing Helena's arm.

“A ‘gunfight.’ Duel gone awry.”

“Like in a western?” Claudia whips out her laptop and clicks on keys.  

“We were digging through props on a soundstage,” Steve adds.

“Vitals still dropping,” Dr. Calder announces, now pressing gauze to the wound.

“I must go back,” Helena says, jerking free from Pete’s grip and striding towards Steve.

“Uh-uh. I’ll go,” Pete says, elbowing Helena aside and swiping the bag from Steve’s hand.

“You can’t. It won’t work.”

“You’ll screw it up again.”

“It has to be me,” Helena says, lunging at the bag, but Pete holds out of her reach.

“Why?”

“Give me the bloody artifact!” Helena jumps up, but Pete dips down low. “Only I know how to fix this.”

“Then tell me.”

“Dude, let her go,” Claudia says, pointing with her eyes at Myka.

Pete looks at Myka, and his mouth falls open, the artifact slipping from his hand.

“Helena, go. Quickly,” Dr. Calder says, swabbing a jellied wand over Myka’s swollen, exposed belly.

Helena crouches down and swipes the bag off the floor. “It’s mine, by the way,” she says to Pete, then marches towards the bathroom and slams the door.

----------

“No!” Myka yelps, lurching upright, eyes darting around the room. “Helena!” She jumps off the bed and rushes toward Helena, but a hand holds her back.

“Mykes, whoa," Pete says but Myka yanks her arm free and steps forward. “Is she ok?” she says to Dr. Calder, her eyes wild and round.

"She's stable,' Dr. Calder answers.

“Suave move getting yourself shot H.G.,” Claudia quips.

“Shot? Where?” Myka asks Dr. Calder.

“Nothing yet, but if our last encounter is any indication—”

“Last encounter?” Myka says.

“This was you last time. You don't remember?"

"No."

"She went back to save you.“

“All I remember is a shot,” Myka says and laces her fingers through Helena's as the heart monitor bleeps erratically.

“There’s the blood,” Dr. Calder says, then checks the wound. "No bullet. It went straight through.”

“We need the bullet the neutralize the artifact,” Claudia says.

Myka searches the faces in the room.

“It’s here somewhere,” Pete says.

"Maybe in the dirt by the gunfight. Wherever that was," Steve adds.

"She might bleed out by then," Claudia says, eyes glued to her laptop. "According to this, the actor died. Just like Myka's did last time."

Myka spies the static bagged pistol in on a table. She lunges to grab it, but Pete holds her back.

"I have to go back,” Myka says.

“We'll figure something out,” Pete says.

“I’m not losing her again!”

“Mykes--”

“Pete, don’t.” Myka glares, and Pete's eyes soften, in a "please give it a chance" kind of way. But Myka's resolve remains steady, his plea falling on deaf ears.

Claudia steps in and commanders the bag. “There’s stuff you should know before you go,” she says to Myka. She gives a quick rundown of her research and Myka fills in the blanks with what little she recalls from the artifact's world.

“I’ll be back,” Myka says, striding toward the bathroom.

“Wait!” Claudia yelps. "How did the gun go off in the first place? Pete pulled the trigger to hop in and save you, but nothing happened.”

“I dropped it, and it went off,” Myka answers without stopping.  

“But both of you were whammied. How?"

“Best guess?” Myka pauses and looks over her shoulder. "We were kissing when it happened."

Claudia snaps her fingers and points at Pete. “Love's the secret ingredient!”

“Love. Great,” Myka says and pulls the door closed.

---------------

Myka faints upon arrival and is swept up by two women, who strip her down to her petticoats and lower onto a daybed. She's relieved to be lying down but disconcerted by her bulging stomach; Claudia explained the hows and whys, but the reality of being pregnant is beyond anything she could have imagined.  

She tries to stand up, but queasiness doubles her over, and the women scoop her up and settle her back onto the bed. This time she stays horizontal and examines her surroundings; probably a parlor of sorts, with resplendent furniture for entertaining. The women must be servants of the house by the way the women dart about straighten every chair and doily. Her handmaids, she guesses, as they’re not wearing aprons, which, unfortunately, means they’ll constantly be by her side.

Her maids scurry towards the windows, and she feels compelled to follow, trailing sluggishly, unaccustomed to the extra weight. She peers into the backyard and sees men with guns and dogs walking in packs, not unlike manhunts in the Secret Service. Out of nowhere, a wave of queasiness returns, and she leans against the window. She focuses on searching for the artifact and Helena as well as she's hasn't a clue where to find her.

Claudia had pinpointed where they’d been sent, but the movie was never finished, so the finer points of the plot remain a mystery. “Ye olde railroad times,” she said, “on ye olde western ‘frontier,'” in air quotes, the exact time and place left open to interpretation.

There’s shouting in the distance and the men shift to the right, just as her maids notice Myka’s no longer in bed.

“Miss Mary, come away from the window!” one pleads, and yanks on her arm.

“You’re not safe, Miss Mary,” the other adds, scrambling to her side.

This “Miss Mary” business grates at Myka's nerves, but there’s no getting around it, she must stay in character for this to work.

“Stop fussing,” Myka snips, shooing them both away, the words rolling off her tongue without thought.

“But they’ll see you,” a maid pleads.

“I don’t care. I know he’s out there and I want to see him,” Myka replies, surprised by her petulant tone, that of the debutante she's meant to portray. She chuckles at the “him," but when her maids look at her oddly, she sees she needs to hone in any improv.

A shot is fired, and as the men surge to the left, Myka moves to the right and scours the yard for Helena. She startles when in a figure dressed in black shoots out from behind the barn, zipping behind a thicket of trees. They zig-zag forward, then scurry behind an outbuilding, close enough for Myka to make out their features.

It’s Helena for sure, clothed head to toe in cowboy finery, looking ruggedly and roguishly dust covered. As their gazes meet, Myka's heartbeat surges and Helena's eyes fill with love and longing. Both are scripted emotions, overacted for the camera, but Myka's caught off guard at their realness. Helena then lifts her stetson and runs a hand through her hair, looking every bit the handsome, misunderstood loner she's meant to be.

A shot sounds in the distance, and Helena turns back to the yard.  

“Miss Mary,” a maid says, tugging on Myka’s arm, but Myka pays her no mind. The men circle back, and Helena draws her pistol, eyes scanning the horizon for an escape route. She glances at Myka, and touches the brim of her hat, nodding goodbye before disappearing behind the main building.

“Miss Mary, your father—“

“Tell him I’m ill, and I don’t want to see him. Tell him—“

“Mary!” a male voice booms from behind.

Myka's shoulders pinch together, and she turns slowly, reluctantly, not looking forward how this scene will play out.

--------

A whole day passes without further signs of Helena, though she’s heard whispers a larger search is underway. “The cowboy," she’s learned, has a bounty on his head, having sabotaged something, or robbed a bank, or killed man, depending on who you ask. Who exactly is out hunting for him is a genuine question, as the main characters all seem present in the house. Tonight is Mary's engagement party, and since her father is the mayor, the celebration includes nearly the whole town.

