I had a couple sillier more melodramatic working titles for the album.
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Often, teen shows are sexier, shinier, and far more melodramatic than what the average real-life 16-year-old experiences.
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It erases the nuance in life and I feel like we don't need more melodramatic teenagers, and that's what our show doesn't have.
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Messing's performance seems out of sync with the rest of the actors at times, as if she's playing scenes from a much more melodramatic TV show.
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Given how blatantly pain-filled Eleven's life has been and continues to be, it's a testament to what a tremendous actor she is that Stranger Things doesn't feel more melodramatic.
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It's an emotionally charged scene that shows Alicia losing it like we've never seen her do before (although it does feel a bit more melodramatic than The Good Wife tends to be).
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Like the far more melodramatic 2010 film "Black Swan," the ballet is a cousin of those midcentury women's films where Bette Davis or Greer Garson play two women with identical looks but opposed manners.
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They've registered their discontent in tweets, blog posts, talk-radio call-in shows—and in some of the more melodramatic instances, by burning their voter cards, making a symbolic break from a political party they say they no longer recognize.
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Gidney has a mustache, while Cloyd carries a "scrootch gun". Narrator: Like Bullwinkle, the Narrator is somewhat subdued in the earliest episodes, speaking almost as if he is letting the audience in on a secret. He quickly develops a more melodramatic style appropriate to the pulp serial style of the show and its ubiquitous cliffhangers.
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Such periodicals were printed using engraved steel sheets. The plates, or casts of them, were then sent out to be printed and inserted into other newspapers. Ledger subscriptions originally sold for $1 for 52 issues and, by 1879, the paper had a circulation of 10,000. Although begun as a literary paper of "a good class," the Ledger eventually became more melodramatic in tone.
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Like the era's quintessential domestic strip, The Gumps, the Hawkins family (the three humans, plus a dog named Spare-Ribs) got into continuing stories as the 1920s rolled on. In the 1930s, with Dick Tracy, Buck Rogers and the like serving up daily doses of high adventure, the plots got more melodramatic. But the central theme, the funny side of family life, remained.Markstein, Don.
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Dinah Shurey (1888 – 1963) was a British film producer and director of the late 1920s. She is most famously known for her 1929 film The Last Post. Additional credits to her name include Afraid of Love (1925), Second to None (1926), Every Mother's Son (1926), Carry On (1927). Shurey often calls upon themes surrounding the British war within her films, tending to take on a more melodramatic narrative style.
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Alverson, Brigid (January 1, 2009) Review: The Manzai Comics, vol. 1 MangaBlog Retrieved January 24, 2010. Chavez also remarked on the character designs of the females, describing them as "moe", noting the illustrator's previous work for Gainax. Katherine Dacey felt that the manga "covered familiar ground, but yielded some funny moments nevertheless", feeling that the more "melodramatic" moments were not well-integrated with the rest of the manga, but that they added an extra dimension to the characters' friendship.
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The final, but not last, aspect of the film that sets it apart from other films of its time is the ending. Viewers witness Suzanne drown herself in the river after Raymond refuses to take her back into his life. In Feuillade's other films, they primarily end on a high note of either capturing the bad guy or having a couple close out the film on a happy ending. This was a bold choice of the directors to take the road less traveled and experiment with a more melodramatic approach.
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In 1925, another version reached the screen which starred Alma Rubens, Edmund Lowe, Lou Tellegen and Leslie Fenton. In 1930 the film Ex-Flame was released which shifted novel's setting to contemporary England. As the more melodramatic aspects of the story became dated, there were several parodies and burlesques made, including East Lynne in Bugville with Pearl White (1914), Mack Sennet's East Lynne with Variations (1917), and in 1931 the comedy East Lynne on the Western Front in which British soldiers fighting in the World War I stage a burlesqued version of the story.
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This 1937 black-and-white movie was the final film directed by Detlef Sierck in Germany before he fled Germany and eventually emigrated to the United States. The film was produced within six months. In Hollywood, Sierck, now Sirk, continued to produce more melodramatic movies, yet on a grander scale. Zarah Leander had been hired by UFA, the German film company, in 1936, and was its new star. This movie shows her beauty and talents as Germany’s answer to Greta Garbo, and further presents her accomplishments as a singer.
