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Beijing Academy of Artificial Intelligence 954

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On Your Mark by Starrynight Mon Apr 24 2000 at 14:11:24 An animated music video roughly 6 minutes long, that was shown in Japanese theaters along with a full-length feature, Whispers of the Heart. Hayao Miyazaki directed the Studio Ghibli production, which is set to the song (really) "On Your Mark", by the pop duo Chage & Aska. The video concerns an injured angel apparently captured by some monolithic religious cult, which is violently liberated by some monolithic government agency. Two men who work in the agency feel guilty about this, since the angel is sealed in a clean room rather than being freed. So they bust her out. The amount of emotion and plot in this short video is remarkable. I found myself moved to tears by a song whose lyrics I co

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A cast of 45 from Juneau-Douglas High School bring the story of an English governess and a Siamese king to the stage Posted: Thursday, February 22, 2001 By RILEY WOODFORDThe JUNEAU EMPIRE Matthew Monagle learned a valuable lesson shaving his head to play the King of Siam. "I shaved my own head. That was a mistake," he said, rubbing the back of his neck. "I learned to use Nair, or let someone else do it." Monagle plays the title role in the upcoming Juneau Douglas High School production of "The King and I," opening Friday night. "The King and I" is based on Margaret Landon's book about Anna Leonowens, a 19th century English governess who travels to Siam (now Thailand) to teach the children of the king. She finds the king to be a bigger challenge than his 70 children (by 20 wives.) The book became an Oscar-winning film in 1946, "Anna and the King of Siam," and Rodgers and Hammerstein adapted the true story into a successful Broadway musical. That became another Academy Award-winning movie in 1956, with Yul Brynner reprising his Broadway role as the king. "It's been a book, a play, a movie, a musical, an animated movie - and now it's back to a play," said director Shanna Galuzzo. It's a play loaded with songs, including "Shall We Dance," "Getting to Know You," "Kiss in the Shadows" and "Puzzlement." Senior Anna Ruddy, who plays Anna, said there are 15 musical numbers in the play. "It pretty much goes from one song to another," she said. Ruddy has sung in school choirs for years, but this is her first play. Galuzzo, who has directed the high school's spring musical for three years now, said she can't believe this wonderful singer could come out of the woodwork just a few months before she graduates. She joked that she's scheming to hold her back a year. Six of the eight leads in the play are seniors, but many of the other cast members are freshmen. Although Galuzzo is losing many of the singers she's worked with in past years, she happy to see a talented new group coming up. Sophomore actress Sereneti Franklin recalled her experiences in last year's musical and said the range of ages is a good combination. "Last year I didn't know what I was getting into," she said. "This year I was able to pace myself better." She said freshmen are treated as underdogs in the general high school environment, but that's not the case in drama. "It's nice to have the diversity, and everyone gets along," she said. In addition to the large cast and the stage crew, 20 musicians are playing in the pit orchestra under the direction of Ken Guiher. Alex Gagne-Hawes is playing French horn in the pit dressed as a Buddhist priest. When he's not needed below the stage he's working on stage, also doubling as a guard. His fellow priest, senior Robbie Bishop, is also a musician who's spending time on stage in "The King and I." A singer and percussionist, he's contributed to musicals for the past four years as a drummer, and this year he wanted to broaden his experience. "I had a New Year's resolution," he said. "Rather than be in the pit one more year I wanted to try my luck acting." This will also be the final show for choreographer Karen Cross, who is moving to Michigan next week. She's worked with the drama department on different shows during the past six years she's been in Juneau. She's choreographed a number of dances for "The King and I." "The King and I" opens Friday and shows at 7 p.m. Friday and Saturday in the high school auditorium. It runs again at 7 p.m. March 2 and 3, with a final matinee at 1 p.m. Saturday, March 3. Tickets are $10 in advance at Hearthside Books, $12 at the door, and $4 for children. Riley Woodford can be reached at rileyw@juneauempire.com. ROBBIE BISHOP NEW YEAR'S DAY PRIEST DRUMMER GUARD GOVERNESS SINGER MATTHEW MONAGLE RILEYW@JUNEAUEMPIRE.COM PRODUCT RECALL ANNA AND THE KING OF SIAM ANNA RUDDY RILEY WOODFORD ACADEMY AWARD SERENETI FRANKLIN KING FRANKLIN ACTRESS FELLOW PRIEST CHOREOGRAPHER CONTACT US

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Le Moyne to Host "Peace & Social Justice Showcase," part of Syracuse Film Festival The Syracuse Film Festival presents the Peace & Social Justice Showcase, taking place in the W. Carroll Coyne Center for the Performing Arts at Le Moyne College on Sunday, Oct. 6 from noon to 3 p.m. Sponsored by Le Moyne College and Justin Nappi and Treehouse Pictures/World Harmony Pictures; tickets are $10, students are free. The lineup for the showcase is: SCREENING OF ASAD (18 min). Nominated for an Academy Award; winner of the award for Best Short Narrative at the 2012 Tribeca Film Festival. Director Bryan Buckley will be on hand for a Q and A after the screening of the film. Following is a brief synopsis of the movie: Set in a war torn fishing village in Somalia, an all Somali, refugee cast brings to life this coming of age fable of a Somali boy who is faced with falling into the pirate life, or rising above to choose the path of an honest fishing man. WHAT THE WORLD NEEDS NOW TRILOGY: THE FILMS OF GEORGE GITTOES Australian artist/filmmaker George Gittoes will be honored with the Bassel Shehade Award for Social Justice sponsored by Laila and Edward Audi in memory of Bassel Shehade. Bassel was a Syracuse University graduate film student from Syria, killed in Syria while documenting and teaching civilian videographers to record the events occurring in their country for the world to see. Gittoes' received the Member of the Order of Australia (1997) "for service to art and international relations as an artist and photographer portraying the effects on the environment of war, international disasters and heavy industry". He was also awarded the Centenary Medal (2001) "for service as an internationally renowned artist". He was given an honorary Doctorate in Letters by the University of New South Wales in 2009. George Gittoes has worked in Pakistan and Afghanistan for almost 20 years, initially, on a project called MINEFIELDS which documented the stories of landmine victims with drawings, paintings and photographs. These works were shown around the world, including at the UN in Geneva, to raise awareness of these inhuman devices that go on killing innocents long after the conflict has ended. Post 9/11 his friends in both countries pleaded with him to return and try to make films which showed that not all Pakistani’s or Afghans are terrorists and many are fighting for freedom of expression against the deadly opposition of both the Taliban and Al Queda . George responded to these calls for help and has spent much of the last 10 years working with his creative friends in the face of death threats and physical attacks. He has now helped to produce 11 feature length Pashto Language dramas, funded and built a centre for the arts in Jalalabad called the Yellow House and is in the process of completing three feature documentaries collectively titled What the World Needs Now Trilogy. The first film was Miscreants of Taliwood which has been shown at IDFA (Amsterdam), Telluride and won the Traverse City Festival Prize in Michigan, the second film Love City Jalalabad is at a fine cut stage and close to completion and the third film Snow Monkey is currently in pre-production, ready for shooting to start in December 2013. George will be presenting large segments from both Miscreants of Taliwood and Love City Jalalabad and sharing his concept for Snow Monkey. This Presentation of the What the World Needs Now Trilogy will be a world first in Syracuse and a rare opportunity to participate with a cutting edge filmmaker at a mid production phase of a visionary project. One of the primary aims of the Syracuse International Film Festival is to involve audiences in the art and craft of filmmaking before it is finished, polished and delivered to the market. Each year we present several films in stages where audience feedback can be of great help to the filmmaker. The Peace and Justice Showcase is part of the Syracuse Film Festival, which takes place at venues around Syracuse from Oct. 2 to 6; learn more about the festival here.posted on: 9/27/2013

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Currently Hot Topics: Jurassic World Trailer | Interstellar Explained | Wonder Woman Movie | Avengers 2 | Hunger Games Mockingjay Review | It’s a Race Against Time in the First Clip from ‘Source Code’ Published 3 years ago by Chris Schrader Fans of Duncan Jones’ debut feature film Moon have been anxiously awaiting the visionary director’s next project, and now we’re only a few months away from his sophomore effort – Source Code. We got our first look at the film when the rather intriguing Source Code trailer premiered back in November. The international trailer that followed suit was similarly impressive. Based on the admittedly brief glimpses we’ve had at Source Code so far, Jones seems to be exploring some of the same themes that he tackled in Moon – albeit on a substantially larger canvas. Although the film’s $35 million budget is fairly modest by Hollywood standards, just consider what Jones accomplished with the $5 million he had to make Moon. I’m incredibly excited to see what he has in store for us and now, thanks to IGN, we can get a small taste with the first clip from Source Code. But first, here’s the film’s plot synopsis just in case you missed it: “When decorated soldier Captain Colter Stevens (Jake Gyllenhaal) wakes up in the body of an unknown man, he discovers he’s part of a mission to find the bomber of a Chicago commuter train. In an assignment unlike any he’s ever known, he learns he’s part of a government experiment called the ‘Source Code,” a program that enables him to cross over into another man’s identity in the last 8 minutes of his life. With a second much larger target threatening to kill millions in Downtown Chicago, Colter relives the incident over and over again, gathering clues each time, until he can solve the mystery of who is behind the bombs and prevent the next attack.” And here’s the clip, which features Gyllenhaal being brought up to speed on the dangerous task at hand: Source Code was written by Ben Ripley and also stars Michelle Monaghan, Vera Farmiga and Jeffrey Wright. It’s a great cast, a great director, and a great concept – I can’t wait to see how this all comes together. Moon really impressed me and I think it’s going to be interesting to watch how Jones’ career evolves. After Source Code, it looks like he might finally get to Mute – a Blade Runner homage set in the same timeline as Moon (Sam Rockwell is even rumored to cameo as Sam Bell). But for now, I’ll continue to wait patiently for Source Code‘s April 1, 2011 release date. TAGS: source code If your comment doesn't show up immediately, it may have been flagged for moderation. Please try refreshing the page first, then drop us a note and we'll retrieve it. The Big Dentist 3 years ago Although I have mixed feelings about Moon I’m definitely intrigued by this and Mute: nice to see a director with a vision of his own rather than just taking whatever scenario and budget is offered to him. Hope he can see his way to avoiding some of the logical inconsistencies (that could easily multiply in a time travel plot) that tarnished Moon for me. Reply Dexter 3 years ago This clip is a bit stale. Doesn’t make me want to watch this film.

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‘Magnum Force’ Director Ted Post Dies at 95  Clint with Post filming on location Magnum Force I was sad to learn that director Ted Post, who directed numerous early TV shows as well as the Clint Eastwood films Hang ‘em High and Magnum Force, died in Santa Monica on Tuesday 20th August. He was 95. He also directed more than 20 episodes of the TV Western series Rawhide.Throughout the 1950s and 60s Post helmed TV series including Danger in 1950, and going on to series including Perry Mason, The Rifleman and Gunsmoke. In the 1960s, he directed episodes of The Twilight Zone, The Defenders, Combat! and Peyton Place. The 1973 film Magnum Force was the first of the Dirty Harry sequels. Post also helmed features Beneath the Planet of the Apes, The Harrad Experiment and Go Tell the Spartans, as well as the TV series Rich Man, Poor Man — Book II and the 1986 TV movie of Stagecoach. Born in Brooklyn, Post was a theater usher before studying acting, but then moved into directing. He is survived by his wife Thelma, a daughter, a son, four grandchildren, a brother and a sister. Services were held 1 p.m. Friday 23rd August at Mt. Sinai Memorial Park, 5950 Forest Lawn Dr, Los Angeles. Clint's archive THE EASTWOOD ARCHIVE SHOP CLICK ABOVE TO ENTER @EASTWOODARCHIVE Search the Eastwood Archives Clint and Dina: News filters through of split as C... Clint Eastwood to Replace Steven Spielberg on ‘Ame... I'd recommend ACCESS THE GENERAL FILM ARCHIVE Now that's what I call a Movie Collection! Soundtrack Collector THE HORROR DIARIES

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The Immigrant Experience in Movies Andrew Dickos Overview The images and voices of characters challenged by change and adversity—personal, political, social, and above all, cultural—are expressed in these immigrant tales where, by recognizing the challenges of the outsider, we ultimately see ourselves. Each session runs approximately two-and-a-half (2½) hours. The Immigrant (1917), starring Charles Chaplin, Edna Purviance and Eric Campbell. Chaplin’s silent short comically shows the gallantry of sweet romance between two immigrant souls comforted by each other on an ocean crossing. I Remember Mama (1948), starring Irene Dunne, Barbara Bel Geddes, Oskar Homolka, Philip Dorn, Ellen Corby, Sir Cedric Hardwicke, Rudy Vallee and Edgar Bergen. One of the great immigrant comedy dramas, director George Stevens takes the heartwarming experiences of a Norwegian family in San Francisco during the early 1900s and shows us without cheap sentiment the loving ties that bind them. Based on Kathryn Forbes’s fictionalized memoir, this film offered Irene Dunne her last great screen role in Mama and gave Oskar Homolka as Uncle Kris one of the most poignant death scenes in American cinema. My Beautiful Laundrette (1985), starring Daniel Day-Lewis, Gordon Warnecke, Saeed Jaffrey and Shirley Anne Field. Director Stephen Frears captures the mood of Thatcher’s England in the lives and love affair of a street punk and his Pakastani boyfriend as they extend their détente by opening a laundromat. From a screenplay by Hanif Kureishi, this film put Frears on the map and made a star out of Daniel Day-Lewis. In America (2002), starring Paddy Considine, Samantha Morton, Sarah Bolger, Emma Bolger and Djimon Hounsou. Jim Sheridan’s semi-autobiographical tale of an Irish actor who moves his family to Hell’s Kitchen in the 1980s as he pursues his career shows us the binding strength of family love and the love of those they encounter and accept into their circle. A truly beautiful and limpid story. Thu, Apr 3 House of Sand and Fog (2003), starring Ben Kingsley, Jennifer Connelly, Shohreh Aghdashloo, Ron Eldard and Frances Fisher. One of the great films of the aughts, Vadim Perelman’s debut film, based on André Dubus III’s novel, is a tragedy of the American Dream. With every good intention, and every bartered compromise, Massoud Behrani seeks to establish his family’s life in America after the Iranian revolution only to cross paths with a young woman, broken by life and recovering from addiction, who changes his destiny. Kingsley is magnificent as Behrani and Shohreh Aghdashloo, as his wife Nadi, is luminous. The Edge of Heaven (2007), starring Hannah Schygulla, Tuncel Kurtiz, Baki Davrak, Patrycia Ziolkowska and Nurgül Yesilçay. German-Turkish director Fatih Akin’s film about the encounters in our lives that change our destiny speaks beyond our differences the basic human needs that connect all of us in love and death. A young German Turk goes back to Turkey to fulfill his father’s promise just as a German mother arrives there to retrace her recently killed daughter’s political activities. Both have become part of each other’s lives and have yet to learn how much. Fate becomes the unifying fraternity that binds us all in this great cosmic parable. Subscribe and Save! These events can be purchased together as part of the following subscription: Class Package: The Immigrant Experience in Movies. Andrew Dickos is the author of Street with No Name: A History of the Classic American Film Noir and Intrepid Laughter: Preston Sturges and the Movies. His third book, Abraham Polonsky: Interviews, came out last winter from the University Press of Mississippi. Legendary Film Stars Multiple dates/times are listed, click to see more information. The Cinema of Woody Allen: The Later Comedies

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You are currently viewing an archived back issue of Animefringe Online Magazine. Click here to read our latest issue! volume 3 issue 1 Chasing Otakuism Anime Briefs home / january 2002 / anime briefs Anime Briefs: January 2002 By Chris Foster, Ever Cheung, and Ridwan Khan Astroboy in 2004 Sony Pictures is to take advantage of its 'Imageworks' sector and is set to remake Anime classic Astroboy. The film is set to be Sony's first fully Computer-Generated feature and the chiefs at Sony are hoping this film will share the successes of huge CG hits such as Toy Story and Monsters Inc. The film is slated to be released in 2004. AIBO at Circuit City The Sony AIBO robotic dog will be sold in the United States through Circuit City. Previously, the metal pooch had only been available to American fans via Sony's online site. Circuit City stores in California, New Jersey, Texas, Georgia, Florida, New York, Massachusetts, Minnesota, Connecticut, Missouri, Maryland, Illinois, Virginia, Pennsylvania, Delaware, Kansas, Oregon, Colorado, Ohio, Indiana, North Carolina and Washington will carry the new Latte and Macaron models, as well as gold models and AIBO software. The End of VHS Pioneer Ent. is taking the first step towards a completely digital age by announcing that as of 12/31/01 they will be discontinuing all their older titles on the VHS format. If you don't have a DVD player yet, time to get hold of one! Free Card Captor Pencil Board Pioneer Ent. lived up to their promises when they announced the special gift to go with their upcoming very delayed release of Card Captor Sakura Vol. 4 on DVD (tech). A free mini pencil board will be included in the first 10,000 copies of the subtitled DVD as well as the standard bonus postcard. Metropolis Debut TriStar pictures has officially announced that on January 25th, Metropolis will see its American theatrical debut at the AMC Empire 25 theatre in Los Angeles, California. ADV's New Franchise ADV Films has announced that it will be releasing wallscrolls developed on their Anime franchises starting next year. The first series' to get the painted cloth treatment will be SiN, AD Police TV, Burn Up X, and Orphen. Sakura Memorial Packs SEGA has revealed that they will release Sakura Taisen game boxed sets in preparation of the Japanese DC release of Sakura Taisen 4. SEGA's last effort to please fans comes down to this: The Sakura Taisen Memorial Pack released on January 17 for 3800 yen will include a "memorial calendar." The Sakura Taisen 2 Memorial Pack released on February 7 for 3800 yen will include a "Memorial DVD." The Sakura Taisen 3 Memorial Pack released on March 7 for 5800 yen will include a "Memorial Music Box." Sakura Taisen 4 will debut in Japan in late March. Sakura Online Glitch After the release of Sakura Taisen Online, Sega of Japan received numerous complaints from fans regarding a glitch in the game that stops users being able to trade business cards in the game - stopping users from being able to find a specific user when playing online. The developers of the game, Overworks, are currently looking into the problem. Tokimeki Memorial 3 Numbers At the launch date of Tokimeki Memorial 3: The Promised Place, Konami announced that the Tokimeki Memorial series has sold over 3.55 million copies in Japan. About 200 fans gathered at an Akihabara game shop waiting to buy the game at its release. Onegai Teacher Series Info With a powerful and experienced anime production staff, a brand new love comedy will be making its way to the TV screen in Japan as one of the new series to break out in year 2002. Onegai Teacher is a story about the life of an alien observation officer Kazami Mizuho, disguised as a young and stunningly beautiful high school teacher. She was sent by the Galaxy Union to observe and learn about life on earth in secrecy, and her encounter with Kusanagi Kei, one of the students attending the school she works at. As expected from a romance comedy, besides our alien observation officer, the series also features many cute girls such as Herikawa Koishi, who is a close friend of Kei; a leader in their circle of friends, Misumi Kaede, close friend of Koishi with the hair color of a foreigner; and Morino Ichogo, the mysterious class president who hardly ever shows any emotions. Let's not forget, just like all successful anime series, of course there is a little mascot, Marie, who is also the bio-computer that runs the ship which our alien officer came to Earth in (and the only reason how Mizuho managed to stay 'normal' by Earth's standard...) Among the most well known names from a long list of staff members are the music group I've who is responsible for the music used in famous romance simulation games such as AIR and Kanon, and character designer Gouda Hiroaki, who is also responsible for directing the smash hit Ah! My Goddess the Movie and one of the original Bubblegum Crisis series. Actual production and planning will be carried out by Please!, an anime group that few know about. The series is scheduled to debut on January 10 at 6:30pm Japan Standard Time on the WOWOW network. For more information about this series and sample artwork, visit the Please! website at: http://www.please-please.jp/ Pada Pada Airship Adventure Set For TV There's a new anime based on the works of Jules Verne. Entitled Pada Pada Airship Adventure, it's scheduled to be broadcast January 2, 2002. It's going to be broadcast in High Definition format. A sneak preview including a "making of" , character information, and world background was aired on December 2. Twenty-six episodes are planned, scheduled for a late Saturday night airtime and an early Saturday morning rebroadcast. - i wish you were here - a Hit Leading the way into a new digital age, GONZO and Goo Japan (a Japan search engine, general information and entertainment website) have teamed up to deliver one of the biggest anime projects shown on BOTH TV and online via the internet earlier during the fourth quarter of 2001, a series entitled - i wish you were here -. Although many were doubtful about the actual realization of the project because of the large amount of technical support required, the series' success showed that streaming media holds an important role in the world of consumer entertainment. With ten episodes available for internet users thus far, - i wish you were here - is also being broadcast via traditional TV on the Kid's Station network. Directed by Mizushima Seiji, who also directed Chikyuu Bouei Kigyou Dai Guard, with music by Kawai Kenji in cooperation with Nihon Columbia; - i wish you were here - is a sci-fi adventure series about a certain virus outbreak in a fictional near future. Story began with the arrival of a mysterious meteor that came crashing down to earth in the state of Texas on April 2nd, 2000. The virus that was later give the code name M34 first infected some people who were rock-climbing in the hills near the area where the meteor fell. Because of the fact that the virus could hide inside a body for 30 days before it began to multiply, a large portion of the US was infected before the existence of the virus become apparent. As a countermeasure toward the crisis, a new special agency known as C.U.R.E. was created. By focusing - i wish you were here - on two of the members of the agency, Yuuji and Ai, the story takes viewers into the mysterious realm of nano and bio technology through one of the most illustrious battles in human civilization, to battle an enemy that we cannot see with the naked eye, an enemy within. For additional information and actual streaming download links of this series, please visit the official Goo Japan website at: http://e.goo.ne.jp/projecti/ Original Material � 1999 / 2002 Animefringe, All Rights Reserved. Comments / Questions?