She hasn’t met him yet, but her betrothed is Jamison McAllister the Third, the son of a railroad magnate from New York. He was sent out to the sticks to oversee his father’s advancing empire, and from what she’s gathered, won little fondness within the town. He took a shine to Mary immediately, but Mary shunned his advances until Mary's father strongarmed them together.

It was a not very well-kept secret that Mary was stepping out with “the cowboy,”  a man with a checkered past but a heart of gold. Then when Mary fell pregnant, her father forbade her from seeing “that bastard,” threatening to kill both of them if she ran. He forced her to marry Jamison, seeing dollar signs in their union, desperate to acquire the wealth and power Jamison's family possessed.

“Hey!” Myka cries, as her maid shuffles her down the hall, her nausea returning full force as they go.

“We must prepare for the ball!” the maid declares and deposits her in the middle of the room, but there’s a pause before anyone tends to her. Time is playing out chronologically, but when the action's happening elsewhere, Mary's thoughts shift back into her own.

After an unbearable amount of fussing, she’s strapped into a florid, lacy gown, then escorted by her maids to the mayoral ballroom. To complicate matters, it’s a costume themed ball, leaving her at a loss to know who's who as she greets them. Hefty men guard the exits, many of them in uniform, including her father, dressed in his Civil War officer’s regalia. He talks with a man in a severe brown suit, his mask slightly askew. Her eyes widen at the gun slung high on his hips, the very one she's been searching for. Her stomach knots as he approaches and she looks down at her feet, bracing herself for what happens next.

He kisses her awkwardly, then hooks their arms together and tugs her towards her father on the sidelines. As her father gives a speech, she thinks to steal the gun now, but there’s no way she can escape the room unnoticed. Plus she needs to find Helena, or is she looking for the man in black? Her character’s thoughts keep interrupting her own. Get a grip, she tells herself and tries to yank free from Jamison, but he tightens his hold.

When the speech ends, the band begins to play, and Jamison leads her to the dance floor. As they sway to a waltz, he grumbles in her ear that he’ll torture and kill “the cowboy” if she tries to escape. Her expression reflects Mary’s fear, but her hands have other plans, balling into fists where they sit on his shoulders.

As the next song begins, the floor fills with guests, and a figure in black mask taps Jamison on the shoulder.

“May I?” they say, in an American twang, but the voice is familiar to Myka.

“Huh?” Jamison grunts, but by then Myka's gone, swept up by the uniformed person in question.

Helena is light on her feet, which is a welcome change from Jamison, but does Helena know she’s Helena and not "the cowboy"? And if Helena does know she’s…he’s...Helena, does she know that she, Mary, is Myka? She nearly says something, but worries she'll mess up the scene. The last thing they need is to be stuck here until the movie ends.

“Your curls are magnificent, Miss Mary,” Helena says, her accent now back to English.

Myka nearly breaks out into a laugh, as way the line sounded is as circumspect as the ringlets her hair’s been forced into.

“Why thank you, sir,” Myka replies, emphasizing "sir" for effect.

“We’ve precious little time, my love,” Helena says, glancing at the band. “Two songs from now, near the far door, you must faint and insist only your maids may accompany you.”

Myka’s stomach flutters at being called ‘my love,’ drawn to Helena as both protector and lover, knowing in her heart “the cowboy" will save her from her horrible fate.

“They’ll be a ruckus out front, but we’ll escape out back.”

“By whom?” Myka asks but doesn't push for an answer as the way Helena looks at her tells her she’s gone off script.

They twirl to the left and Helena passes Myka off, taking the lead with another woman.

Can she faint convincingly? Pete says she’s a bad actress, though tonight she's dancing like a pro so allowing the movie to take over must be key. But she needs to be careful and monitor it's influence, at least until she and Helena manage to be alone.

-TBC-

[kunalkarankapoor]

Review: ‘The Raikar Case’ Gives Us An Insight Into Indian Families

The series The Raikar Case on Voot opens up with the alleged suicide of Tarun Naik Raikar (Honey Kamboj), the youngest of the Raikar clan. While the suspect could be from a wide spectrum of people, the inquiry begins with the closest of all – the family. This suicide turns into a murder mystery and the rest is what you need to watch.

The suspense seems to be tight, and so are the roles played by the learned cast, be it Atul Kulkarni as Yashwant Naik Raikar, Ashvini Bhave as Sakshi Naik Raikar, Parul Gulati as Etasha Naik Raikar, Kunal Karan Kapoor as Mohit Naik Raikar or Neil Bhoopalam as John Pereira. Each of them seem suited for the roles they’re playing. But, while the thrill, chill and the suspense remain intact, there is a chain of thoughts that worked along the way for me.

I wonder if that’s what happens to be with every family in reality. Does every family happen to be unhappy and yet just hide it from the world out there? Because at least that’s what I’ve noticed in India, the idea of portraying a certain image of a family that isn’t even true in the first place.

The brother might not like the other brother or his ideology, but he’ll still pull it together for the world out there, pretending to be the happiest one amidst all of this. This isn’t something I can pull out statistics for, because there has been no recorded judgement of dysfunctionality in the Indian families because we are afraid to speak what we think and maybe, it’s something that has developed over the years only to satisfy the need to be socially accepted.

Maybe, ‘dysfunctional’ is a terminology that I might have pulled out of my over-thinking cap, but how do we really give credibility to our thoughts? An individual’s perception, habits or attitude have always seemed to affect another person. But in the Indian aspect of social order, the young are never supposed to pinpoint the elders; the elders are never to limit the young or walk out of their boundaries in an attempt to invade privacy (though I wonder if it exists); and neither does the gender disparity end at any given point.

The females are never to express their opinion, the males continue to make decisions for everyone, and people are looked at with suspicious eyes if seen together with someone from the opposite sex, no matter what relationship they might be sharing with them.

The idea of expression is what lacks in the Indian social order, specifically amongst families. And that’s what lingers in the corners of this series too – the lack of expression of one family member with another. So, I wonder if dysfunctional is even an extreme term to use here.

I might not have all the facts, but I do hold an opinion, and if you believe it’s challengeable, watch out for this series on voot.com, and let’s change the idea of families for each other.

On the whole, this series will make your quarantine worthwhile. Hence, watch out for this directorial bliss by Aditya Sarpotdar.

By Manvi Singh - April 2020

https://www.youthkiawaaz.com/2020/04/the-raikar-case-review-this-is-much-more-than-a-thriller-webseries-to-me/

How many of you all have watched the 2019 movie " Knives Out"? It was a pretty impressive movie. When I watched it I felt that why something sort of this could be made in Hindi. It was a very unique concept.

When I watched The Raikar Case, I finally felt that we are getting there. A well-written whodunit that will keep you guessing. A mystery with a unique approach. A mystery that will make you rack your brains.

Voot Select has been on a spree of producing thrillers. After Asur and Marzi, we have another thriller on our plates, The Raikar Case.