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Writing for The New York Times, Neil Strauss said: "Dog Man Star looks back to the era when glam- rock met art rock, with meticulously arranged songs sung with a flamboyance reminiscent of David Bowie and accompanied by anything from a 40-piece orchestra to an old Moog synthesizer." The Bowie influence was still omnipresent, however, unlike their debut, Suede focused on a darker and more melodramatic sound. Some critics compared the record to Diamond Dogs. With many noting "The Power" as the most obvious ode to Bowie.
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Spassky, 39 Newspaper reviews of the work were mixed; it was seen as more melodramatic than Homer's usual work. A reviewer in Philadelphia noted that viewers had laughed at the painting, which he referred to as "Smiling Sharks", describing the scene as "a naked negro lying in a boat while a school of sharks [are] waltzing around him in the most ludicrous manner". Another contemporary critic wrote that The Gulf Stream "displays a certain diffusion of interest seldom seen in the canvases of [Homer's] best manner".Griffin, Randall C. Homer, Eakins & Anshutz: the search for American identity in the gilded age, p. 103.
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Monks is one of Dickens's more melodramatic characters - totally evil without even the shred of affection that Bill Sikes has for his bull terrier, Bullseye. He is physically unattractive, has a dark red mark on the left side of his jaw, is subject to severe epileptic fits, and completely cowardly, not willing to outwardly be associated with any form of crime (this is not because he is a moral being, but because he fears being caught). Dickens keeps his motives and his true identity a total secret until nearly the end of the novel, thus surprising the reader with an unexpected revelation that adds complications to the plot.
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There are two types of beginnings for the episodes: a happy beginning, or a more melodramatic beginning where the main character undergoes a calamitous event that kickstarts their development. In the latter, the editor, cast, and director's credits roll during the second scene. Main characters, being extremely devout to the Virgin of Guadalupe, almost always ask her to protect them. At the same time, a white rose appears before an altar or statue of the Virgin that belongs to the person who prayed or is in trouble, and remains there during the development of the story, which usually sees an escalation of the problem.
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She deflected the criticisms, insisting that the men were merely scared of seeing their own wives riot because of her films. In her later films, Milani adopted a more melodramatic style and focused more on gender issues and her female characters became the subject of intense oppression and discrimination. The government charged Milani as an anti-revolutionary due to the storyline of her 2001 anti-revolutionary film Nimeh-e Pinhan (The Hidden Half), which revolved around a leftist university student against the regime of Shah Mohammad Rezā Shāh Pahlavi. The film's primary love story also drew criticism, for its depiction of the main character's relationship with an elderly man.
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Edward Guthmann of the San Francisco Chronicle thought that Haas directed the film "...with elegance and control, and seasons the sexier, more melodramatic elements of his tale with subtle, slightly mocking irony." Time Out concluded that Angels and Insects "...is not your average period drama...the costumes, design, music and camerawork steer clear of naturalism, highlighting both the modernity of the approach and the notions of humans as creatures to be observed dispassionately. Despite some uneven pacing and variability in performance, this is a work of clarity, ambition and intelligence." In the US the film was released on VHS on 21 February 2000, on DVD 19 March 2002.
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DVD Talk's review judges The Tale of Zatoichi Continues to be less interesting in plot than the previous film, The Tale of Zatoichi, but more quickly-paced than the first film. According to the review, the musical score by Ichirō Saitō is more melodramatic than Akira Ifukube's score for the first film, though melodrama is not out of character for the series. The casting of Tomisaburo Wakayama—lead actor Shintaro Katsu's older brother—in the role of Yoshirō, the one-armed swordsman, lends the film more interest. In Stray Dogs & Lone Wolves: The Samurai Film Handbook (2005), Patrick Galloway also judges the pacing of this second film in the series to be tighter than the first.
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Sylvester, 31 Bacon was avowedly against melodrama and loaded meanings in his paintings, and of for years seemed defensive in including such a direct utensil as syringe. He instead saw the device as akin to the nails in a depiction of the crucifixion of Jesus, a particular obsession of his, and said "I've used the figures lying on beds with a hypodermic syringe as a form of nailing the image more strongly to reality or appearance. I don't put the syringe because of the drug that's being injected but because it's less stupid than putting a nail through the arm, which would be even more melodramatic."Dawson, 98 A bitter irony is that Moraes fell victim to heroin addiction from the 1970s.
