Con frecuencia el miedo nace de la ignorancia: el racismo, la xenofobia o la homofobia se desarrollan especialmente en quienes ignoran la realidad de estas minorías y se defienden rechazando temores que, de hecho, son meramente imaginarios.
La mia tonta, curiosa e affascinante guerriera che non ha paura di niente e si butta a capofitto in qualsiasi combattimento! E non parliamo di quando attaccano suo figlio, ecco.. lì diventa leggendaria (se non ci lascia le penne!).
E un altro personaggio di D&D è completo, avanti il prossimo!!
OUTSTANDING DIRECTING FOR A VARIETY SPECIAL Directed by Thomas Kail, Live Television Direction by Alex Rudzinski
OUTSTANDING CASTING FOR A LIMITED SERIES, MOVIE OR SPECIAL Casting Directors: Telsey + Company
OUTSTANDING COSTUMES FOR A VARIETY, NONFICTION OR REALITY PROGRAM William Ivey Long, Costume Designer Paul Spadone, Assistant Costume Designe Nanrose Buchman, Assistant Costume Designer Gail Fitzgibbons, Costume Supervisor Tom Beall, Costume Supervisor
OUTSTANDING HAIRSTYLING FOR A MULTI-CAMERA SERIES OR SPECIAL Mary Guerrero, Department Head Hairstylist Kimi Messina, Key Hairstylist Gail Ryan, Additional Hairstylist Jennifer Guerrero, Additional Hairstylist Dean Banowetz, Additional Hairstylist Lucia Mace, Additional Hairstylist
OUTSTANDING SOUND MIXING FOR A VARIETY SERIES OR SPECIAL J. Mark King, Production Mixer Biff Dawes, Music Mixer Eric Johnston, Playback and SFX Mixer Bob LaMasney, Audience Sweetener Pablo Munguia, Protools Playback Music Mixer Kevin Wapner, Foldback Mixer John Protzko, Foldback Mixer John Garlick, PA Mixer Barrance D. Warrick, Monitor Mixer
OUTSTANDING TECHNICAL DIRECTION, CAMERAWORK, VIDEO CONTROL FOR A LIMITED SERIES, MOVIE OR SPECIAL Eric Becker, Technical Director Bert Atkinson, Camera Keith Dicker, Camera Randy Gomez, Sr., Camera Nat Havholm, Camera Ron Lehman, Camera Dave Levisohn, Camera Tore Livia, Camera Mike Malone, Camera Adam Margolis, Camera Rob Palmer, Camera Brian Reason, Camera Damien Tuffereau, Camera Easter Xua, Camera Chris Hill, Video Control Matt Pascale, Video Control
OUTSTANDING LIGHTING DESIGN | LIGHTING DIRECTION FOR A VARIETY SPECIAL Al Gurdon, Lighting Designer Travis Hagenbuch, Lighting Director Madigan Stehly, Lighting Director Will Gossett, Lighting Director Ryan Tanker, Moving Light Programmer
OUTSTANDING MAKEUP FOR A MULTI-CAMERA SERIES OR SPECIAL (NON-PROSTHETIC) Zena Shteysel, Department Head Makeup Artist Angela Moos, Key Makeup Artist Julie Socash, Additional Makeup Artist Alison Gladieux, Additional Makeup Artist
OUTSTANDING SPECIAL CLASS PROGRAM
OUTSTANDING PRODUCTION DESIGN FOR A VARIETY, NONFICTION, EVENT OR AWARD SPECIAL David Korins, Production Designer Joe Celli, Art Director Jason Howard, Set Decorator
I think we can all agree that if Ilkka does an interpretation of something in the Bolognese tradition, it’s probably as close to accurate as anyone has produced insofar, and… Unlike Alfieri’s spadone, where footwork and technique seems flowing and easy on the joints, this just doesn’t seem that way. I’d propose the possibility that Marozzo’s spadone, although depicted with the large Renaissance weapon, may be pedagogically based in the medieval longsword?
“In addition the haft of these tubes can accommodate a spadone. To do this, you must resaw the haft lengthwise right in the middle, the haft being just the right length and width for the blade.
The spadone is fitted inside, the haft serving as a scabbard, secured by two bands like those of a pilgrim’s staff; this is useful when the tube is burned-out, so you can quickly throw it away, and employ the said spadone.
However such items should only be placed in the hands of people with strong bodies, who are brave, and can swing it with their hands as required. This is its design.”