The Raikar case is directed by Aditya Sarpotdar and stars Atul Kulkarni, Ashwini Bhave, Parul Gulati, Neil Bhoopalam and others.

Frankly speaking, this series is something very ahead of its time. I never imagined the Indian digital world will provide something of this magnitude. But what really makes

The Raikar Case Plot

Naik-Raikar. Goa's one of the most elite families. Cashew plantations, factories, a connection in politics, this family has every luxury out there.

But all these conveniences come with a cost.

Tarun, a young naive member of the Naik-Raikar family is dead falling from a cliff. Everyone thinks Tarun ended his own life. But SP John Pereira has his own speculations. It's clearly a murder.

Etasha, daughter of Raikar patriarch and a cousin of Tarun starts to receive messages from a mystery informer who knows every bit about this murder. Every time an investigation occurs a new person comes on the suspect radar.

Etasha's struggle to find the real culprit while dealing with her family's deepest and darkest secrets forms the entire plot of The Raikar Case.

The Raikar Case Review

The Positives 

1. Story: The story of The Raikar Case is penned by Bijesh Jayarajan, Karmanya Ahuja and Anitha Nair. As far as the story is concerned, it has everything required for scripting a flawless whodunit. The Raikar Case has a murder mistaken for suicide, a plethora of family members with their gimmicks and most importantly a dark backstory.

The story of The Raikar Case starts slowly and cautiously. It gradually catches pace and then does not looks back. Many of you will struggle to figure whats going on. In the very first episode, a bunch of characters are thrown towards you.

2. Characters: There is absolutely no shortage of characters in The Raikar Case. The characters overflow at a point. Your brain takes a while to figure out who's who. The Naik-Raikar family itself is so interesting that you begin to vouch for root for them. The common disgruntled and bewildered look on every family member's face gives the "something's fishy" vibes. The over-practical patriarch, his household wife, incompetent son, achiever daughter, disinterested cousins, confused sister-in-law everybody has their own share in The Raikar case. Also, the outsiders are well linked to this family. A power-hungry conniving friend completes the equation.

3. Unique Screenplay: The screenplay of The Raikar Case is its bast thing. Very rarely you stumble across such beautifully presented content. The screenplay will definitely win your hearts. The way this series is structured will take a little bit of your time to grasp it. But later on, you yourself will know what's about to hit you.

4. Some performances

The Raikar Case is adorned with some incredible performance. Atul Kulkarni as Yashwant Naik-Raikar showed us why he is the king when it comes to out-of-the-box scripts. He symbolizes a true patriarch who is bound to hold his family together no matter what. His stern and no-nonsense attitude justify his position in the Naik-Raikar family.

Ashwini Bhave, the famous yesteryear actress made her digital debut with a bang. Her performance of Sakshi was something you can relate to every matriarchal figure in the house. Her layered and biased feelings will shock you.

Parul Gulati as Etasha was simply amazing. She displayed a wide range of emotions effortlessly.

Lalit Prabhakar as Eklavya Rane is truly the breakout star of The Raikar Case. Prabhakar is known for his chocolate-boy roles in the Marathi film industry but here he is the dark-chocolate. He is terrifying as hell. He gives us the chills whenever he appears on the screen.

1. The Negatives. Opening episode. One of the shortcomings of The Raikar Case is that the opening episode is too much to handle. It is very ambiguous for an opening episode. At a point, your brain trips from processing the load of info.

The audience is not used to this type of complication in the initial stage. Many of the people may lose patience.

2. Some performances: Neil Bhoopalam has a very crucial role in The Raikar Case. But for some reason, he doesn't seem to provide justice for his role. His dialogue delivery looks too cliche. It always feels that he is trying to judge everyone.

Kunal Karan Kapoor and Manava Naik are other examples of below-par performance. It looked that they were trying too hard to fit in.

Before you all head to watch The Raikar case, let me tell you this:

It's NOT a popcorn-movie. Keep your brain along with you at all times.

A slight distraction may disrupt your entire flow of experience.

The opening episode is very complex but don't you lose hope. You will digest everything eventually.

My rating for

The Raikar Case:

🌟 🌟 🌟 🌟 (4/5).Definitely recommended!!

“I think Neil, Manava and Kunal Karan Kapoor all did justice to their roles. Manava and Kunal Karan Kapoor’s role was as “outsiders” that did not fit in and both are trying to fit into the family. I believe that what the Director wanted to show and looking at the review then both did a great job making the reviewer feel that. Honestly speaking then everyone was in character and was living it. So saying that specially Kunal Karan Kapoor was below-par performance is totally wrong. He told Mohit story through his eyes and made sure that even if he seem mysterious and you knew he had a secret, you never fully suspect him. Beside that his performance in the last episode was breathtaking.The way he emote every turmoils was beautiful and art itself.” - Anila

Binged.com Review: Kunal Karan Kapoor’s role isn’t fleshed out as well as his other actor-counterparts, though he makes a good meal of it.

Movies Bazaar Review: Talking about Kunal Karan Kapoor unno ne shandaar role nibhaya hai aur kisi cheez ki kami nahi aane di apne role main.

[misomilk]

FINAL CHRISTMAS OTP PROMPT FROM ME, MISO SENPAI! THE PERSON WHO YOU THINK IT IS, BUT IT REALLY ISN'T, BUT REALLY IT IS. ;) HOW'S ABOUT SEBRON, IN EITHER THE TITANIC AU OR THE STAR AU? YAAAAAAAAAAAAS. SANK YOU. ;* ILUSFM!!!!!!!! I MEAN, WHAT? NO. I'M A TOTAL STRANGER.

AAAAAAAAAAA SENPAI. YOU ARE SO CUTE, MY HEART EXPLODES WITH DOKIS. I KNOW IT’S YOU 😘 Thank youuuuuuuuuuu for sending -GASPS- sebron 😭 I haven’t thought about this pair in soooo lo--no, that’s a lie. I’ve been thinking about them lately. ;D Just that, the thoughts haven’t turned into written words. Hahaha

ILUSFM2, SWEET SENPAI SINPAI. I hope you enjoy reading these!

Christmas OTP Questions: sebron

Who wakes the other up excitedly on Christmas morning? Which one begs for five more minutes of sleep? For both AUs, it’s Ronald that wakes up all excited, but for different reasons. Titanic!Ron is excited because it’s Christmas!! and it’s wonderful. He loves it. Remember he once woke Sebastian up and gave himself to Seabass as his present. After that year, it’s always Sebastian that wakes up before Ronald, to make sure Ronald wakes up THE BEST way on his favorite day of the year.Star!Ron is awake from 5am, refreshing (ctrl+r or alt+f5) the SOFC (Sebas-chan Official Fan Club--access limited to Members only, password-protected) website to see Sebastian’s special Christmas message, which can only be viewed on Christmas day. Note that while he’s refreshing like crazy, the very star he’ll be watching on the screen is sleeping soundly in his bed. Sebastian wakes up to Ronald squealing (even though Ronald tries so hard not to squeal loudly), groans, gets out of bed to pull Ronald away from his pc desk and drags him back to bed.“Sleep. Spaz later.”“Wait, I gotta message Grell--”“Spaz later.”“Your wink at the end of the video is to DIE for, Sebas-chan.”“Wink later. Sleep. Sleep. Two eyes closed, Ronald.”“Yes, but--”“Sleep. Please.”