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L.A. theater 'Long Way Go Down' Challenges Cast And Audience On Illegal Immigration Zayd Dohrn’s play, enjoying its West Coast premiere at L.A.’s Harold Clurman Laboratory Theater Company, challenges cast and audience alike on illegal immigration. L.A. Summer Musicals Now Casting Musicals "Bloody Bloody Andrew Jackson," "Nine," "Chicago," and others will be holding auditions in L.A. over the coming weeks. L.A. Actors Should Take Advantage of Open Calls Local casting directors say there’s an easy way for Los Angeles actors to land theater roles this summer: Attend an open Equity casting call. LA Stage Alliance Readies a Community Center The LA Stage Alliance, a non-profit arts group, is close to fully funding a community center that includes storage space, a lounge with free coffee, and Wi-Fi. L.A.’s Don’t Tell Mama Parts Ways with Artistic Director The West Coast branch of the famed “way station for people with big dreams” opened its doors Feb. 26. Ryan O’Connor, its artistic director, resigned effective March 12. Center Theatre Group Is Critics’ Choice Hosted by actor French Stewart, the 44th annual Los Angeles Drama Critics Circle handed out awards to the best of L.A. theater, lavishing love on a revival of "Waiting for Godot" and "War Horse." NYC’s Don’t Tell Mama Opens in L.A. New York’s cabaret venue Don’t Tell Mama has opened up its first new location in 30 years in Los Angeles and is holding auditions for singing waiters and bartenders. VS. Theater Company Readies World Premiere for April The opening of VS. Theater Company's first production in its new home has been pushed back as the ensemble cast four outside actors for its world premiere of "Cops and Friends of Cops." Doing L.A. Theater May Get You an Agent Guess what? Those tiny waiver houses doing great work? Casting directors are probably in the audience. L.A.’s Women’s Theatre Festival Going for ‘Perfect 20’ The annual exhibition of performance artists, which was founded by Adilah Barnes, an African-American solo artist, and Miriam Reed, a white solo artist, has long been a heaven for female actors, poets, and storytellers—particularly those of color.

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Why “How I Met Your Dad” Won’t Be On CBS This Fall What went wrong with the How I Met Your Mother spin-off? Meanwhile, a source told BuzzFeed that the project may be shopped to another network. Jarett Wieselman Follow CBS The cast of How I Met Your Mother (left), How I Met Your Dad star Greta Gerwig. If there’s another chapter in the How I Met Your [insert family member here] story, it won’t unfold at CBS. The network’s president of entertainment, Nina Tassler, told reporters Wednesday that the network had not picked up How I Met Your Dad, starring indie darling Greta Gerwig. “There were elements of the pilot that didn’t work out,” Tassler said of the How I Met Your Mother spin-off — which was once presumed a lock for the network’s fall schedule. “We tried to reach out and engage them in terms of them redoing the pilot. That’s not happening right now… I’m heartsick.” “We have an extraordinary track record of retooling shows,” Tassler added, citing The Big Bang Theory, which originally featured two female leads. “You run into these kinds of issues. You hope they can resolve themselves. They haven’t.” Produced by HIMYM’s Craig Thomas and Carter Bays, along with Emily Spivey (Up All Night), How I Met Your Dad was designed around another group of friends, but would this time chronicle a woman’s search for her husband. A source close to the project told BuzzFeed that the producers would have been more agreeable about a reshoot had CBS given How I Met Your Dad a series order as well. CBS’s option on the series expires tomorrow, which means studio 20th Century Fox Television, which produced the pilot, can shop the show elsewhere. BuzzFeed’s source indicated that other networks have already expressed interest in picking up the show, but did not disclose where the show might land. The most likely targets for a possible home, given the studio involvement, would be Fox, FX, and FXX. FX Networks currently has syndicated rights to How I Met Your Mother, which might make acquiring the spin-off particularly desirable to the cable network group, which launched the comedy-centric channel FXX last year. (FX did not immediately respond to a request for comment.) The news about CBS passing on HIMYD is particularly surprising, given that erroneous reports emerged last week suggesting that the show had actually been ordered to series, which CBS quickly denied. Story developing. “Mockingjay – Part 1” Has Lowest “Hunger Games" Franchise... Benedict Cumberbatch's Left Shoulder Is Now Back In... Why "How I Met Your Dad" Won't Be On CBS This Fall http://www.buzzfeed.com/jarettwieselman/why-how... What went wrong with the How I Met Your Mother spin-off? Meanwhile, a source told BuzzFeed that t... 19 Times “How I Met Your Mother” Restored Your Faith In Love Why “Bad Teacher” Won’t Be The Dirtiest Show On TV 35 Hot New Faces Of Fall TV 8 New Fall TV Shows To Be Excited About, 10 To Give A Chance, And 7 To Avoid What Happens If You Text Your Parents Pretending… The Difference Between Freshman Year And Senior… Tagged: how i met your dad, carter bays, cbs, cbs passes on how i met your dad, craig thomas, emily spivey, greta gerwig, how i met your mother, television, tv, upfronts Facebook Conversations

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How Man Of Steel Stopped The Shazam! Movie By Eric Eisenberg 2013-12-26 17:23:53 comments It was all the way back in 2006 that director Peter Segal became attached to direct the DC Comics movie Shazam!, a superhero film about the character best known as Captain Marvel. The project made a good amount of progress building towards production, landing John August to pen the script and Dwayne Johnson to play the villainous Black Adam, but despite its efforts the film wound up falling in Hollywood's dreaded development hell anyway. Given how popular comic book movies are nowadays, it's strange to think that a project as high profile as Shazam! could fall apart, but now the director has revealed to Coming Soon exactly what happened behind the scenes. While Black Adam may have been Captain Marvel's big screen foe, the character's biggest enemy behind the scenes of Hollywood is Superman. According to Segal, Captain Marvel has always had a problem co-existing with the Man of Steel, as the two characters have very similar powers. As a result, any time that a movie about him has been in development it has been undercut by the guy in red and blue tights. Said the filmmaker, "As long as Superman stays hot in the market place, there seems like a little bit of a crossover between the two characters. After Bryan Singer's Superman Returns, it seemed like there was a moment in time where Shazam! was going to see the light of day. That's when you heard those stories. Now that Superman is being invigorated and going up against Batman, I think it's difficult for DC to figure out how to launch this character in the wake of Superman's resurgence. The director also notes that back before DC Comics owned Captain Marvel the company actually sued the original owners for stealing their idea for Superman (the latter was introduced one year before the former). Both characters can fly, are invulnerable and have both have super strength and speed, so it's not hard to understand the comparisons. Their origin stories, however, could not be more different. In the comics, Captain Marvel was born as Billy Batson, a 12-year-old homeless newsboy. One day he is led into a subway tunnel and taken to the lair of a great wizard named Shazam who bestows upon Billy a great gift. By shouting the wizard's name, Billy becomes Captain Marvel, an adult superhero with the abilities of Solomon (wisdom), Hercules (strength), Atlas (stamina), Zeus (power), Achilles (courage) and Mercury (speed). It may sound like a more kid-friendly story, but Segal says that his feature take was a bit more mature. Said the director, "At its core, it's a lot like Superman. There's this boy trapped inside of a superhero's body. He's still a boy inside, so there's this opportunity to play a lot of humor with the action. Originally, Stan Lee brought me Fantastic Four a number of years for that very reason. I always have the question when people bring me superhero properties, 'Why me?' With Stan, he said, 'It's because there's a sense of humor within all Marvel characters.' These characters are flawed and, within those flaws, there is humor. When Toby Emmerich came to me with Shazam!, it was because of those same reasons. To draw from that humor and to mix it with great action and pathos. I've always loved Shazam!, but I don't know if it's going to see the light of day anytime soon." Perhaps we may never see a solo Captain Marvel movie, but perhaps he could show up somewhere down the line in the developing DC Cinematic Universe? Given the love for the character out there, it would be cool to see. Shazam Might Not Be Connected To The DC Universe, Here's Why What Christopher Nolan Refused To Let Zack Snyder Put In Man Of Steel The Craziest Thing About Tim Burton's Canceled Superman Project Batman v Superman: What We Know So Far About Dawn Of Justice

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Creating The English Language VersionHeading the effort to bring "Spirited Away" to English-speaking moviegoers were several of today's top animation filmmakers –executive producer John Lasseter, director Kirk Wise and producer Don Ernst. Together this trio was responsible for crafting an English language script that would be faithful to the Miyazaki original, and casting an ensemble of vocal talents that would retain the flavor and entertainment of the Japanese version. Lasseter explains, "When Disney decided to bring ‘Spirited Away' to America, they got the absolute best people to help with the English language version. Don Ernst, the producer of ‘Fantasia/2000,' did a great job of bringing the fantastic team together. I worked closely with my good friend and colleague, Kirk Wise, who was in charge of directing the English voice cast and supervising the writers to get the words to fit with the mouth movements that were animated. Kirk directed them in such a beautiful way and the result is perfectly natural. "We all had the same goal: to protect Miyazaki's vision and bring it, in its complete intact form, to the American audiences," adds Lasseter. "We're really proud of the results. We didn't cut it; we didn't change anything about it. We just translated the script from Japanese to English, made sure that it was all in a language we could understand, and cast the right actors." Disney Feature Animation creative affairs executive Pam Coats adds, "When you watch a subtitled movie, you're really focused on following the dialogue. With this English language version, the audience is able to listen to the dialogue and not have to focus on the bottom of the screen. And with a Miyazaki film, it's important to see everything because he does visual things that fill up the screen. John, Kirk and their entire team lent their expertise to creating a version of the film that protected the intent of Miyazaki's story and translated it in a way that English-speaking audiences could fully appreciate." Kirk Wise, a veteran Disney filmmaker who directed (with partner Gary Trousdale) "Beauty and the Beast," "The Hunchback of Notre Dame" and "Atlantis: The Lost Empire," recalls, "Casting is half your battle. If you cast right, everything falls into place. I think the casting choices really made the process easy and we ended up with a great ensemble of actors. "We compiled lots of lists of actors and ended up casting the film the same way we would a traditional animated film shot in the States," adds Wise. "Usually we would take a tape of the actors we were interested in and play it with footage of the character. You have to be able to hear and see if the marriage of voice and picture is going to work. It's a very instinctual thing and when you work in animation long enough, you start to develop a feel for it. Don (Ernst) and I did the same thing when we worked together on the Disney live action feature ‘Homeward Bound.' We'd show footage of the cat and listen to a track of Sally Field from ‘Soapdish.' That really clued us in as to whether this voice would be a match for what you saw on-screen. "Daveigh Chase was so wonderful as Lilo in ‘Lilo & Stitch' that she kind of shot to the top of the list for Chihiro," he observes. "We played her tracks against the picture and it just fit. She seemed the right age and she had a real handle on the character. Daveigh is a terrific actress and she was able to match the mouth movements quickly. She took to it like a duck to water. "Suzanne Pleshette had this wonderful throaty quality and a great sense of humor. She brought a great theatricality to the twin roles of Yubaba, the greedy sorceress, and her infinitely more compassionate sorceress sister, Zeniba. Susan Egan, who had voiced the character of Meg in ‘Hercules,' provided a very natu Next Production Note Section � 2014 2�, All Rights Reserved.

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Coffeehouse Contemplative Liturgy and Prayers Pop Culture Roundup We watched Underworld: Awakening this week, the fourth installment of the Underworld series. After taking a break so that the third movie could tell the origin story of the vampire/werewolf feud, Kate Beckinsale is back as Selena, who very shortly into the movie is captured and cryogenically frozen by humans, the new foe of both species. She is eventually able to escape, only to find that she has a daughter, who is of great interest to everyone for various reasons. As Underworld movies go, it had some great effects and action sequences, was sometimes a little heavy on the gore, and never let the pesky plot get in the way too much so that we could focus on the two groups either fighting or sexily brooding. Mindless entertainment. We also took Coffeeson to see Madagascar 3. I'm not sure we ever saw the second one, but I digress. By this point, the foursome of animals are trying to get back home to their zoo in New York, with help from their lemur and penguin friends (inasmuch as they help, anyway). In order to do so, they end up stowing away on a circus train, and eventually need to figure out how to run the circus left to them by the humans. On top of that, they're being pursued by a determined French animal control officer (Frances McDormand), who is very interested in having a lion's head mounted on her wall. This movie was as clever and hilarious as the previous two, if not moreso. It had great comic timing and plenty of heart, and includes a song that the three of us have been singing all week: The new season of True Blood started this past Sunday, picking up right where the last one left off with Sookie cradling her best friend Tara's limp body in her arms. Fortunately, a vampire not named Bill or Eric happens along and agrees to help them, but it doesn't turn out the way Sookie expects. In the meantime, Bill and Eric are on the run since they staked one of The Authority's big agents, and that goes about as well as expected by the end. Plus the werewolves are mad at Sam for what happened to their pack leader. This episode in large part served to remind viewers where we left off and to tease where we're heading. My big gripe: no Christopher Meloni yet, as his addition to the cast is a big reason for my continued interest in this show. Dave Matthews Band came to our area on June 3rd, so of course we went. Here's the setlist: Sweet Proudest Monkey SatelliteSeek UpDon’t Drink the WaterCorn Bread If OnlyFunny The Way It IsStay Or Leave Jimi ThingMercy Out Of My Hands You Might Die TryingEverybody Wake Up EverydayTime Bomb Two Step__________________ A Whiter Shade of Pale Halloween Tripping Billies They played two songs from their upcoming album ("If Only" and "Mercy"), which was awesome. They also played three songs in a row off of Stand Up, which for me was maybe two too many. I also think it was the first time I've seen them in concert when they've played anything off of Everyday. "Jimi Thing" was especially fun because Dave just let us sing the verses and popped in for the chorus. All in all, there was something more mellow about this show: the first four songs are slower or more reflective in tone, and "Mercy" into "Out of My Hands" are both slower as well. It was a good show; just a different energy about it. Besides the concert, I picked up DMB's very first album this week, Remember Two Things. All these years, I thought this was just a bunch of live versions of songs they'd released on later albums. Then I finally looked more closely at the track list and realized that that's only the case for maybe four of the ten songs. The others are studio versions of some long-time favorites ("One Sweet World" and "Seek Up") and little-played gems ("Minarets"). So I've been playing catch up a little bit. Some fan I am. I also need to say something about Blind Pilot, who opened for DMB. I wanted to listen to some of their stuff beforehand so as to get an idea of whether I'd want to sit around for their set. The album I listened to, 3 Rounds and a Sound, didn't hold my interest very well for some reason. So I wasn't feeling very motivated to make it into the pavilion in time to hear them. A few songs into their set, we did find our seats, and that's when I realized that they were using an upright bass. And a trumpet. And a banjo. And a dulcimer. And a Hammond organ. And a ukelele. And that's when I decided to give them another try. Well played, Blind Pilot. Here's a live version of Blind Pilot's "Half Moon:" brewed by Rev. Jeff Nelson Flavors: Friendly Notice Welcome to the independent online ministry of Rev. Jeff Nelson. These views are mine and don't represent anyone else. I reserve the right to delete spam or offensive content in comment sections. Peace be with you. Brewed in Ages Past Small Sips Hugs Like a Champ Being Out There Shepherding the Shepherd Vintage CC: There Is No Magic Bullet Small Sips Makes People Act Funny Beyond the Blog Clericals and Vestments For No Particular Reason Funny If It Wasn't So Sad My Journey (so far) Pop Stories Posts That Prove How Sick I Am Quotidian Small Sips Vintage CC Coffee Alternatives A Church for Starving Artists Associated Luke Beauty Tips for Ministers Brant Hansen Confessions of a Funeral Director Nadia Bolz-Weber Naked Pastor Reese Roper Rethinking Youth Ministry Tertium Squid

