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1000 results for “robert_winkler”
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Robert Rodriguez – „Once Upon a Time in Mexico“ (2003)
Ok, ja, klar… wenn „El Mariachi“ und „Desperado“ sich heute durch den Blog geballert haben, dann darf auch der dritte Teil der Trilogie nicht fehlen. Zumal ZDFneo hier endlich einmal alles richtig gemacht hat und die ganze Reihe in derselben Nacht gezeigt hat. Allerdings, und das war echt frustrierend, den zweiten Teil, vor dem dritten, vor dem ersten. Was sollte das denn, ZDF? (ZDF, WH)
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Robert Malone Resigns From ACIP After Internal Squabble
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Robert Malone Resigns From ACIP After Internal Squabble
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Robert Malone Resigns From ACIP After Internal Squabble
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Robert Malone Resigns From ACIP After Internal Squabble
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Robert Malone Resigns From ACIP After Internal Squabble
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I’m blown away by everyone’s generosity and kindness. Because of you, vital health care will reach even more people in rural and remote communities across Victoria.
💙 Donate here: https://runmelbourne25.grassrootz.com/rfdsvic/robert-koch
#ThankYou #RunMelbourne #RFDS #TogetherWeCan #HalfMarathon #Fundraising
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Robert F. Kennedy Jr.’s cut to U.S. funding for GAVI risks lives globally and damages America’s international standing. https://www.japantimes.co.jp/commentary/2025/07/07/world/rfk-endangers-babies-lives/?utm_medium=Social&utm_source=mastodon #commentary #worldnews #robertfkennedy #rfk #donadtrump #gavi #covax #covid19 #health #medicine #vaccinations
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Robert Englund on the Enduring Appeal of Freddy Kruger: ‘An Unrepentant, Politically Incorrect Villain With a Dose of Personality’
#Variety #Features #FreddyKruger #Halloween #HollywoodWalkOfFame #RobertEnglundhttps://variety.com/2025/film/features/robert-englund-walk-of-fame-1236564832/
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Robert Redford, Diane Keaton and the Twilight of the Gods – The Hollywood Reporter
Clockwise from top left: Warren Beatty, Jack Nicholson, Ellen Burstyn, Al Pacino, Robert De Niro, Faye Dunaway, Dustin Hoffman and Jane Fonda were among the actors free to define themselves in the 1960s and ’70s.Illustration by Layer Ø; Courtesy Everett CollectionRedford, Keaton and the Twilight of the Gods
The recent deaths of the icons cast a mournful light on a fading generation of actors who once redefined what movie stars could be — complex, messy, and all too human.
October 22, 2025
There was a moment, back in 2012, when Diane Keaton and Robert Redford nearly shared the screen. Both were reported to be “eyeing” the leads in a holiday-themed ensemble comedy titled The Most Wonderful Time, pitched as a Love Actually-style pastiche involving multiple interwoven tales of family and romance, all set against a backdrop of Christmas lights and yuletide meltdowns.
Alas, that movie never got made — at least not in that form — and Keaton and Redford never again came so close to working together. But in their own ways, these two very different actors — she, the eccentric spirit of New Hollywood comedy; he, the golden-boy stoic of the American pastoral — were bound by something even more powerful than onscreen chemistry: generational gravity. They belonged to the same loose orbit of 1970s-era performers who upended the rules of stardom and helped reshape what American movies could be.
Keaton died Oct. 11 at age 79 after a shockingly quick battle with pneumonia. Redford died in his sleep, at 89, a little less than a month earlier, on Sept. 16. Some from their cohort had gone before — Paul Newman in 2008, Shelley Duvall in 2024, Gene Hackman in February — while others have simply drifted from view. Warren Beatty, Jack Nicholson, Dustin Hoffman, Faye Dunaway — all now in their 80s — have largely stepped away from the spotlight.
Of course, this is nothing new. All stars, even the brightest, eventually flicker out as new generations take their place. But there’s something different — something more poignant — about watching this particular circle begin to vanish.
The stars who came before them had been shaped by the studio system — groomed, styled and slotted into types. They signed long-term contracts, wore what the wardrobe department handed them and gave interviews ghostwritten by studio publicists. Even the greats — Bogart, Hepburn, Gable, Davis — were often playing variations of a persona the system had helped construct. Their power came from polish, execution and consistency. Stardom was a product, and it was carefully managed.