Which one hangs the mistletoe? In Titanic AU, it’s Sebastian. He hangs it at the door connecting the kitchen and the living room, and normally waits there before lunch/dinner so that Ronald will have to kiss him before eating. (Sebastian likes to think it’s his appetizer.) In Star AU, it’s Ronald. He hangs it in a way that replicates a certain scene in one of Sebastian’s movies, where he kabedons a girl beneath a mistletoe before kissing her. Sebastian plays along, reciting his DOKIFUL lines to the girl, but replacing the girl’s name with “Ronald”. When Sebastian leans in to kiss Ronald, he pulls away for a tiny bit, just to get Ron to whimper and whine (which Ron does). Sebastian has a wicked smile on his face as he kisses Ronald, deeper than stated in the script.

Which one cooks? Do they cook together? Do they go out to eat? In Titanic AU, they go out to eat. Sebastian treats Ronald to the most expensive of restaurants, which makes Ronald feel uneasy. He doesn’t like it when he gets too pampered by Sebastian, because he likes proving he earns enough on his own, too. He doesn’t like feeling like he’s just a pet to keep happy with such luxury. He tells Sebastian about this, and he corrects himself in their future dates.In Star AU, Sebastian super duper wishes he could go out to eat with Ronald, but because of his star status and keeping up a good, never-in-a-relationship image for all his fans, he can’t. Ronald understands, of course, and even puts out more effort than Sebastian that they shouldn’t ever have a date outside his house. WHICH IS WHY Grell, glorious and awesome as she is, sets up a plan with William. After Sebastian’s performance at Music Station (a music show that always has a 3 hr special of musicians performing live on Christmas), William takes Sebastian to Grell’s bar, which is closed to the public for the evening. All the bar’s tables are set to the side, except for one table for two, candle lit. Ronald sits on one chair, with a blindfold over his eyes. (Grell kidnapped him and brought him here after they watched Music Station together.) It’s Sebastian that takes off Ronald’s blindfold, and they’re both just so overwhelmed that they can finally have a date outside. Grell and her staff serve them D E L I C IO U S food that evening, and even let Sebron go on a pretend drive date using a cardboard car and a projector. It’s a little silly but IT’S SUPER DOKIFUL.(Wow. That was such a long answer. OOPS)

Which one can’t sleep the night before? In Titanic AU, they sleep in their normal hours. After a few rounds of good shit good shit sex. ;DIn Star AU, Ronald stays up and waits for Sebastian to arrive. There are years Sebas arrives early on the evening of the 24th, but there are times he arrives late into the night, still busy with shooting despite him having to perform live the following day. Ronald spends time marathoning his most favorite drama by Sebastian, and sometimes that movie with the kabedon mistletoe scene, too.

Which one dresses like they’re straight out of a Christmas movie? Both of them??? In any of the AUs???? XD Well Star AU Sebas definitely dresses up on Christmas bec of that Music show. Ronald watches him from the tv in a concert t-shirt, house shorts, penlight and Sebas-chan uchiwa in hand.

Which one sings Christmas carols loudly and off-key at random times? In Titanic AU, it’s Sebastian. BEC I WANT HIM TO. I cant have him ever sing off-key in Star AU so he definitely has to (have one imperfection LOL) here in Titanic AU. He can’t even sing Jingle Bells right. Poor man. Ronald laughs at him, not in a ‘HAHA U SUCK” way but in a “GOSH IM SO IN LOVE WITH THIS LOSER” way. He sings along with Sebastian, purposely ruining his own melody/pitch to match Sebastian.In both AUs, Ronald gets pretty passionate about (specifically) "Have Yourself a Merry Little Christmas”, that his voice breaks while singing. On a related note to that favorite song, in Star AU, Sebastian catches Ronald listening to this version and starts to sing along. Ronald gets so. fucking. aroused (/o\) by Sebastian’s P E  R F  EC T voice, that by the time the trombone solo goes, Ronald is already making out with Sebas and tearing his clothes off. Sebastian keeps singing him the song while Ronald kisses his neck, feeling like he’s kissing Sebastian’s sweet voice.

Which one tears open their packages? Which one slowly, methodically unwraps every single one? In Titanic AU, they both unwrap methodically. Ronald gets a lot more presents than Sebastian, because he’s got a whole lot of family and is so loved by both grandparents on both sides of the family. He’s the Family Favorite. XDIn Star AU, Sebastian gets a whole FUCKTON of gifts from fans. Ronald helps him open them. Ron starts opening methodically, until he runs out of patience and just tears them up. Sebastian unwraps each present methodically, from start to finish.

Who opens their biggest gift first? Who opens their smallest gift first? In Titanic AU, Ronald goes from smallest to biggest. Sebastian goes from biggest to smallest. They both reserve each other’s gifts for last.In Star AU, they go by it as the gifts are sorted. William has a list of presents, so they go through that list one by one.

Which one makes the sappy Christmas speech? In both AUs, Sebastian. Because no matter what AU, he just has that way with words. In Titanic AU, he makes Titanic references to make Ronald s w o o n. In Star AU, he sings and Ronald just--he faints, man. No matter the AU, Sebastian aims to make Ronald lose himself and is successful in both.

Which one’s family do they spend Christmas Day with? Does the whole family get together, or is it just your OTP, and any kids they have? In Titanic AU, the first Christmas they’re an official couple, Ronald  persuades Sebastian to go to his family home with him, and Sebastian reluctantly agrees. Sebas had a bad feeling about it, based on what he overhears from Ronald when he’s on the phone with a relative. They only last a two hours at Ronald’s old home, because apparently Ronald’s family wasn’t as open-minded as he thought they were, Sebastian suffering the brunt of it. Despite the family not liking who his boyfriend is, Ronald still remains to be the Family Favorite, though his relatives are vocal about ‘breaking up this fling and finding a girl to settle down with soon’. It really pains him. Ever since then, they spend all holidays alone together.In Star AU, they spend Christmas together by themselves in Ron’s apartment, except for that one year Grell held that surprise for them. The year after that, they plan a surprise for Grelliam, too, which was a little hard to accomplish because of William being such a workaholic.

Which one buys a gift for their pet? No pets~ But if they had one, Ronald in Titanic AU and Sebas in Star AU.Titanic: Bec Ron gets so easily attached to animals, like hamsters or dogs. Although they don’t necessarily like him back. LOL When they’re out on a walk, and Ronald tries to pet a dog, the dog tends to approach Sebastian instead.Star: Sebastian. Because he’s never had a pet, so having one must be so wonderful for him.