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CLICKING ON IMAGES PROVIDES LARGER IMAGES Follow Comics Continuum on Facebook. CLICK HERE. SATURDAY, JULY 14, 2012 CCI: PHINEAS AND FERB: MISSION MARVEL The Disney Channel has announced that production is underway on Phineas and Ferb: Mission Marvel, an animated adventure that will assemble characters from Disney's Phineas and Ferb, with those from Marvel, including Spider-Man, Iron Man, Thor and Hulk. For a video featurette on the project, CLICK HERE. The television special, premiering in summer 2013 on Disney Channel, will mark the first crossover animated television special for Marvel and Disney properties. Working closely with Marvel's creative team, Phineas and Ferb creators and executive producers Dan Povenmire and Jeff "Swampy" Marsh are designing Marvel's super heroes and super villains including Red Skull, Whiplash, Venom and M.O.D.O.K. to fit the Danville world of the series. CCI: ARROW Kelly Hu will be playing China White in The CW's Arrow, it was revealed at the show panel at Comic-Con International on Friday. Arrow's pilot was shown again and then stars Stephen Amell and Katie Cassidy and writers Andrew Kreisberg and Marc Guggenheim and pilot director David Nutter fielded questions from a moderator. To watch highlights from the panel, CLICK HERE. CCI: THE WALKING DEAD: SEASON 3 TRAILER In conjunction with its panel for Comic-Con International on Friday, AMC has released a trailer for the third season of The Walking Dead. To watch the video, CLICK HERE. VALIANT ENTERTAINMENT FOR OCTOBER Valiant Entertainment has released its solicitations for October. For a rundown, with images, CLICK HERE. 12-GAUGE COMICS FOR OCTOBER * Claudio Sanchez and Evil Ink Comics have announced that they have partnered with Stephen Levinson's Leverage and Mark Wahlberg to develop the graphic novel series The Amory Wars into a live-action feature film. Sanchez, the lead singer of progressive rock band Coheed and Cambria, originally created the story to serve as inspiration for the group's albums. He later expanded the mythology to other mediums, including comic books and graphic novels. In 2010, Sanchez collaborated with Peter David to write a full-length prose novel, Year of the Black Rainbow, which told the origin story of the series, and was released with the band's album of the same name. The Amory Wars is an epic fantasy set in a futuristic alternate universe. The series chronicles the rise of superhuman dictator Wilhelm Ryan, and the one family that could hold the key to liberating the world from his tyrannical reign. Coheed and Cambria are set to release a new studio album this fall. * Cast for Cartoon Network's upcoming series Beware the Batman will include Anthony Ruivivar as Batman, Sumalee Montano as Katana, Kurtwood Smith as Commissioner Gordon and J.B. Blanc as Alfred. OCTOBER SOLICITATIONS ROUNDUP For previously posted October solicitations, click on the publishers' names below:

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Winner of more CableAce awards for excellence in cable programming than any other basic cable network for programs like Biography, Ancient Mysteries, and 20th Century. A&E provides a direct line to hard to reach affluent male and female demos. Animal Planet brings viewers face-to-face with the most fascinating creatures on earth through nonstop entertainment for animal lovers of all ages. Amazing real-world dramas, world-class documentaries, pampering pet care, and cool kid's shows that viewers can't get enough of. BET The nation's first and only cable television network providing a platform for quality programming highlighting African American culture. BET represents the best in entertainment, music video, news, public affairs, jazz, gospel, and college sports. The Cartoon Network is the first and only 24 hour all-animated network. It offers the vast audience of cartoon lovers young and old the best cartoons ever made. The network has the world's largest cartoon library - and it keeps getting bigger through the constant pursuit of more animation and the simultaneous development of new and innovative original programs. CNN The network of record for breaking national and international news as well as financial, sports, fashion, medical, and lifestyle programming. CNN is where network viewers turn to find the most comprehensive, up to date information about the state of their world. By providing viewers with a front row seat to the nations most interesting trials, Court TV has established itself as the brand name in legal information. The network's dedication to covering the courtroom process from the opening statements to the verdict has enabled Court TV to educate millions of people about the reality of the American justice system. The only all comedy network! Comedy Central has lifted comedy programming to a higher level with it's new lineup of breakthrough original hits and ground breaking acquired shows. Programs such as South Park and Win Ben Stein's Money are earning record breaking ratings. By providing an innovative and irreverent perspective on politics, entertainment and sports, Comedy Central appeals to an affluent, educated, and highly concentrated adult audience. CNBC CNBC is regarded as a global leader in reporting financial news, stock market action and emerging business trends. During the day, CNBC delivers highlights of the world's business day, live as they happen. At night CNBC delivers a lineup of major talk show talent including Geraldo Rivera, Chris Matthews, Tim Russert, and Brian Williams. If it happens in business, viewers can see it on CNBC. The Discovery Channel The only network devoted exclusively to providing high-quality nonfiction entertainment. Discovery draws viewers into a living connection with a vibrant, diverse, and intriguing world, while drawing among the highest concentration of men among all cable networks. E! Entertainment Television E! Entertainment Television is the only 24 hour dual feed network devoted entirely to celebrities, entertainment and pop culture. E! features daily entertainment news gossip, fashion, variety programming and specials. E! goes behind the scenes to show the making of movies, television shows, Broadway hits and musical events. With shows like Howard Stern, Talk Soup, and Celebrity Profile, E! attracts the hard to reach, upscale young adult viewer all day, every day. ESPN Americas largest cable network, offering the widest and most diverse schedule of sports programming available. Programming includes Sunday Night NFL, Major League Baseball, Indy Car, March Madness, Sportscenter and more. ESPN2, is a differentiated 24-hour sports network that features more than 3,800 hours a year of live and/or original sports programming targeting young and light to moderate sports viewers, yet appeals to all sports fans. Fox Family Channel Fox Family Channel is the contemporary family cable network for the new millennium. Fox Family Channel targets children during the day with an array of animations and live-action fare in branded blocks and young adults in prime time with original series, comedies, movies and specials. The Fox News Channel is a 24-hour general news service devoted to delivering fair and balanced coverage of the day's events. Weekdays FNC offers 17 hours of live programming, including one-hour programs in the evenings that take an in-depth look at the day's events and features newsmaker interviews. Backed by the global resources of the News Corporation, the Fox News Channel provides viewers with live news updates, every 30 minutes. F/X FX features marquee sports events, produced by FOX Sports, distinctive original programming, hit series like The X-Files and NYPD Blue, and top films from Twentieth Century Fox, as well as other major studios. FX has a broad-based demographic appeal, with strong success with Adults 18-49. The most highly distributed Hispanic cable network in the U.S., Galavision provides viewers with programming for the entire family: Top rated Novelas, soccer, baseball, news, movies, videos, variety, and specials. "The Official Channel of Every Millenium", The History Channel is devoted to fulfilling America's passion for history by providing the whole family with a comprehensive and engaging look at history throughout the ages. The History Channel offers original documentaries, epic movies and mini-series, and delivers on it's promise of bringing the past to life. Home & Garden Television Home and Garden Televisions is the only cable network with programming devoted exclusively to everything you love about home. Designed to appeal to all ages and lifestyles, HGTV features 24 hours of high-quality programs to appeal to many diverse audiences who share a common love of their home and its surroundings. Viewers get helpful and informative tips on everything from building a porch and growing roses to remodeling the kitchen or planning a party. Headline News is the perfect information source for the way we live our hectic lives. Every 30 minutes, Headline News delivers a concise, fast-paced newscast that lets people catch up to the world on their own schedule. It's the ideal format for people on the go, busy professionals, and the people hard to catch with tradtional media. The Learning Channel features world class entertainment on real history, science, true-life adventures, lifestyles and how-to programming. Lifetime For more than a decade, Lifetime TV has enriched the lives of women with programming ranging from award-winning original movies and exclusive entertainment specials to acclaimed comedy, drama and information series. Delivers the highest, most desirable female demographics of women 18 - 49 consistently throughout all day parts with the addition of working women during prime time. Public outreach marketing campaigns and numerous added value sponsorship opportunities make Lifetime an excellent choice for advertisers. MSG Network The very best in New York sports. Knicks Basketball, Rangers Hockey, Yankees Baseball, MSG Sportsdesk, Jets and Giants Football reports as well as golf, soccer, wrestling, and College Basketball. MSNBC is a unique 24 hour cable and Internet news service that combines the broadcast journalism expertise of NBC News with Microsoft's breakthrough technology to deliver the news viewers want, when they want it and how they want it. MTV Video, Music, and More. Where teens and young adults continually turn to find a high energy mix of music videos, concerts, news, specials, and regularly scheduled feature programming, including sports, fashion, entertainment, comedy and concert specials. MTV is where you'll find those hard to reach 12-34 year old big spenders ($700 billion annually). MTV is programmed in a unique style to reflect how they feel, how they talk, and how they live. MTV puts advertisers in the right environment to fit their target. Nick At Night Nick at Night is home to classic TV you can trust. The Brady Bunch, Happy Days, Laverne and Shirley, and The Wonder Years are programs filled with great stories and memorable characters. Nick at Night's safe, wholesome environment is the place where kids and adults come together to watch good, classic TV. Nick at night has the highest family viewership in all of cable. Nickelodeon Nickelodeon's mission is to connect with kids and help kids connect with their world through entertainment. Nick knows kids deserve as rich and varied a menu of TV viewing options as adults, so as the #1 network for kids, it offers everything from game shows and comedies to award winning animated programs, like Rugrats, consistently one of the highest rated shows on cable. Sci-fi Channel Sci-Fi takes television to the edge with science fiction, fantasy, classic horror, classic sci-fi tv like the original Star Trek, and reality based programming. The Sci-Fi viewer is a loyal viewer, actively and emotionally involved with the programming, and is receptive to new products and innovations. TBS Superstation TBS offers broad based family oriented programming including movies, professional sports, special events programming, classic and contemporary comedies, children's shows and award winning documentaries. TBS is the most watched network on cable by viewers of all ages. TNT continually delivers popular programming for viewers of all ages. Offering a wide variety of programming including TNT Original Movies, Prime Time NBA coverage, popular series programming like ER, and a strong kid's lineup. TNT's wide range of programming lets advertisers target and reach a demographically desirable audience across all dayparts. The Travel Channel is the best source for travel ideas in and in depth programming about the people, places, and cultures of our world. The Travel Channel has an aggressive commitment to acquire and produce the very best in original adventure and travel programming designed to attract an upscale audience that can and will frequent advertiser businesses. TV Food Network Food Network is a lifestyle for anyone who likes to eat and entertain. TVFN invites viewers "into the kitchen and beyond" for a look at food as entertainment and as daily lifestyle. TVFN serves up the latest cooking and food trends, takes a closer look at food and cuisine from around the world, explores the ritual of dining out and offers the latest in wine, spirits and brewing. Food network features unique cooking game shows like Ready, Set, Cook and the incredibly popular Emeril Live!. The Nashville Network The Nashville network is the number one source for country music entertainment and country lifestyle entertainment programming, offering original concert and variety series, entertainment news, interviews with top country artists, as well as motorsports, rodeo, and outdoor programming. Nick at Nite's TV Land Nick at Night's TV Land is the first 24 hour network of favorites inspired by the home of classic TV, Nick at Nite. TV land brings you the most popular series in television including classic drama, westerns, sitcoms and variety shows from the 50's through the 80's. USA Network USA is the top-rated basic cable originated network featuring quality programming for every member of the family. USA's lineup is a popular blend of original series, USA Pictures original movies, exclusive suspense and dramatic series, high-profile sports, and animated children's programming. VH-1 VH-1 is the network active, upscale adults turn to to keep connected to the music and music information they love. With music videos and exciting series featuring the best music and most popular artists from yesterday, today and tomorrow, VH-1 delivers the adult consumer advertisers love to reach. The Weather Channel The Weather Channel delivers unparalleled live coverage of weather 24 hours a day, 365 days a year. The Weather Channel is the premiers source for local, regional, national, and international weather Back To Ad-Supported Cable Networks

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The Princess and the Frog? Yes and Neaux by Russell D. Moore As one who grew up right across the state line from New Orleans and spent most of my young life romping through its streets and marshes, I took my family to see Disney’s latest animated film “The Princess and the Frog,” set in the Crescent City and the bayous around it.Since then several have asked whether it’s a thumbs-up or a thumbs down. I’ve got mixed feelings.Here’s the upside:1.) It’s in many ways a typical Disney film, with all that means.The visuals are good, and the storyline is entertaining.2.) This is the first Disney animated film with an African-American protagonist, and that’s a long time coming.The film introduced some of the racial and class tensions that have existed historically in the crescent city (and all around the country) with a clear sense of the “arc of history bending toward justice.”3.) It’s good to see New Orleans as the setting, especially now nearly five years after the catastrophe of Katrina. Yes, it’s set in the past, but much of what is gloried in here is strikingly present (and future).Those who predicted the death of New Orleans after Katrina (and I heard many such prognostications) know nothing of New Orleans.4.) The film recognized the dark side of the demonic. The voodoo villain “The Shadowman” uses his “friends on the other side,” channeling their power. Ultimately, as is always the case, he is their prey (see King Saul of old).Flannery O’Connor once said of New Orleans: “If I had to live in a city I think I would prefer New Orleans to any other—both Southern and Catholic and with indications that the Devil’s existence is freely recognized.” I rarely argue with Ms. O’Connor, and certainly won’t on that point.The film also recognizes (if shallowly, of course) that voodoo is a complex issue, with many practitioners seeing both a “light” and a “dark” side to it (I don’t accept any good aspect, but that’s how some, especially in some Haitian communities, have seen it).5.) The movie offered a hat-tip to the dizzying array of New Orleans musical styles (jazz, gospel, zydeco, etc.). It was a Disneyfied version, to be sure, but if it gets some moviegoers to discover the real stuff, I’m all for that.But here’s what I hated:1.) It’s in many ways a typical Disney film, with all that means. The template is there. Jiminy Cricket is a lightning bug this time; the “Jungle Book” bears and wolves are alligators, etc.2.) Whatever committee was in charge of accent development clearly never went to New Orleans in their lives, or, if so, simply overheard tourists in the French Quarter and went home. Instead of New Orleans, Cajun, and Creole (and there is a difference) accents (and there are many), t

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Dana Eagle from HBO and Comedy CentralStarring: Dana Eagle THE LATE LATE SHOW, COMICS UNLEASHED, COMEDY CENTRAL, HBO, January 18th, 2014 at 7:00PM Additional Show Dates :01/17/14 8PM | 01/17/14 10PM | 01/18/14 9PM TICKETS: $20.00 | FLYER Miss Eagle appeared in an ABC Pilot with Jason Alexander and was the host of Comcast On Demand's UNConventional. She has been seen on The Late, Late Show with Craig Ferguson, Comedy Central and Byron Allen's Comics Unleashed, following which she became a contributing writer. She is most proud of the unique experience performing throughout Iraqi bases for the troops. She was showcased in HBO´s US Comedy Arts Festival in her solo show, Stones From Glass Houses followed by the second in the series, Mood Disorders: A Light-Hearted Romp Through Crippling Depression, featured at the Los Angeles Women´s Theatre Festival. She recently completed a pilot for the E! Entertainment Network, and has been seen in a series of memorable commercials beside Jay Mohr and football legend, Boomer Esiahson.Every Friday and Saturday night Flappers Comedy Club- Claremont presents live Comedy Entertainment. Fresh from the Packing House. Plenty of Free Parking and Lots of Laughs. Shows will run with major headliners every weekend. With occasional Charity Fundraising Events. We have amazing Flat Iron Griller Sandwiches, Wings, Salads, and Desserts. Also still celebrating the repeal of Prohibition we are proud to serve you BEER AND WINE with your meal. FREE PARKING at the parking structure at the corner of First and Indian Hill. Pre-Purchase ticket suggested for guaranteed seating. WEBSITE | EPK | BOOK Also Starring: Host/MC Jeff MacKinnon Feature JC Currais ROOFTOP COMEDY Born and raised in Miami FL. Currais began performing stand up comedy while attending college at The University of Florida. His high energy performance style and outrageously quirky material gained Currais some local notoriety and a number of high profile shows which included opening spots for comedians like Dan Cummings (Comedy Central) and Finesse Mitchell (Saturday Night Live). 2009 marked Currais´s decision to pursue comedy full time. Currais now performs in Comedy Clubs, bars, colleges and other venues across the United States. He has been featured on ABC, FOX, Rooftop Comedy, The Independent Alligator, and Orlando Magazine. He has opened for the likes of Pauly Shore, David Allen Greer, Adam Hunter, Steve Byrne and Ralphie May. His persona is as big as his imagination and you never know where the show will end up when this man-child is the ring master. Comedian Nick Youssef FOX, NBC, WEBSITE | | BOOK

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10 Random Facts You Didn't Know About Elvis Presley Elvis Presley fans are probably the greatest fans in the world. Today marks the 34th anniversary of The King’s passing and thousands of fans traveled to Graceland to celebrate. Last night an estimated 15,000 to 20,000 devotees trekked to Graceland in Memphis, Tennessee and gathered at Presley’s home with candles, flowers and other items to leave at Elvis’s gravesite. Some fans even arrived in sideburns and pompadours in honor of the late singer. This candlelight vigil is the main attraction during “Elvis Week” which is held this time every year since he died on August 16, 1977. Most people know something about Elvis Presley (he wore a pompadour, he sang a song about a “Hound dog,” and he did that cool dance with his wobbly knees) but here are 10 of the weirdest things you didn’t know about The King of Rock N’ Roll. 1) His entourage was referred to as the Memphis Mafia. All members wore diamond and gold rings with the letters TCB imprinted which stood for “Take Care of Business.” Daaaannnnngggg. He wasn’t joking about “Jailhouse Rock.” 2) He made 31 movies in his lifetime. Imagine 31 precursors to the Justin Bieber 3D film. 3) Elvis was blonde for most of his life. He started dying it black to appear edgier. 4) Sometimes in the early 1960’s Elvis adopted a chimpanzee named Scatter. Apparently Scatter liked to look up women’s skirts. Pervy monkey. 5) Despite his huge worldly following, Elvis only performed 5 shows outside the US and all of them were in Canada. The only time he stepped foot on British soil was during a layover. 6) Elvis was a direct descendant of Abraham Lincoln’s great-great grandfather and Elvis was a distant cousin of Jimmy Carter. How about that for a family tree? 7) When he was 11 he purchased his first guitar, he wanted a rifle but his mom persuaded him to buy a guitar instead. 8) Elvis’s manager was a small-time crook. Before Colonel Tom was managing Elvis, he would paint sparrows yellow and sell them as canaries. 9) Occasionally when performing, Elvis would change the lyrics to his songs and he changed the lyrics of “Are You Lonesome Tonight” from “Do you gaze at your doorstep and picture me there? To “Do you gaze at your bald head and wish you had hair?” 10) Actor Nicolas Cage, who was briefly married to Elvis’s daughter Lisa Marie Presley, was the only person aside from Presley’s immediate family to see the inside of Elvis’s Graceland bedroom. Music & MoviesGarth Brooks

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Brian Helgeland & Robert Redford Team To Make Jackie Robinson Biopic Daniel Hubschman Apr 07, 2011 | 5:30am EDT Hollywood has produced some wonderful films set in the world of Major League Baseball, but many of them have been works of fiction. Bull Durham comes to mind, as does Field Of Dreams and The Natural, but in my opinion some of the best stories that can be told about America's Favorite Pastime are the one's about the real-life sluggers. This September, Sony and director Bennett Miller (Capote) are bringing audiences Moneyball, a drama about the Oakland Athletics' GM Billy Beane, and while the film stars Brad Pitt, Phillip Seymour Hoffman and Robin Wright Penn, it faces the challenge of centering on a relatively unknown figure. Luckily for Robert Redford and writer/director Brian Helgeland (L.A. Confidential), their new joint effort will focus on one of the most well-known and respected baseball players of all time - Jackie Robinson. The LA Times is reporting that the duo has struck a deal to collaborate on this ambitious biopic, which Redford has been trying to get made for years. He'll co-star in the film, alongside an as-yet-uncast actor who'll play Robinson, as Branch Rickey, the Brooklyn Dodgers executive who discovered and signed the future star. The film is said to focus less on Robinson's role in breaking the color barrier in the MLB and more on his relationship with Rickey, who scholars believe integrated baseball for reasons of both idealism and economics. On their complex friendship, Redford was quoted saying, "no one really knows the Rickey part, the political maneuvers and the partnership they had to share. It's the story underneath the story you thought you knew." Helgeland will write and direct the untitled film, though its script has already seen Redford and other scribes like John Adams' Kirk Ellis. Production is obviously way off for now, as there are many details that must be sorted out first - chief amongst them being choosing the right actor to play the legendary Robinson. I've long felt that the story of the rise of the Dodgers, from being constantly defeated by the New York Yankees at the World Series from 1947 through 1955, when the team finally beat the Bronx Bombers, is the ultimate baseball underdog tale and Robinson's story fits right into that period. Though I'd rather watch a rousing, decade-spanning rags-to-riches story about one of the most beloved teams in professional sports, Robinson's life is long-overdue for the big-screen treatment and I'm very excited that this film is finally moving forward. As for who should play Robinson, my pick is Chiwetel Ejiofor, not necessarily because he's the best physical match for the slugger (though with modern make-up practices I could probably play Robinson), but because I strongly believe that there's nothing this fantastic British actor can't do. Still, I want to hear your opinions on who should take on this prized part. Sound off! Source: The LA Times Tags: Jackie Robinson, Robert Redford, The Natural, Field of Dreams, Brad Pitt, Brian Helgeland, John Adams, Chiwetel Ejiofor, Kirk Ellis More Movie News ‘Elyisum’ Adds William Fichtner Under the Radar: Dirty Devils and Crazy Cars