By the time Redford, Keaton, Beatty and the others were coming of age as actors, the old studio scaffolding was already coming apart, with the contract system unraveling and the great moguls who once ruled the town with an iron fist fading from the scene. There was no longer a press-office puppeteer telling actors how to dress or what to say, no studio image to protect. They were free to define themselves — onscreen and off — and to let those two identities blur. Their personas could be withholding, eccentric, neurotic, ambiguous, strange. They could play characters the previous generation never got near: complicated people with unresolved feelings and messy inner lives.
On the big screen, Robert Redford transitioned from a clean-cut leading man into someone more introspective and morally uncertain. Illustration by Layer Ø; Courtesy Everett CollectionAt the same time, a new kind of director had taken over the asylum — such mavericks as Mike Nichols, Robert Altman, Hal Ashby, Alan J. Pakula and Martin Scorsese — filmmakers who weren’t interested in preserving the system. They wanted to blow it up. Their films — Carnal Knowledge, McCabe & Mrs. Miller, Shampoo, Klute, Taxi Driver — didn’t just break the rules, they rewrote the language of cinema itself. And that reinvention gave this young, liberated generation of actors a canvas as unbound and unconventional as they were — a kind of free-spirited platform that hadn’t existed before and hasn’t really existed since.
Few actors made better use of that freedom than Redford and Keaton. In such films as The Candidate, Three Days of the Condor and The Way We Were, Redford turned the clean-cut leading man into something more introspective and morally uncertain — a figure torn between idealism and self-interest. Keaton took the same open, idiosyncratic presence that made Annie Hall so engaging and revealed its darker shades in The Godfather and Looking for Mr. Goodbar, proving she could be fearless, complex, even unsettling. Both found truth in contradiction. They made uncertainty look thrilling.
But by the early 1980s, as the counterculture spirit of the previous decade gave way to something more box office-driven and less tolerant of creative chaos, a different model of movie star started taking over. Actors weren’t seeking to challenge the system anymore; they were the system, powering tentpoles, sequels and high-concept hits that could sell in every corner of the world. This was the era of the Event Movie, when opening-weekend grosses became the new measure of stardom. The actors who began appearing on marquees — Schwarzenegger, Stallone, Willis, Gibson, Cruise — weren’t celebrated for subtlety or transformation or their onscreen bravery, but for their box office clout.
Diane Keaton turned her engaging presence in Annie Hall into something darker in The Godfather and Looking for Mr. Goodbar. Illustration by Layer Ø; Courtesy Everett CollectionSure, by the 1990s, there was a parallel indie movement where some of these stars could unfurl their dramatic range, ’70s-style — Cruise in Magnolia, Stallone in Cop Land — but for all the critical acclaim and Oscar attention those roles might attract, what defined success in 1980s and ’90s Hollywood were the ticket sales for such tentpoles as Top Gun, Die Hard, the Rambo movies and The Terminator. Actors had become commodities of scale, defined largely by their ability to summon $100 million grosses.
When the new millennium arrived, that equation shifted yet again, even if the focus on money hadn’t. Hollywood’s center of gravity moved from stars to franchises. The IP became the real draw — superheroes, wizards, Jedi and other branded worlds. The costume, often spandex, mattered more than the actor inside it (even Redford got in on the act, playing a Marvel villain in Captain America: The Winter Soldier). Stardom no longer was the engine of the movie business; it was just another interchangeable part of the business.
Then, in the 2010s and ’20s, stardom started moving from the big screen to a much smaller stage — the phone. Hollywood was still turning out superhero sagas, prestige dramas and cozy seasonal fare (like that Christmas movie, The Most Wonderful Time, eventually rewritten and released in 2015 as the forgettable Love the Coopers, with Keaton still starring and Redford’s role taken by, of all people, John Goodman). But the real competition for attention was moving elsewhere — to feeds and timelines, where fame was measured not by box office totals but by followers.
