Hi everybody !! So LRS has dumped the X Files , nah I don't believe such a thing, please keep watching LRS, otherwise I might dump it as well and ange will be utterly disappointed if we do, we're trapped here ..
And Obey , thank you so much for posting that trailer, I'm a huge fan of Banshee It is true that it's really extreme and completely crazy and for adults only, but it's so much fun !! So I'm posting this old article which talks about Season 3 in fact, so may be it will convince some Etians to discover it perhaps?
And thanks for posting that new movie trailer ange, I just spotted it as well ha ha.
Apart from that, I hope that you all had a wonderful week end? I didn't have much time to read new articles today unfortunately, but I'll add some pics and trailers.
What is it about watching the bad, bad people of Banshee doing such terrible things to each other that makes for such compelling TV? ( 4 June 2015).
“Guilty pleasure” should be a banned phrase. If a series is good, it doesn’t matter what genre it’s in. If you like it, own it. Who cares? The show that tests my belief, however, is Banshee. The action thriller, made for bratty HBO offshoot Cinemax, quite blatantly fills titillation quotas to attract young males. Nudity and an epic fist fight, every episode, guaranteed. It’s testosterone-siphoning wish-fulfilment. The guilt is real. But the pleasure is worth it.
Our hero is Lucas Hood, which isn’t his real name. The actual Lucas Hood was in a run-down boozer preparing for his first day as sheriff of Banshee, a small town in Amish country, Pennsylvania, when some no-good hick gangsters came in and shot him to pieces, not caring that there was one other customer at the bar. Once he’d polished off the simple task of killing these bozos, the mystery man – also new in town, fresh out of prison for a jewel heist – coolly stole Hood’s badge and assumed the dead guy’s cop duties. That the fake Lucas neither knows nor respects the law makes him brutally effective in the role.
Yeah, yeah, a maverick lawman beating up bad guys. Banshee is in a familiar setting, too: like True Detective, Justified or The Red Road, the vibe is of folk out there in the sticks stirring a simmering pot of Straw Dogs wickedness. The town is lost, doomed, drowning in drugs and drink, governed by organised crime and corrupted by old-time religion. Bad, bad things are behind every door.
Lucas (Antony Starr) takes a deep breath and flings those doors open. He is righteous. He batters villains partly because he excels at it, but mainly because he can see no other option. Take season one, episode three: a woman has been beaten and raped. The perpetrator is a champion cage fighter who, for reasons that make sense within the world of the show, can’t be arrested in the usual manner. So instead of bringing him in, Lucas brings him down, emerging half-dead but triumphant from five horrifying minutes of hand-to-hand combat.
In daily life, I’m a physical coward who has something to lose, so I’ve always picked flight over fight. The excitement of watching a character who takes the other path, especially since he so often does it to help people who aren’t so good with their fists, is wrong on every level, but it’s undeniable. It’s the prickly dilemma of the vigilante drama: meting out your own justice to deal with pushers, abusers and – in Banshee’s season-three opener that airs in the UK this week – racist murder can’t ever be condoned. Can it? At least Banshee’s extreme violence never lets us become desensitised. There are almost no guns, so every punch is felt, and every broken bone is – thanks to an Emmy-nominated sound department – sickening.
Lucas, the anti-hero who slowly sheds the “anti”, has an awesome regular antagonist who takes us further into fertile grey areas. Kai Proctor , a pale, elegant local businessman and murderer, was harshly expelled as a youth by his Amish family, and has now spectacularly rejected their moral code. Proctor is given a delicate mix of vulnerability, homicidal mania and a strange sort of integrity by the unnervingly controlled Danish actor Ulrich Thomsen. It’s a wonder Thomsen hasn’t been poached by Game of Thrones. Perhaps they’re too scared to ask.
Banshee is low on clever lines and wordy speeches. It’s physical, visceral storytelling, with all the fighting and fornicating there for a purpose and significantly hotter as a result. In fact, the whole show’s underpinned by a wrenching romance: Lucas has chosen to police this hellhole of a town because it’s where the love of his life, fellow diamond burglar Carrie (Ivana Miličević), has made a new life. In a sly bit of marital drama, she’s constantly torn between her husband – a lawyer and war hero who turns out to have no moral fibre – and Lucas, the guy from her wild past she just can’t shake. Carrie isn’t her real name.