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Icelandic filmmakers are industrious and creative, and have made Icelandic cinema an important part of both Icelandic culture and the Icelandic economy. The film industry is thriving and produces several films each year. Iceland's scenic landscape is also a popular location for shooting big budget Hollywood productions, such as Die Another Day, Journey to the Centre of the Earth, Batman Begins and Flags of our Fathers. Icelandic authorities also provide a generous refund policy on production costs for foreign film makers. The Film in Iceland agency helps foreign film companies who are looking to shoot in the country. Several Icelandic filmmakers have gained international recognition, such as Friðrik Þór Friðriksson, whose film Children of Nature was nominated for an Academy Award for Best Foreign Film in 1991. Dagur Kári's full length debut, Nói Albínói received critical acclaim and was nominated for the European Film Awards in 2003. Dagur Kári has gone on to make movies such as The Good Heart. Another successful Icelandic filmmaker is Baltasar Kormákur, who has turned his Icelandic hits like 101 Reykjavík into a fledging Hollywood career. But the biggest name in Icelandic film industry remains Sigurjón Sighvatsson, producer, whose long filmography includes such varied titles as Beverly Hills 90210, Zinedine: A 21st Century Portrait, to cult favorites such as Wild At Heart. Lately, Icelandic television production has been on the rise. Children’s television programme LazyTown has also seen unprecedented success abroad, with stations in dozens of countries around the world broadcasting its message of living healthy lifestyles. The Night Shift, a sitcom about the hapless lifes of the night shift personnel at a petrol station, has received critical acclaim and been broadcast in several European countries, while a US remake is in the works. RelatedIceland Cinema Now The National Film Archive Film in Iceland Icelandic Film Centre Literature.is What's on The Iceland Symphony's Christmas concerts 13.12.2014 London Philharmonic Orchestra 18.12.2014 The Reykjavik International Games 16.01.2015 Dark Music Days 29.01.2015 Sónar Reykjavik 12.02.2015 Search all events Be the first to find out. Our monthly newsletter provides all the latest news, info, and events Promote Iceland Sundagarðar 2 104 Reykjavík Tel. 354 511 4000 Fax. 354 511 4040 Inspired by Iceland Invest in Iceland Visit Iceland Cruise Iceland Meet in Reykjavík Be friends with Iceland Email Invest.is Send a friend

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Le Petit Soldat "Le petit soldat" - War During the Algerian war for independence from France, a young Frenchman living in Geneva who belongs to a right-wing terrorist group and a young woman who belongs to a left-wing terrorist ... See full summary » Anna Karina, Michel Subor, Henri-Jacques Huet | 6 Filmmaking Tips from Jean-Luc Godard FilmSchoolRejects.com Nyff to host Godard tribute ScreenDaily Movies This Week: August 2-8, 2013 Slackerwood Cinemateket Vår 2013 I guess I should should see Related Items Search for "Le Petit Soldat" on Amazon.com Connect with IMDb Test your knowledge of Le Petit Soldat. 14 photos | 12 news articles » Learn more People who liked this also liked... A Film Like Any Other Two crooks with a fondness for old Hollywood B-movies convince a languages student to help them commit a robbery. Director: Jean-Luc Godard Stars: Anna Karina, Claude Brasseur, Danièle Girard 0 Two or Three Things I Know About Her... In this film, 'Her' refers to both Paris, the character of Juliette Janson and the actress playing her, Marina Vlady. The film is a kind of dramatised documentary, illustrating and ... See full summary » Jean-Luc Godard Stars: Joseph Gehrard, Marina Vlady, Anny Duperey 0 Screenwriter Paul Javal's marriage to his wife Camille disintegrates during movie production as she spends time with the producer. Layered conflicts between art and business ensue. Director: Jean-Luc Godard Stars: Brigitte Bardot, Jack Palance, Michel Piccoli 0 Drama | Mystery | Sci-Fi 1 A U.S. secret agent is sent to the distant space city of Alphaville where he must find a missing person and free the city from its tyrannical ruler. Director: Jean-Luc Godard Stars: Eddie Constantine, Anna Karina, Akim Tamiroff 0 Pierrot le Fou Pierrot escapes his boring society and travels from Paris to the Mediterranean Sea with Marianne, a girl chased by hit-men from Algeria. They lead an unorthodox life, always on the run. Director: Jean-Luc Godard Stars: Jean-Paul Belmondo, Anna Karina, Graziella Galvani 0 A supposedly idyllic weekend trip to the countryside turns into a never-ending nightmare of traffic jams, revolution, cannibalism and murder as French bourgeois society starts to collapse ... See full summary » Jean-Luc Godard Stars: Mireille Darc, Jean Yanne, Jean-Pierre Kalfon 0 Joy of Learning How do we learn? What do we know? Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to ... See full summary » Jean-Luc Godard Stars: Juliet Berto, Jean-Pierre Léaud, Jean-Luc Godard 0 Seven directors each dramatize one of the seven deadly sins in a short film. In "Anger," a domestic argument over a fly in the Sunday soup escalates into nuclear war. In "Sloth," a movie ... See full summary » Eugène Ionesco, Philippe de Broca, and 7 more credits » Stars: Marie-José Nat, Dominique Paturel, Danièle Barraud 0 Godard examines the structure of movies, relationships and revolutions through the life of a couple in Paris. Directors: Jean-Luc Godard, Jean-Pierre Gorin Stars: Yves Montand, Jane Fonda, Vittorio Caprioli 0 Godard's Passion On a movie set, in a factory, and at a hotel, Godard explores the nature of work, love and film making. While Solidarity takes on the Polish government, a Polish film director, Jerzy, is ... See full summary » Jean-Luc Godard Stars: Isabelle Huppert, Hanna Schygulla, Michel Piccoli 0 Charlotte and Her Boyfriend Short | Drama 1 A jilted man (Jean-Paul Belmondo) rants at his mostly silent former lover (Anne Collette). Director: Jean-Luc Godard Stars: Jean-Paul Belmondo, Anne Collette, Gérard Blain A Film Like Any Other A Film Like Any Other Workers on a car factory argue with revolutionary students. Director: Jean-Luc Godard Edit Complete credited cast: Michel Subor Bruno Forestier Anna Karina Veronica Dreyer Henri-Jacques Huet Jacques Paul Beauvais Paul László Szabó Laszlo See full cast » During the Algerian war for independence from France, a young Frenchman living in Geneva who belongs to a right-wing terrorist group and a young woman who belongs to a left-wing terrorist group meet and fall in love. Complications ensue when the man is suspected by the members of his terrorist group of being a double agent. Written by reference to diego velazquez War | Release Date: 25 January 1963 (France) Also Known As: Le Petit Soldat Filming Locations: Geneva, Canton de Genève, Switzerland Budget: $180,000 (estimated) Opening Weekend: $6,848 (USA) (16 August 2013) Les Productions Georges de Beauregard, Société Nouvelle de Cinématographie (SNC) See more » The film was actually completed in 1960, and was Jean-Luc Godard's second film after Breathless (1960). It was shelved for three years by the French censors. See more » Bruno Forestier: It's strange. When I look myself in the face... I get the feeling I don't match what I think it's inside. Referenced in Life Itself (2014) Lacks the refinement or imagination of subsequent Godard, but still an interesting early work 21 July 2008 | by Graham Greene Godard's first explicitly political work - produced directly following the release of his debut film, the celebrated À bout de soufflé (1960), and banned almost immediately by the French government until 1963 - is a small-scale B-picture with serious intentions and a scattering of the director's typical verve and energy. In tone, it is somewhat characteristic of the approach of the early French New Wave, and of Godard's films of this period; calling to mind the aforementioned debut and his short films, Tous les garçons s'appellent Patrick (1959) and Charlotte et son Jules (1960), with the elements of cinema vérité inspired editing and cinematography techniques - capturing the action in a hurried and uncomplicated approach of hand-held cameras and unsophisticated mise-en-scene - and featuring a few early experiments with the use of sound design and music that would become more refined throughout the director's subsequent projects; leading to the year-zero effect of Week End (1967) and his exile from "mainstream" cinema until the early 1980's.Although the film is quite clearly attempting to be a serious work - in regards to both the subject matter and the portrayal of the characters this is still Godard at his most playful and deconstructive;tinkering with the characteristics of post-war crime cinema and the American film-noir to underline a story that is grittier and more low-key than many of his subsequent projects, such as the giddily stylised Une femme est une femme (1961) produced the following year. So, even though this particular approach and subject matter seems to point towards Godard's later, more politically minded work, such as Made in USA (1966) and La Chinoise (1967), we're still very much in the world of À bout de soufflé; with Godard simply using the political aspects of the story in the same way that he would use the science-fiction elements of Alphaville (1964) or the crime story characteristics of the much later Detective (1985); in the sense that they're mainly stylistic devises there to be exploited for the purposes of cinematic experimentation. I'm sure he meant it deep down, but at this stage in his career, Godard simply lacked the refinement of his later work, giving us a mostly straight presentation with tough guy narration, some ironic asides and an interest in moments of witty dialog and character interaction to breakdown the more conventional thriller aspects of the narrative.At its most interesting, Le Petit Soldat (1963) draws odd parallels between the shooting of a film and the shooting of a political target; with Godard invoking his cinematographer Raoul Coutard and an anecdote about location filming - "the great hassle" - and applying it to the foibles of political assassination when outside influences intervene. In one line, it is pure Godard; playful, deconstructive, self-referential and incredibly witty; we also have that great shot in which the central character, readying himself for a hit, poses from his car window with a 44. in one hand, and a picture of Hitler held in the other to slyly mask his features. What also marks this out as an interesting work for Godard is the first appearance from Anna Karina; the Danish actress that would become Godard's first wife and muse for many of his earliest and greatest films, until Made in USA and their subsequent divorce in 1967. In Le Petit Soldat it becomes clear that Godard is in love with Karina, and his interest in her is expressed cinematically, with the black and white photography of Coutard framing her beautiful features with those big wide eyes and conspiratorial smile that is perfect for a character of this nature.Godard and Karina would go on to make greater films together, such as Une femme est une femme, Vivre sa Vie (1962), Bande á part (1964) Alphaville and Pierrot le fou (1965) - all groundbreaking works - but there's a charm to her appearance here that makes the lengthy scenes between her character and the film's central protagonist fizz and pop with an unrehearsed magnetism and charisma that is (or was) characteristic of the early French New Wave. In the end, for all the grit and the prolonged scenes of psychological torture and botched political assassinations, Godard is really just playing here; playing with the ideas of politics and current events, like he played with the characteristics of Cocteau's Le Bel Indifférent with Charlotte et son Jules, or played with the crime film conventions in À bout de soufflé. Obviously, these characters aren't secret-agents, radicals or revolutionaries, but are simply actors playing at these roles; much like Belmondo was playing at being a gangster or Karina would go on to play the sitcom girl next door.Ultimately, Godard's cinema is a cinema of moments; of scenes and characters that gather in our mind during the course of the process of viewing and remain there long after the film has ended. As a result, it is often argued that one can enjoy a film of Godard's, even if they found the complete experience somewhat slow or disengaging - largely as a result of the greatness of the individual scenes. Though it remains flawed in some respects, Le Petit Soldat is certainly not a bad film, and indeed, seems bursting with fresh ideas and ideologies; many of which are a lot more subtle than Godard's detractors would perhaps give him credit for. However, even then, we can recognise this as an early work in the grand scheme of things, produced by an incredibly talented young filmmaker not yet in complete command of his identity or his craft. Why 1963? This movie was made in 1960! david-1056 why no translation? otis von zipper Why so overlooked? whyofcourse64 pjbadseed je vous aime goombaruskirusky Godard's most straightforward narrative? mcmoogol Discuss Le Petit Soldat (1963) on the IMDb message boards »

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T-Men (1947) Cast:Dennis O'Keefe, Mary Meade, Alfred Ryder, Wallace Ford, June Lockhart Director:Anthony Mann Producer:Aubrey Schenck Writer:John C. Higgins Description: The moodily evocative docudrama T-Men stars Dennis O'Keefe as Dennis O'Brien, a treasury agent determined to bring a counterfeiting ring to justice. O'Brien and his partner Tony Genaro (Alfred Ryder) go undercover to gain the confidence of the ruthless Detroit mob responsible for the phony money. The plot, compelling though it is, takes second place to the film's stylish set pieces, superbly directed by Anthony Mann and brilliantly photographed by John Alton. Among the film's most famous moments is the scene in which two-bit hood Wallace Ford is bumped off in a steam bath by sadistic hood Charles McGraw, not to mention the harrowing vignette wherein O'Keefe, posing as a crook, must stand by silently as his partner Ryder is murdered. One of the finest examples of the film noir form, T-Men proved beyond a shadow of a doubt that a film didn't need to have a lush budget, brilliant Technicolor and Clark Gable to score a hit with postwar moviegoers.~ Hal Erickson, All Movie Guide Explore Grade 4 Math , Algebra Questions Popular Areas

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I Want You to Want Me | Microkhan by Brendan I. Koerner Now the Hell Will Start The Skies Belong to Us ← Soul Points The Grandeur of Glory → I Want You to Want Me November 18th, 2010 · 7 Comments There’s a scene in My Best Fiend in which Werner Herzog reveals what made him believe that Klaus Kinski possessed rare talent. It was a brief moment in a film whose title now escapes me, about a German soldier who is executed for deserting the army to be with his girlfriend. (A Time to Love and a Time to Die, perhaps?) Kinski plays a lieutenant who is taking a nap with his head atop a wooden table, and is woken up by a subordinate. He stirs, snorts, and checks his watch, a series of actions that takes no longer than two seconds. But Herzog claims that the way Kinski awakens in the scene is dramatic genius, and something that still haunts his imagination to this day. My Best Fiend shows the clip again and again, until you can’t help but see the great German director’s point—there is something so unusual about Kinski’s motion and body language that it’s difficult to shake the cinematic moment. Herzog’s championing of that scene came to mind recently when I stumbled upon this gallery of images by the great Turkish photojournalist Coskun Aral. Many years ago, I purchased an edition of The World’s Most Dangerous Places that featured a brief article by Aral about his time in war-torn Lebanon. It was only a small sliver of a book that stretched over 1,000 pages, and the few accompanying photos were barely wallet-sized, black-and-white, and printed on newspaper-quality paper. Yet there was one image that immediately burned itself into my brain: the one above, of a Lebanese militiaman passing his leisure hours by playing Russian roulette. (According to Aral, the soldier died a week later when he gambled on the wrong chamber.) I can’t quite explain why this photo has stuck with me for over a decade now. There are certainly tons of Russian roulette images in popular culture, so it’s not the sheer craziness of the situation that got to me. No, it was something much more subtle—the curl of grim resignation on the man’s lips, the way in which the shadows already seemed to be claiming him for the grave. As a result, I’ve always made sure my tattered, coffee-stained copy of The World’s Most Dangerous Places is within easy reach, so I can return to the photo whenever the memory of its initial impact flutters across my mind. Aral took plenty more ultra-disturbing photos while on assignment in Lebanon, of course—there’s one of Druze militiamen in Halloween masks that I’ve been dying to find online. But the Russian roulette image is his accidental masterpiece, a fleeting glimpse of raw desperation that deserves a place in the photjournalism canon. Read more about Aral here, or watch an interview with the man here. And apologies if the Russian roulette photo gets its hooks into you—it’s definitely not something you want hanging around your hippocampus when you want to be in a happy place.

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"If only those who dream about Hollywood knew how difficult it all is." Rising Low Runtime: 1 hr. 28 min. Genres: Biography, Vocal Music, Music Cast:Bootsy Collins, Flea, John Entwistle, Phil Lesh, Les Claypool. Full cast + crew In 1995, guitarist Warren Haynes and bassist Allen Woody left the Allman Brothers Band to form Gov't Mule, a power trio who blended the jam-friendly boogie of Southern rock with the high-powered blues influences of bands such as Cream and Canned Heat. After three studio albums and two live sets, Gov't Mule had won a loyal and growing cult following when Woody died of a drug overdose in the summer of 2000. The band had been working on...more Bootsy Collins All Rising Low cast + crew photos

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A still from Mouna Guru Mouna Guru in Hong Kong Film Festival NR [ Sun, Mar 17, 2013 ] Director Santha Kumar's debut film Mouna Guru will be screened at the 37th Hong Kong International Film Festival along with Gangs of Wasseypur and Gulaab Gang from India. Jacob Wong the director of the Hong Kong-Asia Film Financing Forum (HAF) happened to see the film Mouna Guru at the 10th Chennai International Film Festival. The film received a special mention and award at the festival. In his speech he said Mouna Guru is a very good film. Later he invited the film to participate in the 37th Hong Kong International Film Festival and the festival will be held at Hong Kong between 17 March and 2 April 2013. Mouna Guru starred Arulnidhi and Iniya in the lead roles. Director Santha kumar is currently busy working on a script for Studio Green. Mouna Guru: Reviews | Gallery | From Nowrunning

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Emmys News Credit: John Shearer/Invision for the Television Academy/AP Primetime Emmy Awards 2014 Laverne Cox Feels 'So Much Love' in Making History at the Emmys Originally posted 08/26/2014 10:45AM For Laverne Cox, Monday wasn't just a special night. It was a historic one. The Orange Is the New Black star was the first openly transgender actress to be nominated for an Emmy Award. And the significance of the moment wasn't lost on her. Read More Facebook Permalink | Filed Under: Primetime Emmy Awards 2014, Laverne Cox This Brazilian Blogger Got a Ton of Selfies with Stars at the Emmys Turns out the most impressive guest at the 2014 Emmys may have been a Brazilian blogger who operates under the name of a character from an classic film. (Several signs point to it being the secret identity of James Cimino, a reporter from São Paulo.)

