SeanC

The vlog itself cites the rationale, before dismissing it because it's not the same as the Marches in the book (which also isn't intrinsically a problem, since this is an adaptation). There's certainly nothing wrong with approaching the material the way the video suggests, it's also a valid approach, but it isn't the only one and it's certainly not a reason not to give the film an Oscar. But for instance, regarding bonnets, something she talks a lot about at the start, that reflects the decline of millinery in modern fashion reflected backward, and is far from unusual in period films (particularly obvious in medieval-set films and TV, where hardly anyone ever wears a veil when those were absolutely essential in the real period in question).

Obviously this is ultimately a subjective matter, his success rate is phenomenal and for the intricacy of it nobody else comes close. He can do a triple Axel from a dead stop (there's a great video somewhere of Mao Asada and [I think] Miki Ando seeing him demonstrate this at some gala event and they both look flabbergasted), and his standard approach includes both a back counter entry and often a twizzle out of it. Hardly anybody else has ever even attempted that level of difficulty, let alone as successfully as Hanyu has.

That video really says nothing about the movie other than that the vlogger prefers rigid historical accuracy over the filmmakers' expressed desire for quirkier choices. There is a philosophy and an approach to character undergirding Durran's choices for the characters.

Hanyu has the best triple Axel in the history of the sport, so that's a pretty high standard to compare him to. Jason gets very high marks for his triples, hence why he's able to compete with skaters who have quads and win, though he does need a quad to be a contender for a World medal (barring a Milan-type splatfest). We'll yet see, but he's rather late in his career to be learning them. All the same, he wants to compete, regardless of whether he's a World medal contender, and we've seen he's well-positioned to win medals at the 4CC, Grand Prix and national levels.

I wouldn't describe Javier Fernandez as a skater who had great technique. But regardless, he had rapid, huge improvement when he moved to Orser (that's why Hanyu went there). Jason Brown has also had huge improvement since moving to the TCC, particularly in terms of jumping consistency. His triple Axel was never particularly reliable to begin with and was failing badly in the 2017-18 season, in particular, but is the best it's ever looked now. As far as Medvedeva goes, it took a while (as these things generally do) but she'd gotten pretty good jump-wise by 2019 Rostelecom (her peak event in the TCC period).

Well, a time-travelling younger version of him romanced Ant-Man’s daughter.

https://www.iceacademyofmontreal.com/iamlive

AIM (formerly Gadbois) is running a fundraising stream for the Academy next weekend that will feature a practice session/program stuff from 19 of their teams, including all the big names. Jordan Cowan (OnIcePerspectives), who works for them now on promotional materials, is handling the camera work, and posted some tests that he's doing.

I'm not completely against the use of contemporary music in period pieces, and some of them in this series have worked, but there's been way too many anachronistic needle-drops at this point.

There were lots of people at the time who found him hard to understand.

Chris isn't skating with anybody, he retired because he's been struggling with depression and general motivation of late (which was obvious to some extent from the last season or so).

Impressive commitment to harassment on the part of the neighborhood, since leaving those cars honking the whole time would be as annoying to the rest of the inhabitants as to the targets.

Consistently amiable and modest, which doubles as a description of the entire franchise. The Bill and Ted movies were always about a vibe more than anything else. All the returning castmembers slip naturally back into their roles almost thirty years later, while the newcomers fit in like they were there all along. Weaving and Lundy-Paine as the daughters do good jobs of building off their dads' characterizations without seeming just like sketch comedy impressions (particularly Lundy-Paine). Winter, who doesn't act much anymore, definitely carries more of the movie. This isn't the sort of film built for deep analysis, but one thought I did have while watching it that is more about the culture than the movie itself: it says something about the way we think about music history that when the girls go to gather history's greatest musicians all the men are real people (Jimmie Hendrix, Louis Armstrong, Mozart) and the women are fictional characters (or in one case, a gender-flipped mythical Chinese flautist).

A very brief clip from Peyton Reed discussing the third Ant-Man film: https://www.yahoo.com/entertainment/filmmaker-peyton-reed-status-ant-140000385.html He says that they've figured out the story and are planning (provisionally) to film for a 2022 release. This, assuming everything goes according to plan, will make him the first director to handle a whole trilogy of MCU films.

I have repeatedly defended the sound design in Nolan's films in the past when it was criticized, e.g., I thought and continue to think the criticism of Bane's voice was bizarre. But the sound design in Tenet sucks, plain and simple. The dialogue is regularly muffled. That aside, I enjoyed this. The climax is confusing if you're trying to follow the details, but at a certain point I just enjoyed the ride, which has lots of visual interest. Washington, Pattinson, Debicki and Branagh all do well to carry the movie. I've been a fan of Debicki's, in particular, for a while, Hollywood needs to find her some great lead role at some point. Also, back in the theatre for the first time since March 12!