Her choice is the same as ours: follow the head, which says Lucas/Banshee is abominable trash. Or give in and go with the heart, guts and groin.
Banshee ( 1st of April).
Tuvu, Fiji. Naresh Kumar stands over the ruins of his house following Cyclone Winston. Images of flattened villages show cyclone’s brutal force. Photograph: Feroz Khalil
West Kalimantan, Indonesia. Vietnamese fishing boats are destroyed after being seized by authorities for illegally fishing in Indonesian waters. Photograph: Antara Foto
Nanchong, China. A lantern parade to celebrate the Toad festival, a tradition where people send away a symbolic toad figure representing illness and call for good health and a good harvest. Photograph: Xinhua
wishing you all a great Monday morning, afternoon , evening and good luck for tomorrow !
Hi everybody ! Just a short post today to wish you all a great Tuesday and good luck for tomorrow !
Demian Bichir joins Alien : Covenant.
As he prepares to shoot the next instalment of the Alien franchise in Australia, Ridley Scott is expanding the cast. He's now added The Hateful Eight's Demián Bichir to Alien: Covenant.
Exactly what role Bichir will play has not been disclosed by the typically secretive Scott, nor indeed do we know much officially about the plot at all, other than it will continue the story set in motion by Prometheus and feature Michael Fassbender's rogue android, David. Or whatever is left of him.
Though Deadline's report makes mention of Noomi Rapace, Scott has previously said that she won't be returning as Dr. Elizabeth Shaw, but there's always a chance she's being held back for a surprise cameo or for further adventures.
We do know, however, that Katherine Waterston and Danny McBride will be showing up, and we can expect plenty of Xenomorph action. Alien: Covenant should be with us in October 2017.
Milan, Italy. A model wears a gas mask while demonstrating against the use of fur in clothing, at a protest ahead of Milan’s Fashion Week. Photograph: Stefano Rellandini
Kandahar, Afghanistan. Boys play with tyres outside their house in Zhari. Photograph: Javed Tanveer
Hi everybody ! Same as yesterday , just a post to wish you a great Wednesday morning, afternoon, evening and to wish you also good luck for tomorrow ! I've spotted this long interview and only one movie trailer.
THE PRODIGY: SAOIRSE RONAN- By JODIE FOSTER (Photography MIKAEL JANSSON)
When she emerges almost without warning from a snowbound wood as the semi-feral warrior namesake of 2011's Hanna, Saoirse Ronan completely overwhelmed the world and her antagonists (including an evil spy played by Cate Blanchett) with an easy balance of almost preternatural talent and rigorously drilled skills. Same for the actress who, a few years earlier, at the ripe old age of 12, was cast in her major film debut in director Joe Wright's sweeping 2007 adaptation of the Ian McEwan novel Atonement—and picked up an Oscar nomination for her troubles. In the nearly nine years since her first film, all Ronan has done is work with Peter Weir (The Way Back, 2010), with Peter Jackson, on the 2009 adaptation of Alice Sebold's monumental best-seller The Lovely Bones, with Neil Jordan (Byzantium, 2012), and with Wes Anderson, playing the doomed baker-outlaw-romantic Agatha in 2014's The Grand Budapest Hotel.
In 2015, the New York-born, Ireland-raised Ronan drew on her dual roots to play an Irish immigrant in New York in the 1950s, in the lauded romantic drama Brooklyn, and secured her second nomination from the Academy. This February, as she wound down campaign season and geared up for her part in the Broadway production of Arthur Miller's The Crucible, Ronan, now 21, talked to an actress and director who knows from the Oscars-two-time-winner Jodie Foster.
JODIE FOSTER: Do you live with your parents at home?
SAOIRSE RONAN: I moved away to London when I was 19, actually about six months before we made Brooklyn. So by the time we made the film, I was still incredibly homesick. I don't know if you found it this way when you were young, but to move away is very different from just working away from home. It was something that I needed and I wanted to do. I wanted to leave Ireland and have anonymity while I was young so I could be stupid and relaxed, I suppose. So I lived on my own and got used to paying bills every month and washing dishes and not leaving them in the sink for five days. New York was always the end goal for me. It was always inevitable that I'd move here because I'd had such a strong connection with it from a very young age. I guess because I know I have roots here, and the energy is really palpable. As soon as you land, you feel like invigorated or something. I feel like it's a good place to be when you're young.