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PS2 Previews: Samurai Champloo: Sidetracked Preview Samurai Champloo: Sidetracked Preview If you're reading this, you probably already know what Samurai Champloo is. It's a popular animated series, currently airing on Cartoon Network and available on DVD, that combines 19th century Samurai action with cutting edge comedy, underscored by a soundtrack made up of jazz and hip-hop. What you may not know, however, is that Namco Bandai Games is bringing a video game based on the hit show to the PlayStation 2 next month, an action-packed sword romp called Samurai Champloo: Sidetracked. As the title implies, the game isn't a re-tread of the TV show. Instead, it is an original side story that takes place in-between the first and second episodes of the show. Players will get to see the earliest moments of Fuu, Jin, and Mugen's partnership, as they set out in search of the sunflower Samurai, and be able to participate first-hand in some of the events that lit the fuse for key confrontations that occurred in the show's later episodes. Stylistically, the game has a structure similar to that of the animated TV show. There's a lengthy cinematic opening, which introduces the characters, gives credit to the voice cast, and gets the story going. Each episode (or mission, if you prefer) begins with a lengthy story sequence explaining why Mugen and Jin are about to lay waste to the dozens of ninjas and thugs we're about to encounter, followed by the actual hands-on portion of the episode, followed by more talking and story development. The story has many twists and turns, but, in a nutshell, Mugen ends up poisoned and constantly pursued by a crazy witch that has the hots for him, Fuu is kidnapped multiple times, and somehow all three manage to find themselves embroiled in a civil war. Yep, this is definitely Samurai Champloo. Fans of the show will appreciate that the game tries to closely mimic the TV show's style. The cinematic scenes, while not hand-drawn, employ the same close-up perspectives and quick cuts that the TV show uses. The juxtaposition of gorgeous 19th century scenery and modern jazz music is particularly noteworthy. Furthermore, the dialogue and narration are cut with the same sort of wry humor that makes taking in an episode on Adult Swim such a guilty pleasure. Even though there are many, many, many story scenes to sit through, Samurai Champloo: Sidetracked isn't a role-playing game. That may surprise those of you that have come to know Bandai as "the company that makes role-playing games based on animated TV shows." Instead, the game's hands-on aspects involve hack-and-slash style combat similar to that found in games like Samurai Warriors and Genji: Dawn of the Samurai, which is right in line with the TV show's action-packed nature. Each environment is populated with groups of robbers, ninjas, and other baddies. In true video game fashion, you have to eliminate them and the "boss" waiting at the end of each mission (who is usually another Samurai or some ungodly demon). Combat, and there is LOTS of it, primarily involves tapping the square and triangle buttons to perform various attacks and combinations. Multi-hit combinations are the way to go, because the higher your hit counter climbs, the more money the bad guys leave behind when they die. Money, in turn, lets you buy better weapons and upgrades from the shops situated in certain areas. Also available for purchase are additional music tracks, which change the accompanying soundtrack, but not in the way you'd expect. Each piece of music adds another combination to your character's arsenal. By tapping the buttons in the order shown, you'll unleash attacks in time with the beats. Anytime you want, you can tap the right analog stick to switch songs, thereby changing the attacks and combinations your character can perform. It's sort of like being a DJ and a fight choreographer, all in one. Combat isn't all about mashing buttons. Grasshopper Company, the developer Bandai contracted to produce the game, took some of the concepts they thought up for their previous work, Killer 7, and incorporated them into Champloo's fight system. If you tap the attack button the instant an enemy initiates an attack, you'll bring up "counter" mode, which is a button-matching minigame. By pushing the indicated buttons, you'll dodge the enemy's assault and nail him with your own attack. Performing successful combos will sometimes trigger what's known as "fate" mode, a state where the action slows down a la The Matrix, allowing your character to make multiple attacks in a split-second. There's also a state called "trance" mode, which is a two-parter that first lets you dish out 100+ attacks on a single enemy, and then lets you follow that up by doling out one-hit-kills to 100 individual enemies locked in a silhouetted room. Players can go through the game as any of three different characters. From the outset, Mugen and Jin are available. Sadly, Fuu, in all her ditzy glory, isn't playable. That wouldn't make sense, since she's always getting into trouble or locked up in some kidnapper's lair. A third character, unique to the game, becomes available once you complete the scenarios for either of the other two characters. In all, there are roughly a dozen different missions to play through for each character. Some missions and story scenes change based on the character you play, which should give diehard fans enough incentive to finish the game with all three characters. Samurai Champloo: Sidetracked for the PlayStation 2 is scheduled to ship April 11, 2006. In the meantime, click here to see some screenshots of the game. Or, click here to watch a video clip of the game in motion.

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New Jerusalem (2012) as Ike Evans Colm O'Leary as Sean Murphy Rick Alverson Alverson "New Jerusalem" tells the unexpected story of two lonely men, 30-ish, and the existential crisis of one of them. He is Sean Murphy (Colm O'Leary), an Irishman who served with the U.S. National Guard in Afghanistan and is now living in Virginia. He works with Ike Evans (Will Oldham) in a used tire store in Richmond ("Tires $10 and Up"); Ike is concerned that Sean seems inward and depressed. He lingers uncertainly outside the rest room, knocks, and says, "You all right in there?" Sean is not all right. He is in tears. Ike is one of those men with a look of perpetual concern on his face and an almost compulsive desire to be of help. He's a Christian, has been saved by Jesus, and assures Sean that Jesus will save him, too. They have a little talk about the meaning of killing in war ("It's for the cause," Sean explains), but this isn't a movie about war, it's about evangelism. Ike focuses on Sean eagerly, as a good prospect for conversion. We see a little of their solitary lives. Sean lives in a small, basic house, hardly furnished except for a music system and a listless cat. He seems more concerned with his cat than himself. He joins Ike sometimes for lunch with some other Christian men, who solemnly pray before they eat. There are no women in the film except for a cashier in a convenience store who smooches a little with Sean, to no conclusion. Ike takes Sean to a Sunday service of his church group, where Sean slowly begins to clap in time with a gospel tune and even forces a smile. The two men log time in coffee houses, where Sean's depression is evident, and Ike hesitantly reaches out to hold his hand. After the service, at his house, Ike washes Sean's feet. Sean's not in favor of that. They have an argument about the efficiency of medication against Sean's depression, as opposed to being healed by Jesus. Ike seems to be controlling anger as he insists Jesus is the only way. He wants to help Sean so badly. The two performances are serious and contained; neither man seems to feel much joy. I don't believe "New Jerusalem" takes a position in favor of either character. It's more of an intense study of these two men and their barren work in a shabby store by the side of a highway. Surprisingly, the same director and co-writer (Rick Alverson and Colm O'Leary) collaborated on another film that played not long ago at Facets, "The Comedy." Two films could not be less alike. One vulgar and heartless. Now this one, so quiet and sad.

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Island, The Reviewed by: Tim Salmons Film/Program Grade: B Video Grade: B Audio Grade: B+ Extras Grade: F DirectorMichael Ritchie Release Date(s)1980 (December 11, 2012) Studio(s)Universal (Shout!/Scream Factory) ReviewNote: This review contains spoilers. For those wishing to go into this movie cold, I suggest you wait to read this until after you’ve seen it. The Island is definitely not your typical run-of-the-mill failed blockbuster, but it is one of the more entertaining ones. Its mix of tones and visual clashes didn’t sit well with audiences in 1980, but that didn’t stop it from gaining some cult status. It’s filled with a mix of fun and quirky ideas with some that aren’t quite so good, but no matter how uneven it is, it’s still an appealing film. Even the plot itself is a mixed bag. Michael Caine stars as Blair Maynard, a writer who goes to the Caribbean with his young son to investigate the disappearance of many a boat plus their passengers. Upon arrival, they’re captured by 18th century pirates who have managed to remain as is in secret on a hidden island in the middle of the ocean. From then on in, Maynard’s son is brainwashed into becoming a swarthy young pirate and it’s up to Maynard to shake him out of it, get them both away from the bloodthirsty buccaneers and back to civilization. What’s strange about the movie in general is the sudden and unexpected turn of events with the plot. If you go into this with absolutely no knowledge of what it’s about (like I did), then the sudden change in tone from slasher to pirate adventure really throws a curve ball at you. Perhaps that’s why I ended up enjoying the movie, because it comes out of left field so blatantly, and makes no apologies for it. If it had been more straightforward in its approach, then it probably wouldn’t have been quite as interesting. The movie more or less tricks you into thinking that it’s something else, but it isn’t. It starts out by showing various people going out to sea and being viciously attacked by something strange with creepy horror music playing in the background and a plentiful amount of gore to go with it. Fast forward to later in the movie, after we learn that it’s actually the work of pirates and not some lone slasher type of killer and we see the same sort of carnage, but instead of creepy build-up and seeing only glimpses of it, it’s shown full on with all of the gore still intact and an adventurous swashbuckling score behind it. It’s definitely a major shift in tone, which is the best reason why it was more or less rejected when released. The film was mostly promoted as being based on the book by Peter Benchley, who we all know was the writer of “Jaws.” The film actually feels a lot like Jaws overall, and you can see unintentional (or intentional, I’m not quite sure) visual similarities to the film if you pay close enough attention. The actors all give pretty good performances, despite the film being kind of schlocky, and the overall tone of the piece is definitely not an even one. Even Michael Caine seems to be out of answers as to what’s going on, and not just in his performance. The movie may not be without its flaws, but there’s a glorious amount of blood and gore to be found, as well as some great character dynamics and great locations. Overall, The Island is a pretty enjoyable find, and kudos to Scream Factory for digging it up again. Given that this has never been released on DVD or Blu-ray before, my assessment is that it’s impressive without being amazing. As is, it’s a very nice presentation, and the transfer on display is quite a sharp one. There’s a nice amount of image detail and grain is relatively stable, but blacks aren’t quite as deep as they could be. Contrast isn’t too high, but there’s enough to get the most out of the images. There’s also quite an array of colors on display, especially reds, greens & blues, and they’re all pretty strong. Flesh tones aren’t always even, but they don’t appear unhealthy by any means. There also doesn’t seem to be any digital improvement of the images either. It just sort of appears as is, which I like. There are two soundtrack options to choose from: both 5.1 and 2.0 DTS-HD tracks. I tend to go with the original 2.0 soundtrack, but the 5.1 track is pretty good too. It’s only ever so slightly cleaner and more presentable than the video presentation. Dialogue is mostly audible, but sometimes some of the performances sound a little far away. Not by much, but noticeably. It’s a relatively good mix, with the sound effects and music given the most boost in clarity over the dialogue. It won’t wow you, and there isn’t much dynamic range to it, but it sounds good enough for what it is. Not much to complain about there. There are also subtitles in English for those who might need them. Unfortunately, there aren’t any extras to be found, except for the theatrical trailer, plus trailers for Death Valley and They Live. The only other things worth mentioning are the Dolby Digital 5.1 and 2.0 tracks on the DVD instead of DTS-HD tracks. Otherwise, the discs are identical. It’s a shame too, because I would have loved to have heard at least a commentary from some of the filmmakers on how they feel about the movie today in retrospect. Oh well. All in all, The Island isn’t a perfect film, but in all fairness, even in different hands it probably would have been just as lopsided tonally as it wound up being. Thankfully there’s Michael Caine and David Warner on hand to improve things, and how can you go wrong with that combination? - Tim Salmons Review Categories Video Disc

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Buy your R&B Tickets at TicketsNow.com. Your Location | Select Location TicketsNow > R&B Tickets > Charlie Wilson Tickets > Charlie Wilson Tickets at Chastain Park Amphitheatre ASO Charlie Wilson Tickets - Charlie Wilson Tour Charlie Wilson, winner of six Grammy awards and countless other accolades, is among the best in R&B, and with hit songs like "There Goes My Baby," "You Are" and "Beautiful," it's no wonder fans clamor to pick up Charlie Wilson tickets. Don't miss your chance to see him perform LIVE! Buy your Charlie Wilson tickets today! Charlie Wilson tickets are currently unavailable. Be the first to get email alerts and exclusive discounts for Charlie Wilson tickets. Complete the form below and click 'Subscribe'. First time subscribers! Get 10% off Charlie Wilson tickets when you sign up for Insider Alerts. Charlie Wilson Concert Tickets After rising to fame as the lead singer of funk legends the Gap Band, Charlie Wilson has spent much of the last 20-plus years establishing himself a solo performer. Over the last two decades, he has become one of the most recognizable figures in the genre, and anybody who picks up Charlie Wilson tickets will get to be face-to-face with a R&B icon. The Gap Band had been a staple of funk music until announcing its retirement in 2010, but during the latter half of the band's career, Wilson had emerged as a talented performer in his own right. His first big breakthrough on his own was the 2005 album Charlie, Last Name Wilson, a hit among both mainstream and R&B audiences. The record featured contributions from the likes of Snoop Dogg, Justin Timberlake and will.i.am, which helped bring his classic sound to a younger audience. While his 2005 record helped introduce him to a mainstream crowd, his 2013 album Love, Charlie, was even more successful. His sixth solo album, it cracked the top five on the Billboard 200 charts while topping the U.S. R&B charts. While he just turned 60, it's clear that Charlie Wilson is just getting started. Don't miss your chance to see Charlie Wilson perform LIVE! Buy your Charlie Wilson tickets now!

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U2 Go Home: Live From Slane Castle, Ireland 2005 Wake Up Dead Man Lyrics Kite Lyrics Staring At The Sun Lyrics All I Want Is You Lyrics Walk On Lyrics Buy in US Filmed on the Elevation Tour on September 1st 2001, 'U2 Go Home' was the first release to feature the band playing to a home crowd in Ireland. Following an 80 date sell-out world tour, U2 headed home for two outdoor shows at Slane Castle in Ireland, where they played to more than 160,000 people. It was at Slane Castle in 1984 that they recorded their landmark fourth album - an event captured in The Unforgettable Fire documentary, which, remastered and regraded, was released again with this live show DVD. The Elevation shows also marked the 20th anniversary of the band's first appearance at Slane, supporting another legendary Irish rock band Thin Lizzy, at the inaugural Slane Castle Festival. The DVD includes a bonus track, and DVD ROM special features including a U2 calendar, screensavers and weblinks plus three songs shot on 'Spincam' allowing the viewer an interactive, 360 degree view of the concert. Special Features The Unforgettable Fire Documentary, Slane, 1984 Filmed in 1984 and now digitally re-mastered and re-graded. Written and directed by Barry Devlin, Produced and Edited by James Morris and Finola Vereker for Windmill Lane Productions. Produced By: Directed by Hamish Hamilton Engineer: Produced by Ned O'Hanlon Release Date: 2005-02-14 Label: Polygram Video Recorded At: Slane Castle, Co. Meath, Ireland U2 Go Home: Live From Slane Castle, Ireland VIDEOS 'All I Want Is You' live at Slane Castle « Live: U2 Go Home, Slane Castle Ireland 'Elevation' live at Slane Castle 'One' live at Slane Castle 'Sunday Bloody Sunday' live at Slane Castle 'Until The End Of The World' live at Slane Castle 'Where the Streets Have No Name' live at Slane Castle 'It was pretty mindblowing. The energy from the audience was astonishing. You could feel it physically.' (Edge) 'In a place like Slane where you have a crucible of people, a gig can be a sacramental event.' (Bono) COMMENTS ultraviolet18 19 May, 2011 I want to buy There are some place where i can buy in argentina? HugeDK 16 September, 2010 Does It Get Any Better? This is one of the best recorded concerts one will ever watch. With all that was going on with Bono with the passing of his dad and the Irish football teams victory, it is just such an emotional performance. Amazing that it is caught forever on DVD! A must have in any collection. Newer comments 1 - 2 of 2 Older comments

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The UTE Contemporary drama vimeo | About the UTE Created in 1990, the Union of Theatres of Europe (and of the Mediterranean) is a European network of theatres, companies and artists - that aims at the development of international and transnational artistic collaborations, within Europe and beyond. Interferences Festival Dedicated to the the "stories of the body", the 4th edition of the INTERFERENCES International Theatre Festival, organized biannually by the Hungarian Theatre of Cluj, will open on the 26th November 2014. Alongside a rich programme of performances, concerts, screenings and workshops, the festival will also host the first meeting of our "Think-Tank Young Journalists Online", which will lay the foundations for the creation of an online multilingual magazine dealing with theatre in Europe. TERRORisms project in Tel Aviv On the 13th November 2014, the TERRORisms project will open in Tel Aviv with the premiere of Maya Arad's new play "God Waits at the Station". Based on a true story, a suicide-bombing during the second Intifida, the play questions our perceptions and representations of terrorism. Milena Marković in UBU - European Stages The 2014 second semester issue of European review "UBU - European Stages" offers a focus on the work of Serbian playwright and poet Milena Marković in the context of the UTE-TERRORisms project. CONFLICT ZONES | ZONES DE CONFLIT The Union of Theatres of Europe is proud to announce the launch of the CONFLICT ZONES network - a three-year programme aiming to explore the conflicts that have been shaping our surroundings, moves and thoughts ever since the beginning of the Great War. more Gaudeamus, back on stage First created in 1990, Lev Dodin's mythic performance returns to the stage of the Maly Drama theatre in Saint-Petersburg in a new version performed by the young actors of the theatre's ensemble. more Euronews report | WWI centenary Euronews report WWI centenary Concept box "We must make ourselves the guardians of an idea of Europe, a Europe of the difference, but of a Europe that consists precisely in not closing itself off in its own identity and in advancing itself in an exemplary way toward what it is not [...]" Jacques Derrida TERRORisms A two-year theatre project by the UTE, in cooperation with 6 theatres in Germany, Norway, Serbia, Israel, England and Palestine.

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What to Watch: 'Veronica Mars' movie gets green light, breaks records Trending topicThe "Veronica Mars" movie is going to happen, according to CNN. After Kristen Bell and creator Rob Thomas announced yesterday that the movie would be produced if their Kickstarter campaign raised $2 million in 30 days, fans responded by going above and beyond the call. After breaking a Kickstarter record for being the quickest campaign in Kickstarter history to raise $1 million, the campaign hit the $2 million dollar mark less than 24 hours after the campaign started. Bell thanked the fans and donors on Twitter, saying "I love you guys. You are all SO spectacular. I am speechless."On TVJoan and Sherlock investigate a disappearance that's somehow involved with subway-platform murder on "Elementary." The two split up, with Joan looking for the woman who disappeared after leaving her husband a video referencing the subway murder. Sherlock looks into the murder, hoping to find the connection between the two cases. CBS 10 p.m. EST.Hot video: Is Kate Middleton fighting with Prince Harry's new girlfriend?GateHouse News Service

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Tina Fey And Amy Poehler Are The Golden Globes Hosts We Need Subscribe Free By Amanda Crum · October 15, 2013 · 1 Comment Get the WebProNews Newsletter: [ Life] Tina Fey and Amy Poehler have long been best friends, since their early days at SNL, and it shows when they perform together. Their writing is as crisp and refreshing as an apple-flavored ale, and they play off one another with an ease that only best friends can manage. Naturally, they are a perfect choice to host any awards show, so when they took the job at this year’s Golden Globes, they didn’t disappoint. The ratings for the show soared to 19.7 million viewers, 17% more than when Ricky Gervais hosted (although much love to Gervais, who is sometimes misunderstood), and now the big wigs in charge of the ceremony have asked the funny ladies to come back for hosting duties…twice. Next year’s show–which airs in January–will be hosted by the duo, as will the 2015 show. That’s how good they are; they get their own trilogy. “Tina and Amy are two of the most talented comedic writer/performers in our business and they were a major reason the Golden Globes was the most entertaining awards show of last season,” said Paul Telegdy, NBC’s alternative programming president. “We’re elated they wanted to host together again and that they committed for the next two years.” After this year’s show, there was some buzz about Fey and Poehler doing the Oscars, but Fey shot them down, saying it would be too much work. “I just feel like that gig is so hard,” Fey said. “Especially for, like, a woman – the amount of months that would be spent trying on dresses alone – no way.” Image: NBC/YouTube Tina Fey And Amy Poehler Are The Golden Globes Hosts We Need October 15, 2013 1 Comment Related Items Amy Poehler Golden Globes Tina Fey About Amanda Crum Tobias Roth I didn’t even know they could assign hosts 2 years at a time, can’t wait!