Continue/Read Original Article Here: Robert Redford, Diane Keaton and the Twilight of the Gods
#2025 #America #Books #DianeKeaton #Education #Film #Films #History #Libraries #LibraryOfCongress #Movies #OldHollywood #RobertRedford #Stars #TheHollywoodReporter #TwilightOfTheGods #UnitedStates
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Robert MacCulloch, Scottish minister, reflects on Isaiah 58. For a fast, acceptable worship (v. 6) free those: oppressed by sin, by the tyrrany of other humans, and the spirits of darkness.
It is interesting that these words appear to be a blur bewteen social justice and evangelism. That one act cannot be clearly separated from the other.
How can you do what lies in your power to set at liberty the oppressed?
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Robert de Visée - Suites pour théorbe (1716) - Pascal Monteilhet
https://youtube.com/watch?v=RqPgPwjzHmc&si=vjekb1rKbNLHUYAG
@classicalmusic
@baroquemusic
#PascalMonteilhet
#Theorbo
#AmandineBeyer
#BaroqueViolin
#AmélieMichel
#Flute
#MarianneMuller
#ViolaDaGamba
#RobertDeLaVisée -
Robert de Visée - Suites pour théorbe (1716) - Pascal Monteilhet
https://youtube.com/watch?v=RqPgPwjzHmc&si=vjekb1rKbNLHUYAG
@classicalmusic
@baroquemusic
#PascalMonteilhet
#Theorbo
#AmandineBeyer
#BaroqueViolin
#AmélieMichel
#Flute
#MarianneMuller
#ViolaDaGamba
#RobertDeLaVisée -
Robert de Visée - Suites pour théorbe (1716) - Pascal Monteilhet
https://youtube.com/watch?v=RqPgPwjzHmc&si=vjekb1rKbNLHUYAG
@classicalmusic
@baroquemusic
#PascalMonteilhet
#Theorbo
#AmandineBeyer
#BaroqueViolin
#AmélieMichel
#Flute
#MarianneMuller
#ViolaDaGamba
#RobertDeLaVisée -
Robert de Visée - Suites pour théorbe (1716) - Pascal Monteilhet
https://youtube.com/watch?v=RqPgPwjzHmc&si=vjekb1rKbNLHUYAG
@classicalmusic
@baroquemusic
#PascalMonteilhet
#Theorbo
#AmandineBeyer
#BaroqueViolin
#AmélieMichel
#Flute
#MarianneMuller
#ViolaDaGamba
#RobertDeLaVisée -
Robert de Visée - Suites pour théorbe (1716) - Pascal Monteilhet
https://youtube.com/watch?v=RqPgPwjzHmc&si=vjekb1rKbNLHUYAG
@classicalmusic
@baroquemusic
#PascalMonteilhet
#Theorbo
#AmandineBeyer
#BaroqueViolin
#AmélieMichel
#Flute
#MarianneMuller
#ViolaDaGamba
#RobertDeLaVisée -
Robert Rodriguez, Frank Miller, Quentin Tarantino – „Sin City“ (2005)Schwarz ist hier keine Farbe, sondern eine Haltung. Dieser Film denkt die Welt radikal binär: Licht oder Finsternis, Körper oder Waffe, Begehren oder Vernichtung. Eine Stadt als eine Projektionsfläche für Gewaltfantasien, für gekränkte Männlichkeit, und für ein Noir-Erbe, das sich weigert, in Würde zu altern. Aber genügt das, um ihn zu feiern? (ZDFneo, Wh.)
Zum Blog: https://nexxtpress.de/mediathekperlen/robert-rodriguez-frank-miller-quentin-tarantino-sin-city-2005/ -
robert.habeck: Keynote auf der "Sustainable Economic Forum“ in Berlin:
Vor einer Woche war ich auf dem „Sustainable Economic Forum“ in Berlin und habe die Energiekrise eingeordnet und wahrscheinliche Folgen für die Energie-Weltwirtschaft abgeleitet:
https://www.instagram.com/reel/DX4EmP-tTc4/
#trump #usa #lng #gas #erneuerbare #ErneuerbareEnergien #RobertHabeck #habeck
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"ROBERT JENRICK’S confirmation that Reform UK will uphold the economic orthodoxy of Labour and Tory governments over the past several decades is a weakness we should seize on.