FOSTER: I've always felt much more lonely in Los Angeles than I've ever felt in New York. Maybe it's because you have these connections where you're always kind of bumping into people on the street and running into people or hearing someone order something in the café next to you. Whereas in Los Angeles, you can go for days and days and days and barely ever contact anyone.
RONAN: Growing up in this industry, have you seen L.A. change at all?
FOSTER: Oh yeah. I grew up here as a child, but it is a much richer city than it ever used to be. It had a different feeling to it. It was more about our Latin population, at least where I lived. I grew up in Hollywood. My mom was really into every different kind of food—Filipino food, Indian food, Thai food. It was really diverse. It doesn't feel that way anymore. I have a place in New York and I have a place here, but growing up in Los Angeles, I always felt like I was different because people didn't talk here. If they had a problem, they just kind of went to the beach or played sports or something. There was no sitting inside a café or a library on a rainy day discussing the world and relationships and all of those things that I grew to find on the East Coast.
RONAN: I'm sure you know Emma Thompson, who is so bloody brilliant—she said to me, "If your job is to play real people, then you need to be surrounded by real people in your everyday life."
FOSTER: People lose touch with that as the years go on. I remember when I was young, like 17 or so, the first time I did anything without my mom. I'd never made movies without my mom, and she made a point to stay behind, and it was tough for me. We'd been a little team; we did our laundry on the weekends. And then, around 18 or 19, when I said, "No, I have to do this on my own," I really hit a bad patch. I didn't know what to do with myself. I didn't know how to be on my own. I was a little scared to go to my room by myself. I can't just come home from work and not eat anything. So how was I going to go have dinner all by myself? So I learned as the years went on. I learned how to cook and keep myself occupied so it felt like I was home. I brought my own sheets because it felt like home. I would find the person on the crew who was the most trouble, and I would hang out with them. Like, "Who's in the bar? I want to go hang out with everybody in the bar!" [laughs] Then, over the years, I learned to get little apartments. I'd have my pots and pans, and I made my soups. And somehow that was a way for me to stay well-adjusted when I was on location, instead of going a little mad. But it took me a long time.
RONAN: Home-cooked food, that totally represents home, doesn't it? I did the same thing when I moved to London. I learned how to make the dishes that my mom and dad would make at home—chicken and vegetables, or spaghetti Bolognese, basic enough stuff. But the fact that I was cooking, or just the smell of food in the place that you live in, it made me relax a bit more. Even just having the TV on in the background so you feel like you're less alone.
RONAN: Is that so sad? [laughs]
FOSTER: When I was younger, I was really worried about whether I was going to be good or not. That's why, if someone said that I could be 20 again, I would turn them down. I was so filled with anxiety about, like, "Is anyone going to like me?" And as the years went on, the anxiety started to leave. I was expending useless energy, worrying. And I became more and more well-adjusted. I guess it was just about getting used to it, being away from my mom.
RONAN: I'm really close to my mom as well, and she came away with me up until I was 19. I'm a baby, as everyone knows now, since I just said it in an interview. But she always comes over for the first week to help me settle in. It's really important. But today I felt the way you did. When I was a kid, it felt—not in a big-headed way—but it felt like it was so easy. And the older I got, the more insecurities start to take hold of you. I felt exactly the same way as you; that I'm going to forget how to do this. I won't be able to do it as easily as when I was younger.
FOSTER: Well, you have a lot of people paying attention, too. That's the beauty. Wow, you're nominated for an Oscar; that's amazing! But with that comes all the scrutiny and the pressure from yourself, thinking, "Did I deserve this?"
RONAN: That's the worst thing for me. I'm a huge worrier as well. The thing that I would worry about after being nominated again is, "How do I keep that up?" Not in relation to awards, but keeping up performances.