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WILX Connect Video Hot Button Famed Movie Critic Roger Ebert Dies By: Associated Press Posted: Thu 3:52 PM, Apr 04, 2013 CHICAGO (AP) -- The Chicago Sun-Times is reporting that its film critic Roger Ebert has died. He was 70. The paper says on its website the Pulitzer Prize-winning film critic died Thursday. Ebert was known for his thumbs-up, thumbs-down TV reviews that influenced moviegoers across the nation. On Wednesday, he had announced on his blog that he was undergoing radiation treatment after a recurrence of cancer. Ebert was diagnosed with thyroid cancer in 2002 and later had surgery for cancer of the salivary gland. He lost his chin and his ability to speak. But he later resumed writing full-time and eventually even returned to television. Ebert started as a film critic for the Chicago Sun-Times in 1967. In 1975 he became the first movie reviewer to get the Pulitzer Prize for criticism.

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Rhetoric & Rockets Books, product reviews, thoughts on technology, random philosophizing, citizen science, science cheerleading, and unsolicited comments about space exploration, back in action. Movie Review: The Hobbit: An Unexpected Journey Just got home from watching the first part of The Hobbit, the "prequel" J.R.R. Tolkien story of the epic Lord of the Rings (LOTR) directed by Peter Jackson during the past decade. It's always a challenge writing a review for this page because I'm never certain of the interest or knowledge of the audience. For grins, I'll assume that you know the events of LOTR to some extent and go from there. As the "prequel" description implies, The Hobbit occurs some 60 years before the events of The Fellowship of the Ring and concern the adventures of Frodo Baggins' uncle, Bilbo, who found the One Ring that created such a fuss in those other stories. "And what is a Hobbit?" asked Tolkien in one of the opening lines of his charming 1937 book. Imagine a human being about 3-4 feet tall but perfect proportional. In this world of Middle Earth, they're called "halflings," when they're seen at all. In our world, you can picture the Hobbits of the Shire as miniature Englishmen, rather content to stay home, plant gardens, have supper, drink their ale, and smoke a pipe. This perception was changed quite a bit by the adventures of Frodo and his three friends, but I digress. In this earlier time before Frodo and friends got into trouble, Bilbo was a happily settled bachelor, enjoying the quiet life of the Shire in his turf-covered hobbit "hole." Then he got a knock at the door by Gandalf the Grey, a wizard among men, who invited him into an adventure to help a group of Dwarves regain control of their home, the Lonely Mountain, from a ferocious dragon. Bilbo is not the adventuring type, and initially refuses, but eventually finds himself drawn into the quest and, as my buddy Widge likes to say, "hijinks ensue." I will do my best not to issue any "spoilers" in this review, but these things happen. An aside on Widge, if I may (and I may, it's my blog): given his background as a literature, comic book, and science fiction geek, he has a perspective on movies that is similar to mine. This is why it's sometimes bad for me to watch one of his Wayhomer reviews of a film I plan to see, as his perspective can distract me from whatever ideas I have before I see it. Be that as it may, I have provided a link to his review of The Hobbit, refer to it on occasion, and then see what else I can add from the literature/comic/SF perspective. Visual World Building First, it is always a pleasure to "revisit" Tolkien's Middle Earth. Peter Jackson's team did a remarkable job conjuring up (so to speak) that world out of New Zealand's spectacular landscapes. In addition to Hobbits, there are Men (humans), Elves, and Dwarves as contentious but good creatures of the realm and Orcs, Goblins, Giants, and other nasty beasts on the side of evil. Men in Jackson's Middle Earth resemble Vikings, more or less; the Elves are ethereal, nature-loving creatures comprising two major families: a blond-haired strain concentrated in the forests and a darker-haired family that dwells primarily in a mountain retreat called variously Imladris or Rivendell; while Dwarves are more or less the same height as Hobbits but sturdier, rowdier, and more warlike. In addition to their characters, Jackson put a lot of work into the art design and costuming to create a visual "grammar" that helps the viewer easily recognize who is whom. That design work, so meticulously crafted for the LOTR, is repeated here, with more attention given to the Dwarves since this is primarily their tale. And so we come back to two components of the Hobbit film experience: the story itself and the visual experience the audience sees on the screen. This is where I must refer the reader to Widge's excellent and nearly comprehensive video review of the visuals. His perspective on the film was almost distracting to my movie experience. He did not like his experience--he rated the film 1.5 out of 5 "cups" (his website is NeedCoffee.com)--and we both saw the 3D version with the "high frame rate." Widge understands the technology better than I do. For the non-cinematic viewer, the best way I can describe the visuals of The Hobbit is that it seems to bounce back and forth between a "film" look and a "video" look. It's like the film shifts between indoors and outdoors, and it's more than a little distracting if you're looking for it. Personally, I like the "outdoor" aesthetics of film because I can watch "indoor" visuals on TV. If you're not interested in the visual quality of what's on the screen, great. I'll try to talk about characters and acting from here on. Storytelling in Middle Earth The Hobbit brings back the spectacular Ian McKellen as Gandalf the Grey, Andy Serkis as the voice and motion-capture actor for Gollum, and Hugo Weaving as Elrond. Other characters from the LOTR movies (or the book The Hobbit) appear in cameo roles, but I won't spoil whom. Suffice to say, it was nice to see them and to see Peter Jackson taking his Tolkien mythology seriously. Other casting choices pleased me, including Martin Freeman as Bilbo. I'd last seen Freeman in the movie version of The Hitchhiker's Guide to the Galaxy, though I needed IMDb.com to remind me of that. Freeman's character in that film--as an Englishman in out of his depth among strange and alien things--made him a natural for Bilbo. Another excellent casting choice was Richard Armitage as Thorin Oakenshield, the leader of the Dwarves. Even though they never identified him in the trailers, his intense look and aura of command made his role obvious to anyone familiar with the book. He played a bad guy in the Captain America movie, and before that seems to have done a lot of British TV work, but his face was unknown to me. No matter: he's a better embodiment of the character than whatever image I had in my head when I read the book 30 years ago. As for the film overall, it's difficult for me to evaluate the film for a few reasons: The story isn't over yet. For reasons that elude me they're turning one book into a trilogy, where for LOTR they made three books into three films. In my mind, you could squeeze Hobbit into two films with some judicious editing. But I'm not Peter Jackson. Still, Mr. Jackson's editing is getting a little sloppy. As with big-name authors in today's publishing world, big-name, big-money directors seem to get a free hand when it comes to editing. This is how you get 900-page works by Tom Clancy or Stephen King or 600-page books by lesser-known authors when 200 to 400 pages would do. (Note to the viewer: make all necessary stops before watching this film. There's rarely a good time for a bathroom break, especially if you're unfamiliar with the story.) I know how the book ends. As with LOTR or any book-made-movie, I'm watching to see how the director executes the author's material. (An aside: I'm probably a heretic for saying this, but Peter Jackson's movies were more entertaining than Tolkien's novels, and the visual element is a primary aspect of that.) I will concur with Widge that the visual experience is a bit frustrating for the viewer, bouncing as it does between a "film" look and a "TV" look. I wouldn't go so far as to say it damaged my perception of the film, it was just one of many factors affecting my viewing experience. I am enough of a fan of the books that I will watch the other two. But I don't like having my patience tried. My inner editor could've cut 30 minutes from this film, easily, and lost none of the narrative thread. The Onion did a spoof on the nature of Jackson's editing by making up a story that he was going to include a 53-minute scene about Bilbo deciding what to pack for his journey. Well, there's nothing that blatant here, but the film does drag on longer than it needs to, and I'll be less inclined to buy the "director's extended version" when the DVD comes out in a year or two. I know I've griped a bit here, but this movie deserves to be seen. It's really taken this long for movie-making technology to do justice to great fantasy epics like Tolkien's. My sister asked me a question I couldn't answer: Why didn't Jackson make this film first? Thinking about it now, I suppose it was because he could convince a movie studio that he could compress three books into three movies more easily than he could convince them to fund a three-film version of one book. But yet one must consider: if Peter Jackson could convert three books into three movies, why didn't he try to shrink this book down to one--or at most, two? Never mind, I don't have the answer to that, any more than I can explain Star Wars Episodes I-III. Happy Hobbiting! Posted by Bart Leahy movie review, Needcoffee.com Fight Christmas Creep With Halloween BPAL Scents Science Cheerleaders take citizen science to Pop Warner regional cheer championship! Heroic Technical Writing | Thoughts and advice about the technical communication trade Health Insurance for the Freelance Writer Morgan Donato's Blog OMG Where have we been!!! Win a Vintage Romance Gift Basket! Access to Energy Aviation Planning Hot Flash INFJ Petition: Re-Open the Office of Technology Assessment ScienceCheerleader.com

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film, eyeballs, brain Paul W.S. Anderson, “Resident Evil” (2002) / Alexander Witt, “Resident Evil: Apocalypse” (2004). Sep 13 2010 Right now I can’t think of a more oddly discontinuous film trilogy (now a quadrilogy / quartet, but I haven’t seen the latest one yet) than the sci-fi/horror/action Resident Evil series: characters appear and disappear, both locale and tone shift radically from movie to movie, the heroine seems to get inexplicable weapon and power upgrades in each installment (inexplicable as well to her, because her memory keeps getting conveniently erased) — all this, despite the fact that all the screenplays are written by schlock auteur Paul W.S. Anderson, not to be confused with Paul Thomas Anderson. (I also know close to nothing about the Resident Evil videogames, but it occurs to me that this apparent discontinuity in locales resemble game levels: the city level, the desert level, and so on.) The trilogy starts off quite weakly: Resident Evil is all about getting from Point A to Point B as a group of soldiers try to penetrate the unimaginatively-named Hive, a vast underground research facility run by the equally unimaginatively-named Umbrella Corporation. But the Hive is under lockdown after a malfunctioning computer kills everyone inside after detecting the release of a virus that has turned everyone into ravenous zombies (including Dobermans, which are clearly recurring characters of a sort in the series). Little of this makes much sense to me, to tell you the truth, and I think I spent a good chunk of the first film asking my increasingly-annoyed movie buddy about the inscrutable character motivations. It helps, at least, that our heroine, Alice, played by the f

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Hannah Shakespeare Review: ‘The Raven’ Is an Uninspired Waste of a Legend Movie Reviews By Robert Levin on April 27, 2012 | Comments (1) Sometimes, it’s hard to avoid longing for the good old days, when movies about historic figures were about those historic figures and not the slapdash way they might be jammed into a straightforward genre piece. That’s clearly a passé way of thinking in the age of Abraham Lincoln: Vampire Hunter, but sometimes old-school is the way to go. The life of Edgar Allan Poe was fascinating and mysterious enough to warrant a new movie about it, to be sure. You could call it The Raven and cast John Cusack as your lead. Amusingly enough, there is indeed a movie opening in theaters this weekend called The Raven and it does star Cusack as Poe. Unfortunately, it’s basically a waste of time, forgoing the opportunity to tell the poet’s extraordinary story for a mundane detective narrative that recasts him as Sherlock Holmes (the one Sir Arthur Conan Doyle created, not Guy Ritchie).

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Matt Knudsen Men of a Certain AgeDetroit 187Big Love Boston LegalMalcolm in the Middle Matt Knudsen (Kah-nood-son) Matt was born in Hawaii, raised in the Mid-west and traveled around the world as a merchant marine. After eventually putting down his sea bag, he picked up a microphone and began performing stand up, improv and sketch comedy in New York and Los Angeles. As a stand up, he´s been on The Late Late Show, as well as several festivals, including the prestigious Just for Laughs Festival in Montreal; where he garnered a "Best of the Fest," nod. You may also recognize Matt from his work in television and film, including Big Love, Boston Legal and Malcolm in the Middle. Matt has also been seen in several high profile commercial campaigns for Pepsi, Apple and GE, which have aired during the Superbowl and The Olympics. His comedy is clean, relatable and as Punchline Magazine puts it, "Amazingly measured and deliberate�Well done."

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Bear Grylls: 5 Fast Facts You Need to Know ‘The Bachelorette’ Finale 2014: Josh Murray Vs. Nick Viall Zoe Kazan: 5 Fast Facts You Need to Know Published 2:46 pm EST, July 28, 2014 Comment By Emily Morgan Share Tweet Share Email Zoe Kazan tests the notion “Can men and women just be friends?” in her new film What If, starring opposite Daniel Radcliffe. Kazan plays Chantry, who has a boyfriend, but strikes up a close friendship with Radcliffe’s Wallace. The granddaughter of the legendary director Elia Kazan grew up in Los Angeles but moved to the East Coast to attend Yale University and became a resident of New York City soon after. She splits her time between acting and writing for both the stage and screen. Find out how Kazan has become one of the best young actresses in Hollywood today and see her film What If on Aug. 1. 1. Kazan Belongs to Yale University’s Manuscript Society Alumni The Manuscript Society tapped Kazan to join their ranks near the end of her junior year at Yale University. The secret society chooses worthy undergraduates who display strength in academics, extracurricular activities, character and commitment to truth, and classifies itself as an Arts and Letters society. Other famous alumni include Anderson Cooper and Jodie Foster. Kazan graduated with Bachelor’s degree in theatre from the Ivy League school where she studied with Pulitzer Prize winner Donald Margulies and developed her first play Absalom. 2. She Met Boyfriend Paul Dano in 2007 In 2007, Kazan starred in Jonathan Marc Sherman’s play Things We Want, directed by Ethan Hawke. There she met her boyfriend Paul Dano, who starred alongside her Peter Dinklage and Josh Hamilton. She had no intentions of dating an actor but that all changed when she met Dano during production, she told Time magazine. I wrote in my journal that night, but I was too afraid to even use his name. I wrote in the margin: ‘Danger PD. Must be careful so that life doesn’t imitate art.’ Because in the play we fell in love. The two co-starred on the big screen in Kazan’s first written feature film Ruby Sparks. After reading the first five pages of the script, Dano knew his girlfriend was writing the movie for them to star in together, Kazan told The Daily Beast in 2012: I’m such an over-sharer so I always show Paul my writing as I go along. I showed him it five pages in, and he asked if I was writing it for us, and then I thought, ‘That’s clearly what I’m doing. But then I tried to put it out of my head because I didn’t want to get in the character’s way. 3. Kazan Made Her Broadway Debut in ‘Come Back, Little Sheba’ Kazan made her feature film debut in Swordswallowers and the Thin Man in 2003. The film was directed by classmate Max Borenstein on the Yale campus and in the surrounding New Haven, Connecticut area. She struggled to attain more screen acting gigs after the movie, constantly sitting in auditions for “rape victim no. 3,” she told The Daily Beast. She made her professional stage debut in the 2006 off-Broadway revival of The Prime of Miss Jean Brodie starring Cynthia Nixon. Two years later she made her Broadway debut opposite S. Epatha Merkerson in Come Back, Little Sheba. 4. Her Grandfather Elia Kazan Was Known as the Actor’s Director Kazan’s parents Nicholas Kazan and Robin Swicord are both Oscar-nominated screenwriters, but the family member she is most attributed to is her grandfather Elia Kazan. Elia directed 21 actors to Oscar nominations, winning two himself for directing Gentleman’s Agreement and On the Waterfront, which led him to be called “the actor’s director.” He founded The Actors Studio in 1947 that heavily promoted the Method acting style, created by the actor and director Russian Constantin Stanislavski. His 1952 testimony in front of the House Committee on Un-American Activities made Elia a controversial figure in the Hollywood community. It’s a subject his granddaughter is asked about frequently, she told the Huffington Post: It’s not like I dislike the question. I love him and I understand people’s curiosity, but I just don’t know that I have a good answer for it. So I always walk away feeling either like, ‘I just sold out of family,’ or, ‘I just gave these people the most bland, boring possible answer I could possibly give.’ Zoe admitted she was 13 when she learned her grandfather was famous. Elia died when she was 20 years old and she has “just normal, grandpa memories” of him, she told The Daily Beast. 5. Kazan Wrote the Movie ‘Ruby Sparks’ and the Play ‘We Live Here’ In addition to acting, Kazan loves to write. Her first play Absalom premiered at the 2009 Humana Festival of New American Plays in Louisville, Kentucky. In 2011, the Manhattan Theater Club hosted the premiere of her off-Broadway play We Live Here. Kazan spoke with Playbill.com about the lack of female writers and directors on Broadway: I always think about, ‘Who does misogyny hurt?’ and I think it hurts everyone. I think that a lack of representation of a diversity of voices — not just female voices but different cultures and racially — I feel like that hurts us as a society. It hurts us culturally. Because art engenders empathy. Because we don’t need to support the monolith. Kazan then starred in her first screenplay Ruby Sparks about a struggling novelist (played by Dano) who writes about his dream girl and wills her into existence. The movie co-starred big names Antonio Banderas, Annette Bening and Steve Coogan. Chadwick Boseman: 5 Fast Facts You Need to KnowChadwick Boseman is about to grace the screen as James Brown in the new film Get On Up.Click here to read more Emily Morgan July 28, 2014 2:46 pm Share Tweet Share Email Related Items5 Fast FactsDaniel RadcliffeMoviePaul DanoZoe Kazan Win a $500 Amazon shopping spreeJoin Heavy's daily email newsletter to enter to win a $500 Black Friday Shopping Spree on Amazon.Read the sweepstakes rules here. Related posts from this category

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Home News Business Editorials Entertainment Family Opinion Religion Sports Crenshaw & Around Book Releases Book Reviews Comedy DVD Releases Exclusive Jazz 'round LA Movie Reviews Movies Music News At The Box Office Theater TV Entertainment News ‘Ray Charles Live!’ Big Winner at NAACP Theatre Awards ‘Ray Charles Live!’ Big Winner at NAACP Theatre Awards Published on Thursday, 10 July 2008 11:09 Written by Brian W. Carter (Staff Writer) “The Color Purple”also wins three awards The 18th Annual NAACP Theatre Awards brought out the best and brightest of the Black entertainment community on June 30 at the Kodak Theatre in Hollywood and standing tall at the end was the Pasadena Playhouse-produced “Ray Charles Live! A New Musical.” The musical won four awards: best ensemble cast for an Equity production, music director (Rahn Coleman), sound (Carl Casella) and playwright (Suzan Lori-Parks). Taking home three awards was “The Color Purple,” which was performed at the Ahmanson Theatre. The musical version of Alice Walker’s book and its subsequent film won for lead female (Jeanette Bayardelle), supporting male (Rufus Bonds, Jr.) and costumes (Paul Tazewell), all in the Equity category. This year’s theme was “Salute to Black Theatre” which celebrated the evolution of how Blacks were portrayed in theatre “from unrealistic, stereotypical caricatures to a more balanced, honest reflection of the Black experience as a whole.” The Pasadena Playhouse, winner for the year’s best producer, saw another production honored as “A Matter of Honor” won for lead male (Cedric Sanders) in the Equity category. Actress Kimberly Elise and comedian/actor Anthony Anderson hosted this year’s show, with presenters including actresses Wendy Raquel Robinson, actor Henry Simmons (“NYPD Blue,” “Shark”) and original “Dreamgirls” Loretta Devine and Sheryl Lee Ralph. For the first time in event history, the NAACP held a Theatre Awards Festival leading up to the ceremony, which was from June 27-29. Both the show and festival were sponsored the Beverly Hills/Hollywood chapter of the NAACP as well as Los Angeles City Council President Eric Garcetti and Councilman Bernard Parks. Leading the list of special honorees was music director Harold Wheeler with their lifetime achievement award. Wheeler, who was the first Black conductor of an Academy Awards (2003, 2006) and has served as musical director of several Broadway plays, currently serves as musical director for the ABC show “Dancing with the Stars.” Wheeler was honored with a tribute that featured R&B legend Stephanie Mills and actors Della Reese, Jason Alexander and Freda Payne. Also honored were writer-director David E. Talbert (Trailblazer Award), actress Vivica A. Fox (Spirit Award) and American Idol for its “Idol Gives Back” episode (Community Service) NAACP President-elect Benjamin T. Jealous was presented with the President’s Award. < Prev in News Next in News > Category: News Latest Reader Poll