Who dreams of a white Christmas? For both, Sebastian. Because I think he finds peace in seeing the world be covered in a white blanket. He thinks it’s calming how the world’s noises seem muted by the snow. To have the world be muted like that on one of the noisiest days of the year is nice. He’d like to just snuggle up with Ronald on such a day.

Which one munches on candy until lunch time? Hmmmm neither of them, probs. XD I’ll turn the question into “Which one spoils themselves by watching something they love?” It’s Ronald for both.Titanic: “Ronald, Titanic isn’t even a Christmas movie.”“It’s a great movie. We’re watching it.”Star AU: “Ronald, that’s the twelfth time you’ve watched last year’s performance.”“It doesn’t reduce your radiance, Sebas-chan. You’re so amazing.”

Which one goes to bed first that day? Which one stays up, being nostalgic? In Titanic AU, Ronald heads to bed first, with Sebastian watching him, feeling giddy that this person chooses to stay with him.In Star AU, Sebastian falls asleep first. He’s just so dead tired by then, what with his live performance and all. Ronald watches him sleep, not in a fanboy-y way. Just-- he lets himself bask in Sebastian’s presence. He wishes them another wonderful year to come.

Which one is ready to start de-decorating on the 26th? Which one wants to keep stuff up until after January? In Titanic AU, Sebastian wants anything Christmas gone by the 26th. Ronald, though sad, helps Sebastian put things away. When Sebastian realizes how sad Ronald gets while putting away decors, he lets him keep one garland across their living room to keep the Christmas vibe alive.In Star AU, both of them don’t care for Christmas much to put up decors. So they don’t have any de-decorating to do. XD Ronald attempts the mistletoe thing all throughout December though. Hehehhe.

AAAAAAAAAAAAND THATS IT. Thank you soooo sososoosososo much for sending these asks, bb. I had so much fun answering them. I hope you had fun reading them, too. ;*

I LOVE U SO MUUUUUUUUUUUUUCH!!!!!! You are the best. 😍

[theconservativebrief]

Robert Zemeckis’s zany, brilliant Who Framed Roger Rabbit, released 30 years ago on June 22, 1988, is remembered by the many who love it as a film ahead of its time.

Its gathering of dozens of cartoon all-stars in the same place now feels like a nod toward a future when all pop culture would be thrown into a blender all of the time, and its use of computers to blend real actors with animated characters remains jaw-dropping in both its complexity and its effect. If nothing else, the movie’s star, Bob Hoskins, should be properly remembered for perfecting a whole new style of acting that has only come to take over big-budget studio movies more and more. (Josh Spiegel has much more about this idea over at /Film.)

And Roger Rabbit was the rare box-office hit that didn’t garner a sequel (though its title character starred in a handful of animated shorts). The movie was the second biggest release of 1988 and won numerous Oscars (while being nominated for even more), but its cultural footprint ended up being remarkably small. When’s the last time you heard somebody do a Roger Rabbit impression?

Roger Rabbit is one of the best films of its era, however, and it deserves to be remembered even more than it is, its unique blend of cartoony sensibility and more adult storytelling having anticipated so many of the blockbusters that followed. And if you remember the movie as primarily one about goofy cartoons and wacky slapstick, well, it has those elements, but it’s about something else, too.

See, along with Chinatown and L.A. Confidential, this is a movie about the secret history of Los Angeles.

Roger and Eddie are in a jam. Touchstone Pictures

It’s only natural that Los Angeles, home to the film and television industry, would pop up as the setting for many a film. And thanks to the city’s glossy exteriors and hidden corruptions, it’s also only natural that many of those stories would take the form of film noir — shadowy crime thrillers, often told from the point of view of detectives, which posit morally grey universes where survival often means making yourself almost as hard as the criminals who run everything.

I’ve long thought of Chinatown (1974), Roger Rabbit, and L.A. Confidential (1997) as a loose trilogy. All three contain elements of film noir, and all three are vintage Los Angeles stories, to be sure. But what unites them even beyond that is that all three tell incredibly skewed versions of true stories of how Los Angeles became the sprawling, congested megalopolis it is. No, a section of Los Angeles where cartoons lived wasn’t paved over to build the freeways — but many other things were.

Start with Chinatown, the iconic detective film starring Jack Nicholson and directed by Roman Polanski. (Polanski, who directed a few of the best movies ever made, including this one, also was convicted of raping a 13-year-old girl in 1977 and has been accused of several other cases of sexual assault and misconduct.) The movie’s airtight script by Robert Towne is perhaps the most traditional “noir” of this triple feature, from the hard-boiled detective (Nicholson as Jake Gittes) to the femme fatale (Faye Dunaway).

The film is also a genuinely compelling story about water rights, which is not something you can say every day. It depicts a very loose retelling of the efforts of William Mulholland to transport water from the Sierra Nevada mountain range south to Los Angeles, a city that would require substantial access to fresh water if it were to grow. (Mulholland’s shady practices happened in the 1900s, while Chinatown is set in the 1930s, so artistic license has been taken.)

The shifting of water toward the California coast, and especially toward Los Angeles, has become a constant source of strife in my state, and Chinatown’s most famous reveal (which I won’t spoil, but it involves a horrific sexual relationship) in some ways parallels the exploitation of the state’s once-abundant natural resources in order to sustain a growing population. In the world of Chinatown, everything is a resource to be consumed by unscrupulous men who don’t care about anyone but themselves.

Faye Dunaway and Jack Nicholson star in Chinatown. Corbis via Getty Images

Towne mounted a sequel in 1990, the Nicholson-directed The Two Jakes, but the movie’s lousy, perhaps because its depiction of late-’40s Los Angeles corruption had already been handled so much better, in even stranger fashion, in the 1947-set Who Framed Roger Rabbit. Indeed, the script for Roger was actually inspired by Chinatown in its attempts to warp and bend actual history to fit the framework of a blockbuster.

The chief difference between the two films — well, besides the cartoon characters — is in tone. Though Roger Rabbit depicts a very real event (the destruction of Los Angeles’s world-renowned streetcar line and the disruption of several historic neighborhoods, often populated by ethnic minorities, in the late 1940s to make way for the city’s infamous clogged freeway system), it also stars Mickey Mouse, Bugs Bunny, and the manic rabbit at the center, which means the film eventually tacks on a happy ending, where Toontown survives, the freeway presumably having to give up the ghost or find a way to go around it.

And yet the core of Roger Rabbit is a surprisingly accurate depiction of the ways that developers, politicians, and business executives worked with companies associated with the automobile industry to undermine and finally destroy the streetcar system. In that sense, the vaguely rosy Los Angeles of the film, where even the noir shadows are cast by a smiling cartoon sun, becomes a weird nostalgia trip for the filmmakers — a city that almost was.

Finally, there’s Curtis Hanson’s L.A. Confidential, in which the “secret history of Los Angeles” trilogy finally turns its eyes on Hollywood itself. If Los Angeles has always been, on some level, a company town where all of its millions of residents have some sort of connection to the entertainment industry, then it only stands to reason that Hollywood would be just as corrupt as the city’s water supply and transportation system.