FOSTER: Well, the good news about getting older, as well, is that when you're young, everybody keeps telling you that you can do anything and be anything, so there's all this pressure: "Oh, I guess I could sing and have an album. I could be in the Olympics. I could do a romantic comedy. I could be the queen of the red carpet." And then, as you get older, you realize, "I'm not very good at sports. I'm not going to be in the Olympics." You start checking things off and understanding who you are and who you're not. Somehow that's very comforting. You realize you don't have to compete in areas that are of no interest to you.
She's had my attention ever since I saw Atonement. I have yet to see Brooklyn, but from what I've heard, she gave a great performance. And good trailer. I'll make sure to keep an eye out for this one.
Hi Panerai ! And yes, I agree with you as I spotted her in "Atonement" as well ! and sorry again for the late answer, yesterday I was just too tired really.. I hope that you had a good week ?
And it's Friday !!! So what's up in the world um ? To be honest, I haven't read anything particularly appealing today. So I've chosen this interview of Winona Ryder and I've added 2 pics and a few trailers, hoping that you haven't read nor seen all of them yet already ? So here we go !
THE BELOVED: WINONA RYDER- By TAVI GEVINSON (Photography MIKAEL JANSSON)
It's hard to talk about Winona Ryder without at least acknowledging the mythos that surrounded her as she came to define a certain authentic cool in the early '90s. Doe-eyed and dark-haired, Ryder appeared, for young people who identified outside the mainstream, to be a kindred spirit. She entered pop consciousness in late '80s as a cult-movie ingénue of sorts, first as the goth pixie Lydia Deetz in Tim Burton's absurdist Beetlejuice (1988), and then as Veronica, a too-smart recruit to the mean-girls clique, in the dark revenge comedy Heathers (1989). Soon after, she established her indie cred in Jim Jarmusch's Night on Earth (1991) and embodied the Gen X zeitgeist in Ben Stiller's Reality Bites (1994), in effect, becoming an icon of quirky angst, and in the process, revealing herself to be one of the most precociously talented actresses of her generation.
Growing up in San Francisco and, for four years, in a commune in Northern California, Ryder fell in love with film watching the greats: Bette Davis, Gena Rowlands, Ruth Gordon, and Audrey Hepburn. And, now 44, she's built her own body of work by making shrewd choices those actresses would approve of, including last year playing a tough city councilwoman in David Simon's HBO miniseries Show Me a Hero. Ryder will next star in the Netflix supernatural-thriller series Stranger Things, as well as the spring beauty campaign for her longtime friend, the designer Marc Jacobs.
In February, Ryder met with her friend, fellow actress and Rookie editor-in-chief Tavi Gevinson to talk about film and favorite actresses. Gevinson, who will appear, beginning this month, in the Broadway production of The Crucible, where she plays Mary Warren, came prepared, and the two dived in.
WINONA RYDER: I remember realizing, when I did Little Women , that that was the only time girls that age were being written about. It was always boys—from David Copperfield to Lord of the Flies to Holden Caulfield. There were never young women going through adolescence or teen years; there were only little girls.
TAVI GEVINSON: Right.
RYDER: But then I think that as actresses—and I've definitely gone through this in a really bizarre way, because I worked so much and was really lucky with the roles that I got when I was younger—I remember hearing the older actors saying, "It gets tough," and thinking, "Really? I can't imagine." [both laugh] I was so spoiled in a way. I worked very hard, but there was just a wealth of great roles. But then it slowed down. Suddenly you're the mom, or you go from ... You're not an ingénue, you don't want to play an ingénue, but it's like that line in The First Wives Club : [mimics voice] "There are only three ages for women in Hollywood: babe, district attorney, and Driving Miss Daisy." Bette Davis, she was so brilliant and one of my heroes, but she worked a ton, and then she didn't get All About Eve  until the last minute. Claudette Colbert was supposed to be Margo Channing, but then she broke her back and couldn't do it. That allowed Davis to play her age. But then it's What Ever Happened to Baby Jane? and horror movies. The same with Joan Crawford. You look at people like Gena Rowlands, but she had [John] Cassavetes to write these amazing roles for her.
GEVINSON: Tina Fey has a joke in her book about how one day she will be up for a role as Vince Vaughn's mom in a movie called Beer Guys. [both laugh]
RYDER: Well, I was always like, "I'm going to be the drunk judge who's like, ‘Objection!' ‘In chambers!' " [both laugh]
GEVINSON: I love First Wives Club and Death Becomes Her  and movies about women like that.