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philspicks All the latest reviews and news in entertainment Tag Archives: Sam Rockwell IFC Films Releasing New Rom-Com Just In Time For Valentine’s Day Posted on January 10, 2014 by philspicks Reply Courtesy: IFC Films IFC Films is releasing a new romantic comedy just in time for Valentine’s Day this year. A Case of You, starring Justin Long (She’s Just Not That Into You, Live Free or Die Hard, Going The Distance), Brendan Fraser (George of the Jungle, Airheads, Dudley Do-Right), Evan Rachel Wood (Across The Universe, The Ides of March, Mildred Pierce) and Peter Dinklage (Game of Thrones), is a story set in the age of digital dating. When writer Sam (Justin Long) creates an overly embellished online dating profile to win over his love interest Birdie (Evan Rachel Wood), it works a little too well. The result is that Sam must make a choice between telling Birdie the truth about himself or trying to maintain his façade. Veteran actor Vince Vaughan (Wedding Crashers, The Intern, Anchorman) makes an appearance, too. He plays Sam’s boss Alan. A Case of You will entertain any of today’s audiences because of its believability. It explores the sometimes laughable lengths to which we as people will go for love. Also signed on for the new rom-com are : Sam Rockwell, Sienna Miller, Peter Billingsley, Busy Philipps, and Keir O’Donnell. O’Donnel was one of the movie’s writers along with Justin Long and his brother Christian Long. It is long’s first movie as a writer and producer. Kait Coiro (And While We Were Here) directed the movie. It will be available on DVD and Blu-ray on Tuesday, February 4th from IFC Films for MSRPs of $24.98 and $29.98 respectively. More information on this and other titles from IFC Films is available online at http://www.IFCFilms.com and http://www.facebook.com/IFCFilmsOfficial. To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at http://philspicks.wordpress.com. Posted in Celebrities, DvD's and blu-rays, Internet, Movies | Tagged A Case of You, Across The Universe, Airheads, Anchorman, And WHile We Were Here, Blast from the Past, Brendan Fraser, Busy Philipps, celebrities, Christian Long, Dudle Do-Right, entertainment, Evan Rachel Wood, facebook, Game of Thrones, George of the Jungle, HBO, internet, Justin Long, Kait Coiro, Keir O'Donnell, Live Free or Die Hard, Mildred Pierce, movies, Peter Billingslsey, Peter DInklage, Phils Picks, Sam Rockwell, She's Just Not That Into You, Sienna MIller, The Ides of March, The Intern, Vince Vaughan, Wedding Crashers, Wordpress | Leave a reply Everybody’s Fine One Of De Niro’s Finest Performances Posted on December 20, 2012 by philspicks Reply Courtesy: Lionsgate/Miramax Everybody’s Fine is one of veteran actor Robert De Niro’s “finest” moments. There are those who have already had their say of this atypical holiday family film. But odds are the people who have lambasted it have done so because it is indeed such a mirror image of reality that they don’t want to have to admit how real it is. The story centers on widower Frank (De Niro) who recently lost his wife. Having been married for over four decades, Frank is heartbroken after the loss of his wife. How she died isn’t immediately revealed. Nor is it important how she died. It’s the psychological and emotional impact on Frank that makes this story so believable. Frank’s emotional and psychological response to having lost his wife is so real in that as much as people may not want to admit it to themselves, his reaction is very much the same as any older person with adult children. He reaches out for support from his now adult children. Although in his mind, he’s just trying to get his kids together at least one more time. As he sets off to surprise his kids, audiences learn that Frank spent most of his life helping to set up the telephone lines that criss-cross the country. It’s these lines that eventually play a metaphorical role in that while he helped put up the lines, it’s those same lines that his own adult children use to keep a painful secret from him. They’re keeping the secret not to be mean, but to protect their father purely out of love and respect for him. That secret is the basis of the real story in Everybody’s Fine. The real story of Everybody’s Fine is less about Frank’s relationship with Amy, Rosie and Robert and more about his strained relationship with his other son, David. The relationship between David and Frank had been strained ever since David was a boy. Writer/Director Kirk Jones hints at this through flashbacks that Frank has during the course of the movie’s roughly ninety-minute plus run time. While Frank obviously loves his kids, it’s David that he’s really focused on. He wants so badly to see David; so much so that as audiences hear the conversations between Frank’s other children over the telephone wires he helped put up through his career, it makes them feel that much more for Frank. As much as his relationship with David was seemingly strained, Frank still loved David unconditionally, just as any parent would their own child. Again, it’s that mirror image of real life that helps maintain the story’s relateability. The story between Frank and David does have at least a somewhat happy ending. Though perhaps bittersweet would be the better suited term to use here. But there is closure for both figures nonetheless. And it’s that closure that leads to an ending that wraps everything in its own deeply moving gift to audiences. Everybody’s Fine is not the standard happy-go-lucky movie that audiences might think of when they think of holiday movies. But its deeply emotional story about family makes it a holiday movie that stands out among the crowd even today as it has been re-issued on blu-ray. It is available now in stores and online. It can be ordered online direct via the Lionsgate online store at http://www.lionsgateshop.com. To keep up with the latest entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it or its companion page, http://www.facebook.com/pages/Reel-Reviews/381028148587141. Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at http://philspicks.wordpress.com. Posted in Celebrities, DvD's and blu-rays, Internet, Movies | Tagged celebrities, Drew Barrymore, entertainment, Everybody's Fine, facebook, internet, Kate Beckinsale, Lionsgate, Miramax, movies, Phils Picks, reel reviews, Robert De Niro, Sam Rockwell, Wordpress | Leave a reply philspicks Blog at WordPress.com. The Twenty Eleven Theme. Follow Follow “philspicks”

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All My Children's search for a new head writer is over -- the ABC soap has found two of them. Former Guiding Light head writers David Kreizman and Donna Swajeski have been hired to "bring new ideas" to All My Children. The pair won Emmys for their work on Guiding Light in 2007. ABC has announced a first airdate for material written by its new head writers, David Kreizman and Donna Swajeski. The pair's stories first hit the airwaves on May 12. As previously announced, in January, Kreizman and Swajeski were hired to succeed All My Children's previous head writer, Charles Pratt, Jr. Pratt was fired as head writer in November 2009. Since that time, Lorraine Broderick, an Emmy-winning former AMC head writer herself, has been serving as an interim head writer to help guide the show through its writing team transition. Since being hired, Kreizman and Swajeski have been familiarizing themselves with All My Children history, the show's characters, and outlining where their stories will take the show. "David and Donna are the perfect team to bring new ideas to All My Children while remaining true to its core by telling stories with a focus on the integrity of the show's history, its characters and families on the canvas," Brian Frons, President, Daytime, Disney ABC-Television Group, said in a statement earlier this year. Together, Kreizman and Swajeski were part of Guiding Light's 2007 Emmy-winning writing team. Both have also earned awards from the Writers Guild of America.

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The AndyGram Search... Wednesday, Nov 26th HomeTheatre Reviews & Features 2014-15 Reviews BroadwayTorontoOff-Broadway BroadwayChicagoOff-BroadwayConnecticutWashingtonToronto 2012-13 Reviews2011-12 Reviews2010-11 Reviews2009-10 Reviews2008-09 ReviewsProfiles In... CriticismPlaywriting Theatre Press Releases 2014-15 Press Releases BroadwayTorontoConnecticut BroadwayOff-BroadwayLondonArkansasCaliforniaMassachusettesPennsylvaniaWashingtonToronto 2012-13 Press Releases2011-12 Press Releases2010-11 Press Releases2009-10 Press Releases Theatre Listings Broadway ListingsLondon Theatre Listings Broadway GrossesBroadway CalendarTheatre Do's and Don'ts ShopAbout PressContact AndyPrivacy PolicyHire AndyAndy's Video PortfolioAbout Andy You are here: Home Theatre Press Releases 2011-12 Press Releases Corinna Sowers-Adler to Debut at Feinstein's in LET ME SING AND I'M HAPPY Tuesday, 09 August 2011 14:52 Corinna Sowers-Adler to Debut at Feinstein's in LET ME SING AND I'M HAPPY Corinna Sowers-Adler to debut at Feinstein's in "Let Me Sing and I'm Happy" Corinna Sowers-Adler will make her debut at Feinstein's at Loews Regency in “Let Me Sing and I’m Happy” on Sunday, August 28, 2011 at 8:30pm. The performance will be an evening of American popular music filled with funny songs with crazy words that roll along and make you laugh; sad refrains of broken hearts that love in vain to make you cry and crooning blues that start you tappin’ your feet and lift you out of your seat. Ms. Sowers-Adler is the latest voice of the American Songbook, performing solo shows, to rave reviews, at The Metropolitan Room, Triad Theater and the Duplex Cabaret Theatre; and is the host of the critically acclaimed “Music at the Mansion” series. From Berlin to Broadway to The Beatles, Corinna brings a new face to the sound of old favorites and a classic twist to new standards. Joined on piano by the outstanding Fred Barton and Justin Peterson on bass. "Let Me Sing and I'm Happy" is an evening not to be missed. Feinstein's at Loews Regency is located at 540 Park Avenue (at 61st Street), New York, NY 10021. Tickets are $33.75 General Admission or $50.08 Premium Section with a $25 food or beverage minimum required. Reservations needed. For more information, call 212-339-4095 or visit www.corinnasings.com. Related items Mark Ballas from "Dancing with the Stars" Debuts at Feinstein's with New CD Jan 29 Petula Clark to Debut at Feinstein's at the Loews Regency, Jan 24 - Feb 4, 2012 Bebe Neuwirth at Feinstein's Nov 15-26 Betty Buckley Brings AH MEN! THE BOYS OF BROADWAY to Feinstein's, Oct 4-29 « The Harold and Mimi Steinberg Trust to Host 4th Annual MIMI AWARDS FRINGE FOLLOWING 2011: From Sold Out Performances in Los Angeles, ELYSIAN FIELDS Bows at Fringe Festival » back to top Now Playing On Broadway The infectious music of ABBA provides the framework for a romp through the preparations of an unusual wedding. Rock of Ages (at Helen Hayes) In 1987 on the Sunset Strip, a small-town girl met a big-city rocker, and in L.A.’s most famous rock club, they fell in love to the greatest songs of the… Phantom of the Opera, The Andrew Lloyd Webber's smash musicalization of the Gaston Leroux novel won the 1988 Tony Award for Best Musical and is now the longest-running show in Broadway history. Set amidst the razzle-dazzle decadence of the 1920s, CHICAGO is the story of Roxie Hart, a housewife and nightclub dancer who murders her lover after he threatens to walk out… Charlie Price has suddenly inherited his father’s shoe factory, which is on the verge of bankruptcy. Trying to live up to his father’s legacy and save his family business, Charlie… Realistic Joneses, The What do you really know about your neighbors? Toni Collette, Michael C. Hall, Tracy Letts and Marisa Tomei invite you to find out. Hailed by the New York Times as… A Gentleman's Guide to Love and Murder When Monty Navarro, a disinherited relative of the rich and powerful D’Ysquith clan, learns he’s ninth in line to inherit the earldom, he sets out to secure his future by,… Book of Mormon, The The Book of Mormon tells the story of two young Mormon missionaries sent off to spread the word in a dangerous part of Uganda. Their tale is told alongside the… Cinderella, Rodgers and Hammerstein's Rodgers & Hammerstein classic television production premieres on Broadway this spring. It adds songs from the duo's catalog and adds a new twist to an old tale! Songs include “In… Bullets Over Broadway Bullets Over Broadway tells the story of an aspiring young playwright (Zach Braff) newly arrived on Broadway in 1920’s New York who is forced to cast a mobster's (Vincent Pastore)… MATILDA is the story of an extraordinary little girl who decides that despite a bad beginning filled with rotten parents, a terrifying school and a vicious head mistress, her story is… On the streets of Dublin, an Irish musician (Guy) and a Czech immigrant (Girl) are drawn together by their shared love of music. Over the course of one fateful week,… Elephant Man, The Royal heir Pippin is spurred on by a mysterious group of performers to embark on a death-defying journey to find his “corner of the sky.” The original production of PIPPIN,… Wicked tells the incredible untold story of anunlikely friendship between two girls who first meet as Sorcery Students at Shiz University: the blonde and very popular Glinda and a misunderstood… Julie Taymor's acclaimed staging of the Disney animated film has been hailed as a Broadway landmark. The story focuses on a young lion cub's personal journey toward his destiny as… Curious Incident of the Dog in the Night-Time Country House, The Inspired by Chekhov's pastoral comedies, this witty and compelling new play provides a piercing look at a family of performers coming to terms with the roles they play in each… Jersey Boys tells the rags-to-riches story of one of the greatest successes in pop music history. Go behind the music of Frankie Valli & the Four Seasons, and meet four… If / Then On the verge of turning 40, Elizabeth moves back to New York City, the ultimate city of possibility, intent on a fresh start - new home, new friends, and hopes… Illusionists, The - Witness the Impossible Beautiful - The Carole King Musical Beautiful tells the inspiring true story of Carole King’s remarkable rise to stardom from being part of a chart-topping songwriting team with her husband Gerry Goffin, to her relationship with… Based on Christopher Isherwood's The Berlin Stories, the musical is the story of Cliff, an American writer who comes to Berlin at the dawn of the Hitler era. He falls… Last Ship, The Motown: The Musical is the real story of the one-of-a-kind sound that hit the airwaves in 1959 and changed our culture forever. This exhilarating show charts Motown Founder Berry Gordy's… GCalendar Upcoming The Theatre Speaks Beware of the critic who does not now and then contradict himself. He is a foe of the progress and development of art."--George Jean Nathan The Broadway Calendar View Entire Calendar Get The AndyGram Condensed First Name: Last Name: Find us on Google+ Theatre Press Release News Lincoln Center Theater Announces Additional Casting for Revival of THE KING AND I Disney Theatrical Productions Announces First of Its Kind Ticket Exchange Program Tony Awards Administration Committee Meets for the First Time During the 2014-2015 Season to Determine Eligibility Matthew Broderick Extends in IT'S ONLY A PLAY THE LION KING Celebrates 17 Years on Broadway Kelsey Grammer Joins the Cast of FINDING NEVERLAND Matthew Morrison to Return to Broadway in FINDING NEVERLAND BC/EFA Announces GYPSY OF THE YEAR Competition for Dec 8 and 9 Roundabout Announces Broadway Dates for NOISES OFF starring Andrea Martin Andy Karl, Mark Linn-Baker, Michael McGrath & Mary Louise Wilson Join Cast of ON THE TWENTIETH CENTURY Copyright Andrew C. McGibbon 2008-2013

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| ‘Harry Potter’s’ Rupert Grint to star in CBS pilot ‘Super Clyde’ By Daniel S Levine, 2/14/2013 Rupert Grint, best known as Ron Weasley in the Harry Potter series, has been cast as the lead in Super Clyde, a CBS pilot created by Raising Hope’s Greg Garcia. Grint will star in the title role, a fast food worker who likes to keep to himself, borderline agoraphobic and has anxiety issues. The Clyde character is a comic book geek and decides to become a super hero himself after suddenly inheriting $100,000 a month from a deceased uncle, The Hollywood Reporter notes. Garcia will write the pilot and executive produce as part of a new overall deal with CBS. The network greenlit the pilot last month, along with another Garcia project about a divorced man living with his parents. In addition to Raising Hope, Garcia is also known for My Name Is Earl. Since Harry Potter ended, Grint has kept busy, recently filming Into The White. That film hits theaters on April 12, reports MTV News. He is also set to star in a Beach Boys biopic called The Drummer and GBCB, about the famous New York punk club. Pitch perfect 'Pitch Perfect' parody reveals the truth: film is really about 9/11 conspiracy

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Mukesh - Kabhi Kabhi Mere Dil Mein - Kabhi Kabhie; Love Is Life [1976] "Kabhi Kabhie; Love Is Life" (English: Sometimes...) is a 1976 Bollywood film, produced and directed by Yash Chopra, starring Waheeda Rehman, Shashi Kapoor, Amitabh Bachchan, Raakhee Gulzar, Neetu Singh and Rishi Kapoor. This was Yash Chopra's second directorial film with Amitabh Bachchan and Shashi Kapoor in the lead roles after Deewar. The movie was a great commercial success with excellent performances and haunting music by Khayyam. The movie's concept came to Yash Chopra while he was reading a poem by his longtime friend (and also the film's lyricist) Sahir Ludhianvi. The movie was shot by Yash Chopra in Kashmir. During filming, all the cast stayed together as a family and contributed to every aspect of the film, even bringing their families with them to Kashmir where they were used as extras in the wedding scenes. It was one of Yash Chopra's happiest experiences and he described the production as a honeymoon. The film had been written with Raakhee in mind, and she had agreed to do it during the making of Daag (1973) but before production started she married Sampooran Singh Gulzar, who wanted her to retire from acting. However, after some persuasion from Yash Chopra, Gulzar let her do the film. Awards; * Best Lyricist: Sahir Ludhianvi * Best Music Director: Mohammed_Zahur_Khayyam * Best Playback Singer: (Male) Mukesh * Best Screenplay: Sagar Sarhadi................ Mukesh (Hindi: ) (July 22, 1923--August 27, 1976) was an Indian playback singer of Bollywood ... Shashi Kapoor Shashi Kapoor 100 yrs of Indian Cinema: A tribute to Kapoor Khandan As the world gears up to pay tribute to 100 years of Indian cinema, we cannot deny the contribution of this single family in the rise of Bollywood. The kapoors have remained the uncrowned kings of the silver screen of India and four generations have contributed towards the development of the indu Family dismisses Shashi Kapoor’s unwell report Legendary actor Shashi Kapoor's family dismisses his unwell report saying that he is fine and fans are spreading false report about his health. On Saturday, there has been quite abuzz on twitter about his bad health. Shashi Kapoor’s 'official' page on social networking website, Facebook, stated: Child actors who made it big are more than a few people in the Indian film industry, who started off as child actors, but continued to wow the audience even as adults. Here are a few of the best child stars the Indian film industry has seen, who have gone on to become some of our best actors as adults as well!