Confidential delivers that in spades, with an entire entertainment industry system designed to distract from the real culprits and keep the whole Hollywood machine looking beautiful, the better to keep film fans from seeing the way it rots from the inside out.

L.A. Confidential gave a big break to numerous young stars, including Guy Pearce. Warner Brothers/Getty Images

Confidential is based on a novel by James Ellroy, himself the author of his own series of novels about the darker corners of Los Angeles (a series that includes L.A. Confidential), and it shares Ellroy’s obsession with the idea that the history we’ve been presented is a thick gauze that obscures what really happened. Stare at it long enough and you might start to see the truth; you also might lose it completely from the strain.

What’s most notable about L.A. Confidential is the way that it posits the media — which has one of its major bases of operation in Los Angeles — rewrites what really happened to create a narrative that’s more palatable to a mass audience, something that may have been market-tested in Los Angeles (where the police help Hollywood bigwigs craft stories less likely to rattle the status quo) but which is clearly spreading throughout the country by the year 1953, when Confidential is set.

Every city, of course, has its own secret histories, its own barely obscured dark enigmas. It’s just that not every city has a film industry based in it. Indeed, it’s sort of a wonder that there aren’t more hugely acclaimed film noirs about the shady dealings that led to the birth, growth, and hyper-expansion of the City of Angels.

If you sat down and watched Chinatown, Roger Rabbit, and L.A. Confidential in a row, you’d have a great night of watching three very different takes on the detective drama. But you’d also get a lesson in how unethical, immoral, and often illegal political power built the modern American city — specifically the one supposedly meant to celebrate dreams, not nightmares.

Original Source -> Water rights, freeways, and Hollywood gossip: the secret history of LA, in 3 detective movies

via The Conservative Brief

[studio77photouk]

Meet with a Wedding Photographer in New York, NY: Adam W Cohen Photography

Today’s wedding photographer meeting is with Adam W. Cohen of Adam W. Cohen Photography, located in New York, NY! Enjoy:

Tell us a little about yourself and your company.

My family and wedding photography studio is located out of NYC and we cover the Tristate and New England Region.     I love this job because  people who I am and everything I really care about.   I am  a romantic realist.   Photographing evidence of the feelings that induce individuals to marry each other is not just a big part of my job, it’s also profoundly, personally fulfilling for me.

Read the entire interview after the cut!

The term my customers most often use to describe me would be “sweet” Sweetness has an important place in wedding and portraiture work. Technical mastery of camera settings and light just really matters in a wedding when the bride and groom and all of their loved ones members and guests feel relaxed and positive  in my own presence. When you like having your photographer around, then you are truly at the moment with each other, which is what it’s all about, either romantically and photographically.

When I’m not taking pictures, I’m out discovering amazing meals in NYC, playing Ultimate frisbee, taking the ferry to Brooklyn (it’s the ideal amusement park ride from the city for the son), hitting on the shore, and hiking paths. In NYC, there’s endless opportunities to research, and my loved ones and I can not get enough of it. It takes java to get me buzzing with ideas for your essays and stories that I write in my spare time. And I’m still excited about pictures when I’m not recording once-in-a-lifetime occasions. I love analyzing the work of many others, taking workshops, and experimentation and practicing in my.

How did you get to wedding photography?

I had been working mostly as a movie producer and manager when I got back in touch with a college friend who was a successful wedding photographer. I had been curious about what her working experience had been like and she hired me to function as next for a couple weddings.   Everything about the job excited me. I had been hired for 3 hours on my next wedding, but I worked for ten. Frankly, I couldn’t pull myself away. The wedding scene was really full of personality and lifestyle, a  stream of    creative opportunit ies  at a life-affirming setting.   I had been hooked. We worked together to get a year, and she told me that I was the greatest second photographer she had ever worked with in more than a decade of shooting weddings, which of course was very encouraging and humbling since I was going to throw myself to studying and mastering a whole new art form. My job with her led to other opportunities and then finally I had customers and weddings of my own.

What is your favourite part of the wedding to capture?

Taking pictures of people completely surrendered to what they are feeling at the moment. When I capture this, I know my customers are going to have an authentic record of the wedding experience. As a photographer, that’s the type of film I know I will find at every wedding, in minutes of authentic connection, vulnerability, shared reality, bliss, tenderness, disbelief, ecstasy, poignancy, relief, and overpowering love.   These moments occur daily and not necessarily when you’d anticipate. Couples have different styles, different energies appear spontaneously. So it’s very important to pay close attention to what is happening emotionally, not just keep tabs on the series of events, but also to actually be current and receptive to what people feel.

What’s the most embarrassing moment you’ve experienced while on the job?

Awkward moments often precede something amazing, like a burst of tears or laughter or other displays of pent up emotion. A silence that goes on a bit too long, a individual says something somewhat off, people grab each other’s gaze unexpectedly, an elderly comparative dances flamboyantly, a child cries out — function weddings and you also know it’s the off-script minutes that make our weddings genuinely our own.

As for personally awkward minutes, I once had an officiant say in the end of the service, “And the photographer will guide you.” Everybody looked at me, including the couple who had only kissed. I lowered my camera and said, “okay, first let us congratulate the bride and groom as they walk down the aisle, but please remain where you are for a picture later.” I had been caught off guard, but serendipitously the officiant only created a picture that I wished to take a lot easier to pull off.

What is your favourite place and why?

I love outdoor locations–beaches, gardens, the streets of NY for the pure light and grandeur. Gorgeous light are discovered in wide-open spaces and at the most romantic and shadowy corners of a small restaurant. But any place selected conscientiously by my customers is going to be a location where they feel comfortable and excited and “themselves,” and that’s the main factor when creating pictures together.

Having said that, among my favourite places would be the Prospect Park Boathouse at Brooklyn, which will be so romantic and romantic, also Tappan Hill Mansion at Tarrytown, NY (Mark Twain’s mansion overlooking the Hudson River) which is expansive but still warm. Both are surrounded by natural splendor, as it happens both are catered by Abigail Kirsch, who is incredible.

Nikon or Canon?

I shoot with a set of Canon 5D MkIV DSLRs.

What’s your dream place to shoot a wedding?

MOMA in New York! It could be a excellent location for unusual and trendy angles, reflections, and stunning backgrounds. I’m also fascinated by Iceland’s exotic landscapes, I would love to shoot a  couple on a black-sandy beach with crashing waves and sheer cliffs behind them.

If you were able to shoot any celebrity wedding (past, present or future), who are the lucky bunch?

Jennifer Lawrence and Bradley Cooper at Silver Linings Playbook. Their characters are so romantic and quirky, too! Especially now that the Eagles have won the Superbowl, that could be a heartfelt party, and the speeches could be hilarious, and the dancing could be crazy!

What is the biggest lesson you’ve learned, and could pass along to some other new wedding photographers only getting started?