RYDER: It's interesting because First Wives Club was the first movie that made a shitload of money that starred all women over a certain age. That was a milestone that made you think, "Oh, things are going to change." All those actresses are fantastic. I binge-watched this show Damages. Glenn Close and Rose Byrne are so good. Lily Tomlin is in it. You see all these great actors and the writing is terrific. There are a lot of shows like that. And there are all these conversations right now about roles for women and being paid equally and all of that, but I think what it really is, is opportunity.
GEVINSON: Oh my gosh, there's so much to talk about. Right before we started recording, we were talking about actors that don't have a lot of themselves out there.
RYDER: Yeah. There are actors I know personally, or I've heard them say, "The less known about me, the better, because I just want people to think of me as the character." I think Matt Damon said that recently. He has a point and I think I get that. A lot of filmmakers and actors say, "It's so important to bring an authenticity to the role," blah, blah, blah. But then it's interesting because you're also trying to be somebody else, and viewers are going to associate you with that, so I don't think it really has an answer.
GEVINSON: When you're playing someone else, it sounds so negative to say you want to erase yourself, but part of the joy of it is you get to not be yourself.
RYDER: For certain roles more than others. Certainly with The Crucible, what I love is that every role in that is so crucial, and Mary Warren is like ...
GEVINSON: [sighs] Poor girl, poor girl.
RYDER: But there's something almost comic. I remember there's that line where she says, "I am 18 and a woman, however single," which killed me every time! [laughs]
GEVINSON: My friend and I love it. My friend was helping me run lines, and we were obsessed with saying that line and then singing the Sex and the City theme song. [singing] "However single."
RYDER: Saoirse [Ronan] said that you'd only worked on Acts One and Two.
GEVINSON: We haven't gotten to the courtroom yet.
RYDER: Then the whole psychosomatic thing ... I loved Mary, because out of any character, there was something very darkly comic about her. She's like, "You'll only be whipped for dancin'." [laughs] That's horrible! But she's probably been whipped a few times.
GEVINSON: Yeah, because she's a servant. I really love working on this production and picking it apart, because when my high school did it, Proctor is not perfect, he's no saint, but ..."
RYDER: But he's the hero.
GEVINSON: He's the hero, but the real Proctor had sex with an 11-year-old.
RYDER: Oh, when I found out that she was 11 and he was 60 ...
GEVINSON: He was 60? Ew.
RYDER: I really did not see Abigail as a villain. I know everybody else did, but there was this scene where he says, "You are pulling Heaven down and raising up a whore!" When we were filming that, I was like, "Well, I'm not really a whore; I only slept with you." Arthur Miller was there a lot. In their scene in the court, Proctor is like, "It is a whore's vengeance," and keeps calling her a "whore." And if you really think about it, how young she was ...
Tehran, Iran. A woman shows her inked finger after casting her ballot at a polling station in Tehran. Photograph: Atta Kenare
The all-female patrol stopping South Africa's rhino poachers. As rhino deaths have soared across South Africa, in Balule reserve the Black Mambas patrol of local women has achieved a 76% reduction in poaching since 2013. Now there are plans to extend the award-winning scheme.The Black Mambas have just received the Innovation in Conservation award from UK charity Helping Rhinos as well as the prestigious UN Champions of the Earth prize, last year, for their work. Photograph: Helping Rhinos.
and I was going to post "Taboo" 's trailer but unfortunately it's blocked in my country damn.. So I'll have to wait for another you tube link ...
Oh, there's nothing to be sorry for. That's quite all right, sweet girl. I saw the trailer for Taboo, which really caught my attention, so here's an IMDB link for it.
