whipfinish

whipfinish t1_j2c6xfn wrote

I think I know some of the Cartel characters you are referring to. Totally agree. I was listening to it on a long dull night drive and I had to turn it off. Boring empty highway was preferable to another interchangeable set of meat puppets.

I think he does this to other sets of characters too, not just women (though women are the most egregious). He just doesn't know when to quit. Taken one at a time, his characters are good, but they come in squads and platoons. Then you devote all this energy to booking them in and they don't do anything. I want my characters to move forward and do things. But he just can't stop tangenting them and establishing every freaking little detail. Don, if you're listening--you're wearing us out. Six characters, one para of backstory. Spinning out interesting characters isn't enough. If you want to give us a new one, you have to kill one of the old ones.

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whipfinish t1_j29u4uh wrote

If you're going to read the play cold, and read all parts, it can be frustrating. They are not plays--they're scripts, documents not intended for reading. Reading is fine if that's what you want or have, but scripts are made for actors. If you want to become conversant with Shakespeare, it's perfectly fine to do it with film--that's what they are intended to do. I helped inflict a generation of script-reading on high school students, and I came to believe that it's a waste of time unless your reading is part of a process of presentation. If you want to grasp Shostakovich you don't curl up with the score. If you want to enjoy architecture, you don't study blueprints.

If you really want to read them, I recommend that you begin with comedies, and bookend your reading with good film. I recommend Much Ado and this stage-filmed production:

https://www.imdb.com/title/tt2651158/

(Some big chunks of this are on YouTube This one is by the Old Globe, a filmed version of a stage performance complete with groundlings in the rain, music and dancing, and a good bit of relating to the audience.

Twelfth Night is my next favorite.

These are stage pros and cadence and energy makes meaning. It's remarkable (in this production especially) how important non-spoken elements are. The intense physical interplay is a feature of comedy most of all.

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whipfinish t1_iuswinr wrote

Antarctica is the highest continent on earth. Over half of that ice is more than 50 meters above current sea level, and it will be lifted even higher as the ice load is reduced during large-scale melting. The Greenland ice sheet creates almost no ice shelves and nearly all of its ice is over 50 meters above sea level.

The ice is not yet in the water.

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