Take nothing for granted and always be a student of your craft.   Anything you can do to improve, take action. If you do not feel this drive obviously, as part of your response to wedding photography and portraiture, then you might want to think about doing something different. If you aren’t there because you love it, even if it feels like a chore or a task, that’s likely to be more upsetting for you and your clients. If you like it, you are going to get better and better with experience and it will be a fulfilling way to make a living.

What advice or tips can you provide couples who want to hire a photographer to cover their big day?

The most universal advice I would offer all couples is there are a whole lot of talented photographers around the world, so that you can and ought to take some time to discover a person one of that group with whom you feel a personal connection.   Your wedding photographer is going to be a significant part of your wedding experience, a part of your memories of one o   f the most important days of your life. So after you find individuals whose aesthetics you prefer and whose technical mastery you anticipate, pick one which you get together with.

When you’ve got your short listing, meet your last photographers in individual. There’s really no substitute for doing so and at this point, you can not lose since you are just fulfilling artists whose work you prefer. I adore these meetings! We get to know each other and naturally talk about your wedding, whatever you know up to now and the ideas you are working on. I provide you with a customized estimate within a day or so of our assembly, and that I also include some particular comments meant to assist you make decisions regarding your wedding favors based on my experiences.

Your wedding photographer has appreciated more weddings than you’ve got and you ought to take advantage of her or his insights to help to make your day as terrific as possible.   Here are two quick tips:

Less experienced photographers occasionally emphasize they exercise  “natural light” photography for a way of sidestepping their own inexperience (and their lack of confidence) with using flash in low-to-no-light circumstances. All photographers prefer normal light, but when a number of your wedding has been scheduled to occur after the sun sets or in dimly lit rooms, then you are going to need a photographer who knows how to take good pictures of individuals with off-camera flash. You should ask photographers to reveal pictures similar to this in their portfolio.

And finally, you are going to be feeling all kinds of emotions and nerves on your big day. Attempt to take a breath and soak everything in. You’ve spent so much time preparing for your wedding day, so that it arrives savor it, do not rush it. And if your vows are all over, forget about everything and everybody and only live during that kiss for a moment longer than usual. Nobody dreamed taking an excess beat with their very first kiss as a married couple.

Thanks, Adam! For more information about Adam W. Cohen Photography, please visit his WeddingLovely Vendor Guide profile or head straight to his site.

Do you have any questions or remarks for Adam? Add them to the comments below!

from Studio 77 Photography Gwent Wedding Photographers http://www.studio77photography.co.uk/meet-with-a-wedding-photographer-in-new-york-ny-adam-w-cohen-photography/

[pochiperpe90]

Luca Marinelli: interview with the actor who plays the villain in They call me Jeeg

At just 31, he is the rising star of Italian cinema, nominated for two “David di Donatello 2016” for the surprising film by Gabriele Mainetti, where he is the Gypsy (Lo Zingaro), and also for Claudio Caligari's Don’t Be Bad

The mantra is well known: Italian cinema is in crisis. It’s not true, but feeling sorry for yourself is a deeply rooted practice that can be countered with facts. See the success of an out-of-the-box comedy like Perfect Strangers, the most striking case (apart from Zalone, who plays in another league) of a desire for change and renewal that starts from stories and also involves directors and actors. Speaking of the latter, the last part of the film season has definitively sanctioned the talent of Luca Marinelli, protagonist of Don’t be bad, a poignant artistic testament by Claudio Caligari who arrived at the threshold of the Oscars, and evil antagonist of Claudio Santamaria in They call me Jeeg. Gabriele Mainetti's film is the ruler of the David di Donatello with 16 nominations and Luca could make a double, being nominated both as the protagonist for the film by Caligari, and as a supporting character in the second.

A recognition to a young actor, 31 years old, and very serious. After the Silvio D'Amico’s Academy of Dramatic Art in Rome, in 2010 Saverio Costanzo chose him for the role of Mattia for The Solitude of Prime Numbers and Paolo Virzì consecrated him in the romantic comedy Every Blessed Day. Then came Paolo Sorrentino, who wanted him in The Great Beauty. The present is known, he told us about future projects while in London, in occasion of “Cinema made in Italy”, an exhibition that presents the best of our production in the United Kingdom. Shy, reserved, very kind, he comes in wearing a comfortable sweater and jeans.

How does it feel to be the biggest Italian star of the moment?

I don't know, because I'm not. You’re saying this.

Not just me, fortunately. Don't be bad and They Call Me Jeeg would be two different movies without you. How did you do this?

Thanks, but I just did my best. Unfortunately, I can no longer wish anyone to meet Claudio Caligari. Without him my Cesare wouldn’t have come out: the character is born from his indications, from his writing. When I first read the script for Don't Be Bad, I was out of breath, ten pages from the end I was out of breath. Claudio made me lose eight kilos, he made me and Alessandro Borghi experience the world of Ostia in the transition between heroin and chemical drugs, he gave us directions and then every now and then he said: «Do it as you feel». Unfortunately this trust, this freedom will remain a unique experience.

Lo Zingaro from They Call Me Jeeg will also remain unique, a perfect blend between a Marvel villain and Cruella Demon.

You’re right, and Cruella was so scary to me when I was a kid. When I read the script I couldn't believe that in Italy such a thing could be done, so I immediately believed in it. While I was doing the costume rehearsals I imagined lo Zingaro, dressed like that for the streets of Tor Bella Monaca, at one point I thought about doing it for real. After all, he is just one of the many who, as they say in Rome, "vole svortà" (wants to change his life)  and has an obsessive relationship with social networks.

From how you say this, your relationship with social networks must not be the best.

No, I have a Twitter profile and a Facebook page, I use them to support my films or the ones I love. But in general I find them invasive and impersonal, if I want to say something to someone I write a letter.

A letter. The impression he gives is that of a romantic character from other times. Even on a professional level. Few films but well chosen.

I try, I've never made more than one film a year, and anyway they don't offer me many. Maybe I'm wrong but that's the way it is for me: in this job you have to take responsibility, transmit values.

Did you dismiss Cesare and Lo Zingaro or did you take them home?

After Don't be bad taking off Cesare's jacket, putting it on a crutch and putting it back in the closet was a long process and maybe it's not finished yet, we are still the Caligari’s gang. But also for Jeeg it was similar, a character is worth a life, you have to give birth, grow, live. Then at some point you also have to let it go.

When was the actor Luca Marinelli born?

I think I've always had it inside, since I was a child I felt this need, not to be the center of attention. On the contrary: I am usually someone who is on the sidelines, but I had an urgent need to tell something. At one point I said: let's try, and see how it goes. It has gone well so far.

And it keeps going, with two films coming up, one finished and one to start.

Yes, in mid-April I will start shooting a very nice film that I have been waiting for for a long time and I can't wait to shoot (it’s Fabio Mollo's Ombre bianche, from the director of “Il Sud è niente”). And then I have a minor role in All for a Girl, based on the Nick Hornby’s novel and directed by Andrea Molaioli, in which I play the protagonist's young father, who is himself a teenager, albeit a parent in spite of himself.

