The passion that Dr. Ramirez carries for medieval history is preternatural. You can see it glowing out of her green eyes. You can see her taking in the energy that radiates off of these books like an oracle inhaling the vapors. They’re called illuminated for a reason.
Books are power. The medieval gentry that could afford to have them made knew that intrinsically. Even after they’ve been folded into velvet shrouds and hidden from the world for centuries, nothing is depleted. So watch Dr. Janina Ramirez enjoy the privlidge of being in the presence of treasures, and understand them for what they truly are.
Oh, and see some love notes from Henry VIII, if that’s more your thing.
somniloquist's comments
Illuminations: The Private Lives of Medieval Kings (2012)
Party Down (2009)
somniloquist
3 points
4 years ago. (Contains Spoilers)
Shitty workplaces are where the misfits meet. If it’s not retail, then it’s going to be food service. Party Down is a genuinely funny portrait of people who would never otherwise have met, just trying to not break down for one more shift. Some of their attributes are punched up for laughs, but at their core the characters are all recognizable and real humans.
Dark, clever, and featuring dozens of top notch performers right before you knew who they were. Give yourself the privilege of saying you knew about Adam Scott before Parks and Rec, Martin Starr before Silicon Valley, and Lizzy Caplan from something cooler than Mean Girls AND Masters of Sex.
And if that doesn’t sell you, then hear this.
Steve.
Guttenberg.
The Last Dragon (1985)
This movie is like a slow tram ride through a wax museum of 80s movie tropes. On your left you’ll see cartoon gangsters, early break dancing, a gang of children in edgy denim vests. On your right you’ll have a great view of a televised dance show, kung fu, and even more racial stereotypes that wouldn’t fly today.
And all of this to a Motown soundtrack ordered by the right hand of Berry Gordy himself. Make sure the safety belt is low and tight across your lap. Hang on to the metal bar. Here we go.
Phantom of the Paradise (1974)
What if I told you there was a movie where Brian DePalma and Paul Williams met at the intersection of cocaine and rock-musical? What if I told you it mixed Faust, Dorian Gray, and some of the better extras from Grease?
Now, what if I told you that Paul Williams, the human muppet, was the sex symbol in this scenario?
Sounds insane, right? It is. Watch it.
Sister Wendy's Story of Painting (1996)
Sister Wendy Beckett is a twinkling gem in the world of art history. Like stumbling upon a rough diamond inexplicably found lying in the grass. She is pure, rough, and untainted. In Sister Wendy’s Story of Painting you can watch a wide eyed soul wander the world and be seized again and again with the wonders of art, like Saint Theresa in ecstasy.
She takes a truly monastic approach to understanding these pieces, known for locking herself in a room with a work of art for hours (if not days) until she feels she understands it. She lived in a trailer in the woods on the grounds of a convent for decades, devoting herself solely to the study of art and her god. Her respect and reverence for art, even works that she admits to not personally liking, is unparalleled.
We may never see her like again, but we have programs like this to sustain us.
The Rules of Abstraction with Matthew Collings (2014)
somniloquist
3 points
4 years ago.
Abstraction is hard. Poetry is harder. Collings has a firm and qualified foot in both, being at once a critic and a working artist himself. Does he get a little esoteric bordering on cryptic? Sure. But it’s abstract art, it’s going to do that with or without Matthew’s help.
And while his analysis style has matured since his early work on This Is Modern Art, he is still always standing DIRECTLY in front of whatever he’s talking about. So, if you’re cool with trying to see Kandinsky over the shoulder of Matthew Collings, treat yourself.
The Art Mysteries with Waldemar Januszczak (2020)
somniloquist
1 points
4 years ago.
While art critic at the Guardian and later for the Sunday Times, we were all treated to Januszczak’s sharp intellect and expert analysis. But it’s not until you see him on film that you get the full physicality that he brings to his love of art. At first, he may come off boorish and a little loud. He has nothing of the wispy and wilting manner of, say, a Brian Sewell. But what we’re really looking at in Januszczak is one of Picasso’s bulls. Forceful and and imposing, sure, but an elegant and uncompromising presence. Watch this, or any other program this man has made, and watch a charging bull dance with paintings.
The Lodge (2020)
Strawman, followed by plurium interrogationum based upon that strawman; then a definitional failing concerning how direction and acting were not addressed, with a bit of Bulverism; more Bulverism and another failing concerning definition, this one about what constitutes merit; and to this point you’ve managed to compose a dense circulus in demonstrando. The appeal to emotion [funny thing] followed by the psychologist’s fallacy with the end note return to yet more Bulverism, is like shit icing on a shitcake.
Might’ve been better to’ve said that horror lends itself to psychological torture as a genre, but alas: There wouldn’t’ve been as much excuse to publicly dismiss whatever projected hobgoblin made of wtf your understanding is of feminism with that. Better luck next.
somniloquist
2 points
4 years ago. (Contains Spoilers)
Horror absolutely lends itself to psychological torture as a genre. As does the role of being a female in our society. But, as we all know from the esteemed Mr Monkey’s comments above, that motif SURELY has nothing to do with this film’s “merit.” There’s just no way that that could be one of its central themes. I mean just look at the atmosphere, acting, and direction.
And certainly you wouldn’t be the kind of modern man to think me, a little lady, to expect to hold any kind of equality or standing (certainly not intellectually). That would…what was it…steal my valor if you in any way acknowledge the existence and function of a patriarchy.
Oh lordy.
The Lodge (2020)
Strawman, followed by plurium interrogationum based upon that strawman; then a definitional failing concerning how direction and acting were not addressed, with a bit of Bulverism; more Bulverism and another failing concerning definition, this one about what constitutes merit; and to this point you’ve managed to compose a dense circulus in demonstrando. The appeal to emotion [funny thing] followed by the psychologist’s fallacy with the end note return to yet more Bulverism, is like shit icing on a shitcake.
Might’ve been better to’ve said that horror lends itself to psychological torture as a genre, but alas: There wouldn’t’ve been as much excuse to publicly dismiss whatever projected hobgoblin made of wtf your understanding is of feminism with that. Better luck next.
Heeeey, you got your valor in my feminism.
No, you got your feminism in my valor.
What?! Delicious.
Two great tastes that taste great together.
Lucy Worsley is the definiton of delightful. From her blonde bob to her rhotic Rs. These delights may too sweet from some, but ought to be plenty accessible to all.
The subject covered in this series appear chronologically, least recent to most. And, for my money, Worsley is better the further back she goes. (With the exception of Georgian Britain. If you get the chance to see her cover that time period, jump on it.)
Each of these subjects have been covered by other presenters at one time or another, with many of the same props and settings. But with the sugary sweet glaze of Dr. Worsley’s style over it, this program will attract all us bees.