Taboo (2016) Tralier - IMDB
I can't wait to see Taboo also Pan so a big thank you to both you and Thalestris for posting xx Tom Hardy woohoo lol
Winona Ryder always has been a great favourite of mine, wonderful actress 3 brilliant movies that she starred in and could always watch them over and over. A beautiful Masterpiece by Tim Burton... Edward Scissorhands..... Bram Stokers Dracula and Mermaids Stunning actress and she never looks any older
Beautiful piece of music from the movie aww would not be xmas without it
Hi ange and Panerai ! I got it , Taboo's trailer .. Hopefully , it's going to stay on You tube for a little while.. Apart from that, nothing much really, it's so quiet, therefore it was extremely difficult to find something interesting and new this week end, probably because of the Oscars.. So I picked up this old interview of Alicia Vikander. And I've added 3 videos.
ALICIA VIKANDER By JOE WRIGHT (Photography CRAIG MCDEAN- 06/04/15)
(Oscar nominee- Actress in a supporting role : The Danish Girl.)
During the SXSW festival back in March, an outrageously beautiful woman named Ava drove the Tinder users of Austin crazy. "Surely she's too good to be true," they must have thought—and, in a way, she was.
"Ava" was, in fact, the good-enough-to-be-human AI played by Alicia Vikander in Alex Garland's Ex Machina, and the Tinder stunt was a brilliant bit of guerilla marketing by the film's studio to stir up the influencers in town for the festival. Just as Ava shook up social media, Ex Machina sought to shake up our firmest sense of what constitutes humanness. And the fact that both were rather successful in their aims is a testament to the talent and dynamism of Vikander, who may now proceed to shake up our notions of movie stardom.
Vaulting out of her native Sweden and some prestigious local Scandinavian productions (including the 2012 Danish film A Royal Affair), Vikander has in very short order become, well, it in Hollywood. With six more movies on the way—including Guy Richie's campy spy story The Man From U.N.C.L.E., alongside Armie Hammer and Henry Cavill; Derek Cianfrance's dark romance The Light Between Oceans, across from her rumored real-life love Michael Fassbender; and Tom Hooper's The Danish Girl, providing more Oscar bate for Eddie Redmayne, who plays a transgender artist in the film—Vikander is primed to take the world as she once took the Texas capital.
It is seemingly a long way from her first English speaking part, in Joe Wright's adaptation of Tolstoy's Anna Karenina in 2012. And as the 26-year-old Vikander told Wright this past May, it is all still a bit out of this world—almost too good to be true, though true indeed.
JOE WRIGHT: Hello, darling! How are you?
ALICIA VIKANDER: I'm good. I'm still a bit jet-lagged but otherwise great.
WRIGHT: You've got, like, four more films coming out this year, right?
VIKANDER: Yeah. I've been working since we worked together, and now they're all coming out at the same time.
WRIGHT: Do you get worried about that, about overexposure?
VIKANDER: Yeah, I guess people might just get tired of my face.
WRIGHT: I doubt they will. And they're all very different films. It's unlikely that the same audience will see The Man From U.N.C.L.E. and Testament of Youth.
VIKANDER: That has made it quite fun, to be busy in very different contexts on such different projects. I've been terrified to begin each one of them because they're so new to me.
WRIGHT: That's good. Fear keeps us going.
VIKANDER: It's the kick and the thrill of it. Like meeting you for the first time—shit, I was terrified. I remember it very well.
WRIGHT: You didn't look scared at all. You looked quite casual.
VIKANDER: I came in while you were in edits on Hanna , and I was terrified. Well, I was terrified in that room, too, because you had made it so casual. You put cute pillows on the floor and had executives and casting directors, like, pretending to be flies on the wall, while we sat on the floor.
WRIGHT: Something actors don't realize about casting sessions is that the director is often as nervous as the actor.
VIKANDER: You should have told me. I didn't know that. [laughs]
WRIGHT: We so want you to be right for the job. And we care, or at least I do, about how we come across. One of the things that most impressed me at the time was your training as a dancer.
VIKANDER: That was a pretty amazing thing because, after dancing six days a week several hours every day, when I quit, I did not take one class until that day for Anna Karenina. So you were the one bringing me into the studio again for the first time.
WRIGHT: Do you still dance now?
VIKANDER: I don't. I don't want to take classes in the same way. But I've been able to go to the opera a bit more. I still love to see the ballet. And I love to boogie. As soon as I get an opportunity, when I hear some music ...
WRIGHT: Your mum is a theater actress, right?
WRIGHT: Do you ever think of going into the theater?