ELLE

Just wanted to translate this old interview for the non-italian’s fans ^^ (sorry for my English)

[captainjackssingalongblog]

And then you let me down. Unlike IMDb, I give this one a solid 6. It’s not terrible, but it’s not great. It’s a solid OK. There are a number of reasons for this, including but not limited to having something great and not using it to its fullest potential.

Always Watching is an adaptation of Internet creepmeister Slenderman. That has potential right? Except it’s an adaptation of Marble Hornets, which is an adaptation of Slenderman. This can be like playing a screenwriting version of Chinese Telephone.

Something that got garbled between scripts was the creep factor of Slendy himself, called the Operator in the Marble Hornets universe. Being that Slendy came to be in a photoplasty, his initial iteration doesn’t move--or at least his initial iteration doesn’t give us insight into how he moves. Sometimes not knowing is 12000 times more terrifying than knowing. Well, Always Watching imagines him as a sort of blip; that things that moves way faster than it should and when you’re not watching. Like a weeping angel. This is definitely creepy, but my qualm with it is that you bothered to put Doug Jones under that suit and failed to his potential range of motion. Jones has the ability to contort in ways many actors can’t and this can make watching him move absolutely terrifying. The Operator that we get, though, could’ve had anyone under that suit because he doesn’t really do much moving that we get to see. It’s not that their choice was a bad one. Like I said, it’s still a creepy method of locomoting. It was just disappointing knowing Doug Jones was under there and we didn’t get to really see him do his thing. I spent the whole moving waiting for Doug Jones to scare the crap out of me and it never really happened. He also goes from being freakishly tall and thin to only being Doug Jones tall and thin. Now don’t get me wrong, if you have to pick an actual human height to be eerie, Doug Jones is your guy, but the bizarre proportions of the original Slenderman could’ve been achieved. It’s not like he hasn’t done stilt work before. And it would’ve certainly added to the creepy factor.

So synopsis time! A cameraman meets a reporter at a New Years’ party. They hook up. I’m not sure why we needed this information. Somehow months later they end up working together at a news station. A new guy shows up and tells them they’re going to work on an otherwise lame story about home foreclosures when they discover a box of family videos tucked inside a crawl space in an eerily quickly abandoned home. New guy decides they’re going to use this to put a face on the housing crisis and show the lives of people affected by the constant string of foreclosures. Instead the cameraman finds fucking creepy shit on the tapes. The Operator--who never gets a name but has one in the credits--appears to have been stalking this family. In their fear they fled their home, leaving most of their possessions and also this box of creepy tapes behind. Once invested in these tapes, The Operator starts to fuck with the cameraman IRL and integrates himself into the lives of Reporter Girl and New Guy while he’s at it.

Like Marble Hornets, they opted to present Always Watching as a found footage piece, which can easily go horribly wrong. I don’t normally like found footage, but this one worked for me. Of course, they had to give Cameraman a creepy fixation with Reporter Girl to explain why he’s filming literally all the time even before finding a creepy mother fucker in his camera viewer. This creates some added character relationship issues during our adventure but more about that later. Unlike Marble Hornets, The Operator in Always Watching can only be seen in a camera viewer. In my opinion, this makes him creepier because whoever sees him in the camera can’t point him out to anyone without handing over the camera and losing sight of him. Also it makes them look crazy when they try to convince somewhere there’s a 6 foot guy in a suit with no face in their yard.

One thing I really appreciated about this movie was that there was a sense of the characters being genuinely scared. Something I miss in a lot of horror movies is what fear does to people in the dark. If something fucking creepy is going on, pretty much everything starts to scare you. If you’re afraid of the dark, every shadow is creepy, every unaccounted for sound scares the shit out of you. That happened in this movie. Cameraman is wandering around a dark garage and something falls, he freaks out. His power goes out, he starts talking himself through finding the breaker while reminding himself that he’s not going to die. I was really happy to see that.

[SPOILERS]

So now that Cameraman is fully terrified, he goes to Reporter Girl, who has now hooked up with New Guy, to inform them that the previous homeowner was not in fact crazy and that there really was a creepy mother fucker in his yard that has now started to live in Cameraman’s yard. Of course New Guy thinks this is a way to get back into Reporter Girl’s pants so he breaks into Cameraman’s house and discovers his stash of stalker videos. So this creates a whole new problem that’s only resolved when The Operator makes an appearance, as if to say “Hi guys, remember me! Oh, sorry, you wet yourself.” So they all crash at a hotel together, recording every moment so they can go back and look at it eventually I guess. The Operator brands them all without anyone noticing it until after the fact and New Guy gets some help from a friend at the FBI to track down the runaway homeowners. Then they road trip to Colorado with Cameraman’s dog to track down the owners and see how they escaped the clutches of creepy guy.

On the way, Reporter Girl wonders what would happen if they just turned all the cameras off. The answer is someone kills the dog. Slendy makes the statement that he will be watched creepily through video cameras. Dammit. More tension builds in the group, but they continue on their trek. They reach their destination and find a smouldering pile of nothing. And also a bunker. The bunker reveals video footage of Runaway Dad murdering his child and trying to kill his wife, who bashes him in the head and sets the house on fire. They track down Murder Mom at a local psych ward where she flips her shit because “fucking shit, you brought him back”. They then crash in a cabin, set up their cameras and try to decide what to do.

Clearly their only option is death or death. The Operator’s end game is to make everyone kill each other. The downside to this reveal is that it comes too late. The build up to this discovery doesn’t have the sense of impending doom you want to see in this kind of story. Up until we see Runaway Dad do the deed, The Operator could just get off freaking people out. We don’t find out that he’s more sinister than that until about 15 minutes from the end of the movie. If his end game had remained to drive his victims mad, I might’ve been more satisfied with it. Anyway, the Operator appears and Cameraman decides to take one for the team. Since Runaway Dad’s death seemed to end the Operator’s hold on the family, maybe offing himself will save his friends. He hangs himself amidst protest from Reporter Girl, but not from New Guy.

Apparently the Operator is able to take over dead bodies, so he takes over dead Camerman and beats New Guy to death. Then he beats Reporter Girl to death. Then he just sort of re-dies. Then we find out that the footage will probably re-release the Operator when someone new watches it. Yay! A Revolving door of death.

So aside from my disappointment with their use of Doug Jones, the acting was pretty ok. It wasn’t great, but it wasn’t “sold my soul to SyFy years ago” either. It was solidly ok acting, especially for the genre. Unfortunately, lower budget horror movies have a tendancy to get stuck with shitty actors. This didn’t suffer from that. The camerawork worked for the found footage idea, but there were times I really hated the angles. Found footage also gets no score, which had its ups and downs. You didn’t know from the score when the Operator would make an appearance, but you did know based on the “distortion” his appearance caused in the camera. The upside to that was that you didn’t have a startle reflex based on the score, you had it because he fucking showed up. They didn’t trick you into being startled when he wasn’t actually making an appearance.