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His uncluttered style was particularly accessible, not only to his seventeenth-century readers, who included women and children—notably the young and newly enthusiastic Anthony Wood—but also to the audiences of later ages. Many of his ballads were continually reprinted over a century or more, including A Warning for All Lewd Livers (1633), A Warning for Married Women Being an Example of Mrs. Jane Reynolds (1657), Flora’s Farewell (1656), and Win at First (1660). The enduring quality of Price’s songs is marked by the numerous titles captured by Francis Childs via a nineteenth- century oral tradition, which are still performed and enjoyed today. For example, a more melodramatic version of Price’s The Famous Flower of Serving Men (1656) was recorded in 1972 by renowned folk-singer Martin Carthy.
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Originally designed to follow in the footsteps of Young's earlier "pretty girl" creations Beautiful Bab and Dumb Dora, Blondie focused on the adventures of Blondie Boopadoop—a carefree flapper girl who spent her days in dance halls along with her boyfriend Dagwood Bumstead, heir to an industrial fortune. The name "Boopadoop" derives from the scat singing lyric that was popularized by Helen Kane's 1928 song "I Wanna Be Loved by You." Blondie and Dagwood debuted on September 8, 1930 in the New York American and several other newspapers across North America. The strip was only moderately popular in its first two and a half years, as interest in humorous "pretty girl" stories dried up as a result of the Great Depression, turning Blondie into a parody of those strips taking a more melodramatic direction.
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" Rex Reed of Observer Media gave the film two stars out of four and said, "I never cease to wonder how some films manage to borrow, imitate, copy or steal from older films without acknowledging or crediting the originals. A predictable, ho-hum police procedural called Crown Vic, about one night of violence and death with a veteran Los Angeles cop assigned to escort a rookie cop through the criminal underground while teaching him the ropes, is so close to the 2001 Training Day that it’s practically a remake." Dennis Harvey of Variety noted, "That’s a lot of narrative content, and “Crown Vic” varies in involvement and credibility as it juggles the more melodramatic aspects with the quasi-vérité ones. Still, it all works more often than not, thanks to the able lead performances and Souza’s generally smooth handling.
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Heinous Chemicals at Work. The New York Times, p. 37 As the novel became popular, the reviews became positive; Crawford Woods, also in The New York Times, wrote a positive review countering Lehmann-Haupt's negative review: the novel is "a custom-crafted study of paranoia, a spew from the 1960s and—in all its hysteria, insolence, insult and rot—a desperate and important book, a wired nightmare, the funniest piece of American prose"; and "this book is such a mind storm that we may need a little time to know that it is also literature... it unfolds a parable of the nineteen-sixties to those of us who lived in them in a mood—perhaps more melodramatic than astute—of social strife, surreal politics and the chemical feast." About Thompson, Woods said he "trusts the authority of his senses, and the clarity of a brain poised between brilliance and burnout".
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As already mentioned, this was especially felt in her early works, often depicting unrequited love or craving from afar, which can be viewed as a subtle depiction of the author's personal youth lesbian experience. Her work in this period often has a sad and cruel ending, making extensive use of death from unrequited love or the double suicide of girls as a result of the threat of marriage to their relationship. In the future, these tropes will be widely used in the early works of yuri as a way to make the story more melodramatic and save the work from censorship, which did not allow a positive image of lesbian relations. At the same time, although she continued to develop her sensual, nostalgic and emotional narrative style, the relationship between the heroines in her subsequent works began to be portrayed as more platonic, rather idealizing friendship and sisterhood between innocent girls, than any open or implied lesbian attachments.
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This style consisted typically of light pop themes about teenage romance and lifestyles, backed by vocal harmonies and a strong rhythm. Most girl groups were African-American, but white girl groups and singers, such as Lesley Gore, the Angels, and the Shangri-Las also emerged during this period. Around the same time, record producer Phil Spector began producing girl groups and created a new kind of pop music production that came to be known as the Wall of Sound. This style emphasized higher budgets and more elaborate arrangements, and more melodramatic musical themes in place of a simple, light-hearted pop sound. Spector's innovations became integral to the growing sophistication of popular music from 1965 onward. Also during the early '60s, surf rock emerged, a rock subgenre that was centered in Southern California and based on beach and surfing themes, in addition to the usual songs about teenage romance and innocent fun.
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