VIKANDER: I do. There was an opportunity that came to me at the beginning of this year, a piece with an actor that I look up to a lot. I called up my mom, and it was sweet. She was like, "This is probably as proud as I've been."
VIKANDER: Because of dates and things, I couldn't do it, but I felt how much it meant to me when the opportunity came. We talked about terrifying things. I applied for the Academy of Dramatic Arts in Sweden twice. I got to the last round for two years and did not get in. It feels like you're on Idol or something, to have to go in and perform those auditions. That's why I applied to law school, because I thought that was maybe my only way forward, especially in the small country of Sweden. But theater was definitely my aim from the beginning.
WRIGHT: And your dad being a psychiatrist, do you think that's affected your acting?
VIKANDER: Both my mom and my dad have always included me in intelligent conversations about people, about characters, about how people work. My dad and my mom still read all scripts that I find interesting. I send them an e-mail, and I'm like, "Okay, I have my eye on this," or whatever. And they call me up after they've had the time to read the scripts. It's become a sweet tradition, because I see them so rarely now. And for me to feel like they're included in the journey, it means a lot. And they're very honest, too, which is great.
WRIGHT: Do you find it strange being away from Sweden so much? Do you miss it?
VIKANDER: I guess, like most foreigners, when you're away, you see your own culture being even more strange. But where I come from and my roots mean a lot. I miss my family and my friends. Something I've realized as I've been traveling is that it's more about the actual people than the actual place.
Hi everybody, I hope that you've all spent a nice week end and enjoyed watching the Oscars as well. So what's up in the world, well, hopefully, you haven't read that one yet somewhere.. I did find some really strange creepy story ha ha .. And I've added some pics plus some new movie trailers so let's go !
Mummified body of German man found in yacht adrift off Philippines
Mystery surrounds death of Manfred Fritz Bajorat, whose corpse was found slumped at desk ‘like he was sleeping’ in cabin of vessel floating in the Pacific
The mummified body of a German sailor has been found by fishermen on a yacht floating off the Philippines.
Police were investigating after two men made the discovery on Thursday. Officers determined from identity documents found on the boat that the dead man was Manfred Fritz Bajorat, aged 59.
Inspector Mark Navales, deputy police chief of nearby Barabo town, said that while the cause of Bajorat’s death was unclear there were no signs of foul play.
“It is still a mystery to us,” said Navales.
Bajorat’s body was found seated at a desk in the radio room, slumped over on his right arm “like he was sleeping”, said Navales.
His exact time of death had not yet been determined. The yacht was found in the Philippine Sea about 100km (60 miles) from Barabo.
Bajorat had reportedly been sailing the world on his yacht, Sayo, for the past 20 years.
Reports said he had not been sighted since 2009. But a friend told the media that he had heard from the mariner in 2015 via Facebook.
Authorities were attempting to contact his friends and family in Germany in the hope they would be able to shed light on his movements.
The police investigation found no obvious signs of violence but could not determine the cause of death.
Navales said items inside the yacht were scattered and Bajorat’s wallet was not found but the yacht’s radio, GPS and other valuable items were still there.
Dr Mark Benecke, a forensic criminologist in the German city of Cologne, told the Bild newspaper: “The way he is sitting seems to indicate that death was unexpected, perhaps from a heart attack.”
Reports suggested that dry ocean winds, hot temperatures and the salty air helped preserve his body.
Solar lights made from plastic bottles cost as little as 60p and aim to tackle indoor air pollution deaths and improve home life for people in some of the poorest communities in the world. Photograph: Liter of Light
Tehran, Iran. Schoolgirls attend a parliament session. Photograph: Atta Kenare
Tel Aviv, Israel. An animal rights activist holds a wounded Egyptian fruit bat. Nora Lifschitz has treated and released almost 70 bats. Photograph: Abir Sultan
Wishing you all a great Tuesday morning, afternoon, evening and good luck for tomorrow !
Hello Thalestris Pan and all Thank you i had a lovely day and hope you did also
Omg i read that story about the mummified body on the yacht. Really very sad and creepy. Let's hope friend can help find out what happened to him. I never had a chance to see the Oscars just highlights but hope to catch up this week
Wish you all a very lovely evening and a great Wednesday