It is a confession that Reform, despite the branding, is not really about reform at all: it is a party committed to rule by the bond markets and the rich, to the market ideology of Margaret Thatcher that wrecked productive industry across Britain and depressed so many of the regions it now appeals to for votes."
https://morningstaronline.co.uk/article/jenrick-confirms-reform-are-another-establishment-party-and-thats-weakness
#UKpolitics #inequality #MMT #economics #BillionaireClass -
Robert 'Pyrdacor' Schneckenhaus has provided "Amiga-Tools" for current computer systems. Specifically, these are two command line commands for Windows, Linux or Mac OS; a user interface is planned. They can be used to create, modify, display and unpack ADF disk images or LHA archives:
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Robert Budreau – „Die Stockholm Story – Geliebte Geisel“ (2019)Es gibt Rollen, die Noomi Rapace nicht einfach spielt, sondern körperlich besetzt. Dieser Film lebt von genau dieser Qualität der Schwedin. Robert Budreau inszeniert den legendären Banküberfall von 1973 nicht als klassischen Thriller, sondern als schräges, popkulturell aufgeladenes Kammerspiel zwischen Farce, Geiseldrama und Beziehungsstudie. Dass der Film funktioniert, liegt vor allem daran, wie Rapace und Ethan Hawke eine klaustrophobische Bankfiliale in ein emotionales Labor verwandeln. (ARD, Wh.)
Zum Blog: https://nexxtpress.de/mediathekperlen/robert-budreau-die-stockholm-story-geliebte-geisel-2019/ -
Robert Budreau – „Die Stockholm Story – Geliebte Geisel“ (2019)Es gibt Rollen, die Noomi Rapace nicht einfach spielt, sondern körperlich besetzt. Dieser Film lebt von genau dieser Qualität der Schwedin. Robert Budreau inszeniert den legendären Banküberfall von 1973 nicht als klassischen Thriller, sondern als schräges, popkulturell aufgeladenes Kammerspiel zwischen Farce, Geiseldrama und Beziehungsstudie. Dass der Film funktioniert, liegt vor allem daran, wie Rapace und Ethan Hawke eine klaustrophobische Bankfiliale in ein emotionales Labor verwandeln. (ARD, Wh.)
Zum Blog: https://nexxtpress.de/mediathekperlen/robert-budreau-die-stockholm-story-geliebte-geisel-2019/ -
Robert Budreau – „Die Stockholm Story – Geliebte Geisel“ (2019)Es gibt Rollen, die Noomi Rapace nicht einfach spielt, sondern körperlich besetzt. Dieser Film lebt von genau dieser Qualität der Schwedin. Robert Budreau inszeniert den legendären Banküberfall von 1973 nicht als klassischen Thriller, sondern als schräges, popkulturell aufgeladenes Kammerspiel zwischen Farce, Geiseldrama und Beziehungsstudie. Dass der Film funktioniert, liegt vor allem daran, wie Rapace und Ethan Hawke eine klaustrophobische Bankfiliale in ein emotionales Labor verwandeln. (ARD, Wh.)
Zum Blog: https://nexxtpress.de/mediathekperlen/robert-budreau-die-stockholm-story-geliebte-geisel-2019/ -
Robert Budreau – „Die Stockholm Story – Geliebte Geisel“ (2019)
Es gibt Rollen, die Noomi Rapace nicht einfach spielt, sondern körperlich besetzt. Dieser Film lebt von genau dieser Qualität der Schwedin. Robert Budreau inszeniert den legendären Banküberfall von 1973 nicht als klassischen Thriller, sondern als schräges, popkulturell aufgeladenes Kammerspiel zwischen Farce, Geiseldrama und Beziehungsstudie. Dass der Film funktioniert, liegt vor allem daran, wie Rapace und Ethan Hawke eine klaustrophobische Bankfiliale in ein emotionales Labor verwandeln. (ARD, Wh.)
Zum Blog: https://nexxtpress.de/mediathekperlen/robert-budreau-die-stockholm-story-geliebte-geisel-2019/ -
Robert Plant’s opinion on Crosby, Stills, Nash & Young
https://rockandrollgarage.com/robert-plant-opinion-on-crosby-stills-nash-young/