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Ajay Devgn thanks Shahrukh Khan Actor Ajay Devgn has blamed “baseless” media coverage on “problems” between him and superstar Shah Rukh Khan, whom he has thanked for wishing him good luck for his forthcoming film “Singham Returns”. Recently, SRK took to Twitter and wished director Rohit Shetty and Ajay luck for the film, which also stars Kareena Kapoor. Ajay acknowledged King Khan’s wishes at the film’s trailer launch here Friday, saying: “I am very thankful to him for that.” “I think all the problems that are published and shown in media are baseless. There has never been a problem. We all wish others ‘all the best’. We work as one unit,” he added. There were reports that the actors shared a sour relationship when Shah Rukh’s “Jab Tak Hai Jaan” and Ajay’s “Son of Sardaar” had released on the same day on Diwali in 2012. “Singham Returns” is the sequel to the hit film “Singham”

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Sonam Kapoor may try TV following dads footsteps BollywoodNewsWorld.com, Her actor-producer father Anil Kapoor is attempting to change the face of Indian television with his debut show “24” which has received wide appreciation. Now, if a source is to believed, Sonam too is open to working on the small screen. The charming actress has reportedly received offers to make appearances and to judge reality shows in the past. “Sonam is very popular among kids, especially teenagers for her fashion sense. So much so that the actress keeps getting offers to make appearances on kids based reality shows,” said a source close to the actress. However, for Sonam to consider such a project seriously, it has to be interesting enough. “She is open to do television shows when something which interests her comes along,” the source added. After the success of her latest films “Raanjhanaa” and “Bhaag Milkha Bhaag”, Sonam is gearing up for her upcoming movie “Khubsoorat”, a remake of the Hrishikesh Mukerjee-directed 1980 family drama which starred Rakesh Roshan, Rekha, Ashok Kumar and Dina Pathak. The remake is being produced by Sonam’s father, actor Anil Kapoor, and Shashanka Ghosh is directing it.

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Click for More Articles on SMASH on NBC... SMASH EXCLUSIVE - Songwriters Marc Shaiman and Scott Wittman in the Recording Studio! by BroadwayWorld TV Season 2 of NBC's SMASH won't premiere until mid season, but fans will get a chance to relive Season 1's epic Marilyn battle beginning today, January 8, when the show is released on DVD! To celebrate the DVD release, BroadwayWorld brings you an exclusive look at a Behind the Scenes DVD Bonus Feature with the show's songwriters Marc Shaiman and Scott Wittman in the recording studio as the show's stars, Will Chase and Megan Hilty, record the love duet 'Mr. & Mrs. Smith'. Watch the clip below! Click here to order the first season of SMASH on DVD! Marc Shaiman composed the music and co-wrote the lyrics for Hairspray with Scott Wittman for which the pair won the Tony, Grammy and Olivier Awards. They teamed up again for Broadway's Martin Short: Fame Becomes Me and Catch Me If You Can, for which Marc was a Tony Award nominee for his orchestrations. Marc is a five-time Academy Award nominee for his work on Sleepless in Seattle, The First Wives Club, Patch Adams, The American Presidentand South Park: Bigger, Longer & Uncut. Marc received an Emmy Award for co-writing Billy Crystal's medleys for The Academy Awards. He was also Emmy-nominated for writing on Saturday Night Live (the Sweeney Sisters). His arrangements for Harry Connick Jr. brought him two Grammy nominations, as did the Hairspray soundtrack. As her music director and co-producer, Marc brought his long-time partner Bette Midler the Grammy winning songs "The Wind Beneath My Wings" and "From A Distance". But it is their collaboration on her Emmy Award-winning performance for Johnny Carson's penultimate Tonight Show that will always remain a highlight. Scott Wittman's credits include directing and co-writing Martin Short: Fame Becomes Me on Broadway and on tour. Scott has created and directed two Broadway shows, three recordings, and two sold-out Carnegie Hall concerts for Patti LuPone. On television he has conceived and directed performances for Nathan Lane and Sarah Jessica Parker. He has co-written Neil Patrick Harris' musical numbers for The Academy Awards (Emmy Nomination), The Emmy's, and the Emmy winning Tony Awards. He has also co-created Christine Ebersole's successful nightclub appearances. He has received the Tony, Grammy, Drama Desk, Outer Critics, Evening Standard and Olivier Award for his work as co-lyricist on Hairspray. On Broadway, he was the co-lyricist for the Tony Award nominated musical Catch Me If You Can. BWW TV Special: Tony Winners Ann Reinking, Bebe Neuwirth, James Naughton and Joel Grey Light Up the Stage for CHICAGO's Record-Breaking 7,486 Performance BWW TV: First Look at Highlights of A CHRISTMAS MEMORY BWW TV Exclusive: Behind the Scenes of A LITTLE PRINCESS Concert at 54 Below with Andrew Lippa & Abigail Shapiro! BWW TV Exclusive: Sting Talks Joining THE LAST SHIP on Broadway; Plus Producer Jeffrey Seller! BWW TV: First Look at Highlights of WOMEN ARE CRAZY BECAUSE MEN ARE A**HOLES BWW TV: First Look - James Corden & Emily Blunt Meet The Witch in New INTO THE WOODS Clip! BWW TV: First Look - Meryl Streep Sings 'Stay With Me' from INTO THE WOODS! BWW TV: First Look at the Arvada Center's SHE LOVES ME BWW TV: Watch Highlights from Signature Theatre's A PARTICLE OF DREAD (OEDIPUS VARIATIONS) BWW TV: Inside New York Stage and Film Winter Gala with Jessie Mueller, Billy Porter & More

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POPSUGAR Entertainment Ranking the Grey's Finales, From Least to Most Painful May 15 2014 - 10:33am The 10th season finale of Grey's Anatomy [1] is here, and after nearly a decade of horrible deaths, heartbreaking admissions, and devastating disasters, we kind of know what to expect. The show is known for bringing out the big guns time and time again, which means anything can happen and no one is safe. You know the pain scale the doctors use at hospitals? Where they ask you to rate your pain from one to 10, with one being the least painful and 10 being the most? Well, to prep for this week's finale, we're ranking all of the season finales on the same scale, from least painful to most painful. Keep scrolling as we assess our Grey's Anatomy pain levels from the past nine season finales. Very Mild Pain: Season 7Compared to all the other finales, season seven's is the most mild. Cristina finds out she's pregnant, but she doesn't want to keep the baby. Meredith learns it was Alex who ratted her out for tampering with Derek's trial. It's sad, yes, but not heart-wrenching. Mild Pain and Discomfort: Season 1This finale is more surprising than anything else, because Addison Montgomery arrives, revealing that Derek is, in fact, a married man. Noticeable Yet Tolerable Pain: Season 4

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Wizard Of Oz May Not Be Moving Forward Yet, But They Will Soon By Katey Rich 2010-03-10 09:47:56 comments The news in The LA Times this morning is that Warner Bros. is making the very obvious decision to remake The Wizard of Oz, with two in-development projects potentially to choose from. One is the long-discussed Todd McFarlane one (you can read more about that here), and the other would be a more traditional take, in development at New Line. But before you get ready to pelt the WB lot with ruby red slippers, Collider has some words of caution for you. Both projects are in development, yes, but apparently there hasn't been movement on either in over a year; it's unclear what motivated The LA Times to write the article, though Collider describes it simply as "hit-whoring." The thing that could change all of this, of course, is Alice in Wonderland, which made a mint for Disney last weekend by repurposing a familiar childhood story in a new way. That might make it even easier for McFarlane's dark take to make it to the screen, given that no one seemed all that upset when Burton tinkered with the original Alice details. It seems that the LA Times recognized the potential for an Oz redo in the wake of Alice's success, and ran a story on the in-development projects even if nothing's happening with them. Like the LA Times, I would expect movement on at least one of these very soon. Tweet A Major Fast & Furious Player Will Probably Direct A DC Superhero Movie Batman And Superman Are Getting More Movies Than We Thought DC Is Making These 11 Superhero Movies Between Now And 2020 Two Different Films Probably Want Emma Watson To Play The Exact Same Role

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VIDEO: Surviving "The Walking Dead Escape" With CBR's Steve Sunu Fri, July 13th, 2012 at 6:28pm PDT Editor's Note: We sent CBR staffer Steve Sunu into the infected undead zone of Petco Park during Comic-Con International in San Diego. Steve managed to get us footage and a report of the event as he attempted to make his way from the infected area to evac in "The Walking Dead Escape." A chain link fence strains against a cavalcade of zombies as a man in military fatigues yells through a megaphone at the assembled masses. "Remain calm. Don't believe what you've heard in the media. This is a safe zone." Suddenly, a FEMA volunteer walks through the area with two zombies chained at the neck and before I know it, he's been bitten. Infected. "He's been infected! Go, go!" yells the voice in the megaphone. A gate opens and smoke streams through. I feel my feet start to carry me over concrete around the corner, and then I see the shambling dead lying on the floor, walking around -- and I only have one thought: Run. Run as fast as your legs will carry you. Climb the rope bridge and attempt to ignore the undead reaching for your legs. Vault over the barriers. Just get to safety, hide, sneak, be aware of your surroundings -- and above all, run until you're safe. Uninfected FEMA direct me to the best route out of the contaminated areas, forcing me to do whatever I can to avoid the undead and come out alive -- but it's a challenge. I can hide behind a car or crawl under fenced tunnels, and the sight of a human being eating the entrails of another doesn't help me control my rising terror. Is that blood on my hands? Where did that come from? It doesn't matter. I have to keep moving. I can only hope that I make it out of here uninfected. I think I've managed to avoid contagion so far, but I can't be sure until I make it to the safe area and go through decontamination. Hopefully, this won't be the last piece I write, but in the event that I do not make it through here alive, I hope this footage finds its way back to the right hands and the public will be made aware of the horror within the walls of Petco Park this weekend. "The Walking Dead Escape" is currently going on at Comic-Con International in San Diego 2012 at Petco Park. TAGS: cci2012, cbr tv, the walking dead, amc, robert kirkman

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Home » TV » Review » Extant episodes 7 & 8: More In Heaven And Earth & Incursion Extant episodes 7 & 8: More In Heaven And Earth & Incursion Holly Hogan Molly continues to have Offspring trouble in this week's Extant double bill. Here's Holly's review... This review contains spoilers. 1.7 More In Heaven And Earth; 1.8: Incursion In this week’s double episode, Molly becomes a mama to be reckoned with (though she needs to work on her catchphrases), John is hit harder than ever before with the implications of playing God, and... well, all kinds of stuff. Episodes seven and eight, I presume, were meant to be aired in separate weeks, but presented together, they were a lot to deal with. Not that that’s a bad thing - we were treated to probably the greatest amount of reveals to date, not to mention a staggering amount of “what have we done?” Let’s dive in. Really, I think it’s Katie Sparks’s ghost (for lack of a better term) that weaves the discrete stories of this week’s two hours together, a reminder of the consequences of the type of decision each character is on the verge of making. Her tragic end, obviously, most acutely affects her father - though Alan Sparks’s complicity directly led to her death. He is a haunted man, one for whom we want to have some shred of empathy, but his behavior is, to say the least, confusing. While his interactions with his visions of Katie are pitiful, it’s hard to gather too much pity before being reminded of just how diabolical a plot he’s committed to, and just how unfeelingly he is indeed committed to it. Sparks’s one-time friend Molly, having been devastatingly altered by what she now knows was his direct command, finally snaps into Mama Bear mode this week. She knows Sparks has “her” baby (the question of whether she’s actually its mother is a repeated discussion), and nothing is going to stop her from finding him. Oh, by the way - the baby is a him, and he’s affectionately known to the ISEA conspirators as The Offspring. Now armed with the footage of Katie on the doomed Aruna, she just needs proof that the baby’s still alive. Halle Berry has been a little hit or miss in her portrayal of Molly, and I’m wavering on my opinion of her performance here. I love how Molly - along with Kern and Kryger, but more on them later - has gone complete rogue. The whole “no risk, no reward” thing, which I assume is supposed to be her “get to tha choppa!” or “allons-y!” or (insert motivating pop culture battle cry here), definitely felt forced and just this side of camp. (I’m pretty sure camp is the last intention of the writers, unfortunately, though I wouldn’t mind seeing a little more of it intentionally in such an unhinged story and setting.) Dialing it down a bit would probably be a good choice, though, to match the undeniable drama. In any case, the adventures of the delightful trio of Woods, Kryger, and Kern was hands down my favorite part this week. I’ve made no secret of my unabashed affection for Harmon Kryger (Brad Beyer), and I’m a sucker for a brooding antihero, so Gordon Kern (Maury Sterling) piqued my interest even when it appeared he was just Sparks’s minion. The two precariously joining forces to protect Molly and help her find the baby, especially after the whole Kryger-captive-in-Kern’s-basement thing, felt like a present just for me. These three loose cannons each have their own motivations (and reservations, in the case of Harmon, whose reasoning as to why he didn’t want to rescue the baby was LOL-worthy), but access to the baby chamber just might only be possible through their combined efforts. We leave Kern in a dangerous position, his betrayal having been discovered by Sparks but having helped breach the security long enough for Kryger and Molly to get to the room where the baby has been hidden. Unfortunately for Molly, Kryger is not the help she’d hoped for, and even if he were, the baby has disappeared, replaced by an unlucky dead scientist. Molly’s other “baby,” Ethan, meanwhile, is inexplicably showing signs of development that are more than her husband, his creator John, bargained for. He can speak Japanese, ride a bike expertly the first time he gets on it, wake up on his own despite having a programmed sleep cycle, and act like a typical defiant human brat when he doesn’t want to do what his dad tells him to. Problem is, he’s not a typical human kid, he’s a humanich, and none of this is consistent with his programming. While not-so-subtle hints at a possible rise of the machines plot have been thrown about since episode one, this week’s two episodes bring it to fruition more explicitly than ever before. Once a wide-eyed idealist, John is just now, it seems, truly stricken by the serious implications of what he’s created. Goran Višnjić takes the character into full-on panic mode (even letting his accent slip a bit for the first time in a few weeks!) trying to make the loaded decision of whether to limit Ethan’s development and betray all of his work and beliefs up to now or to stay true to his original mission and risk greater consequences than he will be able to control. This arc is really solid; though it echoes many a sci-fi and movie plot all the way back to Frankenstein and beyond, the dilemma of following through with a life’s work, having it possibly go horribly wrong, and what wretched decision to have to make in its wake is never not relevant. That the life’s work in this case takes the form of an apparently well-meaning little boy who is essentially John’s son just ups the stakes. The twist here is that the choice is taken out of John’s hands - he’s locked out of Ethan’s controls, ostensibly by Ethan himself. However, besides one brief Kubrickian glance at the camera at the end of hour, Ethan seems to be genuinely struggling with it all. He faces situations that all schoolkids do - being talked about, being bullied, wanting to explore and test boundaries - but with abilities that other schoolkids don’t have. He can push back with the powers of a humanich, sure, but he’s not completely ready to reconcile the urges and emotions and confusions of a child. Told that an obsolete sweeper bot can’t be fixed because it no longer has a function, he asks, “what’s my function?” As Julie later tells John, that’s about as human as it gets. Speaking of Julie, her distance from John is becoming wider, and her relationship with Odin is becoming closer. Perhaps distracted by her hurt feelings after John’s accusation that she was the one who cut off Ethan’s access, or maybe just by Odin’s dreaminess, she doesn’t seem to notice that Odin is taking unusual interest in her work with Ethan and Humanichs. This is a very crucial blind spot, as it’s revealed that Odin is the charismatic leader of a group of anti-machine zealots (including Femi Dodd!) determined to bring on a violent “reckoning”, starting with Ethan. As the ethics surrounding Katie and the Aruna crew’s deaths are reflected in just about every story being told here, it’s appropriate that we end with a cryptic message from the lady herself to her father: “Dad, he needs our help.” Who does? My bet would be The Offspring - especially given the plans Yasumoto has for him - but things don’t look great for Ethan, either. In the meantime, The Offspring is missing but seemingly trying to communicate through Molly, Kern is MIA, Kryger has shown some true colors, Julie and Odin are about to have a babysitting sleepover, and John has gone after Molly despite her wishes. Next week, which will be another double feature, has a lot of following up to do. I hope it’s not too much for our neural nets. Read Holly's review of the previous episode, Nightmares, here. Follow our Twitter feed for faster news and bad jokes right here. And be our Facebook chum here. Check out Den of Geek T-Shirts HERE TVExtantHalle BerryHolly Hogan Sponsored Links

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People Roundup Eve Myles talks about the roles she would like: "I’d love to do Who’s Afraid of Virginia Woolf? or Cat on a Hot Tin Roof - I do enjoy playing big, strong, feisty females. I am too old, but I would have loved to play Dorothy. (and on television) Sherlock – it is really hot. I also love Upstairs Downstairs. I am proud it gets made in Cardiff." [Radio Times, 11 Apr 2012] Lesley Sharp commented on working with Russell T Davies: "I would go anywhere and do anything for Russell. We did some great work 10 years ago – the TV series Bob & Rose and The Second Coming. It's not true that he wanted me to be the first female Doctor Who, but I would if he asked, obviously." [Observer, 15 Apr 2012] Matt Smith's sister Laura talks about her influence on his acting aspirations: "When I was 18 I landed a lead role in the West End production of Saturday Night Fever; Matt came to see the show 57 times and I knew he had to have more than a passing interest in performing so I persuaded him to pursue it." However, not all of her ideas came to pass: "I had a friend who worked on Footballers' Wives so I covered Matt in fake tan, gelled his hair, made him wear salmon pink trousers and sent him for an audition - he didn't get the part, which was probably a good thing... that kind of look definitely isn't him!" [Daily Mail, 14 Apr 2012] John Barrowman spoke about the representation of gay characters on US television during his panel at the Chicago Comic and Entertainment Expo, held last weekend: "There's more gays and lesbians represented on American television than anywhere else in the world, and I think that's a fantastic thing. I just don’t think that they're always represented in the right way. I think that there's a diversity amongst [members of the community]. Everybody is different. We're got butch, we've got macho, we've got effeminate — you name it, we've got it. But it always seems that they're portrayed in the effeminate. So I was quite proud to be an action hero. I was quite proud to be an action man, a hero to young men and women, and also gay and lesbian women who could actually look myself and Scott. We are men. We just happen to like men ... If I had someone like Captain Jack when I was younger to look up to, I wouldn't have had to have hidden who I was for a long time, because I would have been proud to be who I was at the age of 8 and 9 when I knew that I was gay. I am exceptionally proud of it. Not every gay man or gay woman agrees with me on how I feel, but that's my opinion and you asked for it and I appreciate that you did ask, so there you go." [Comic Book Resources, 15 Apr 2012] The actor also got to meet and get the autograph of author Anne Rice at the event! [Anne Rice Net on YouTube, 15 Apr 2012] Script editor and long-term Doctor Who writer/producer Gary Russell will be appearing at Comic Guru in Wood Street, Cardiff, from midday to 5pm this coming Saturday, signing copies of much of his literary output over the years. The shop has also recorded an interview with Russell, which is being released via their YouTube channel; the first five are available now: 1 2 3 4 5 When joining Twitter, Karen Gillan discovered the hard way what fame can do as her co-star Arthur Darvill observed: "so Karen has NOT turned off her email notifications and her battery has died. Cue 50000 emails. Today just got so much better.«". The actress responded: "Someone could have told me to turn off my email notifications when I joined twitter today Arthur. Plus side? That many cyber friends.«" Amidst all the Dalek-media-mania of the last fortnight, Dave Saunders (who possesses two originals from the Hartnell/Troughton era), said: "My uncle was a Dalek operator in the 1960s, and I took over in the 1980s. It was tremendous fun. I had to sit inside the Dalek on a wooden platform and operate it all with my feet and hands. The Dalek was on wheels and you would make it move by moving your feet, very much how you would make an office chair move. During rehearsals you had to follow dotted lines that were put on the studio floor and then remember the moves when they were taken away for the action scenes. You also had to wear a black hood so you could not be seen through the mesh of the Dalek’s head." [Shropshire Star, 12 Apr 2012] (there are more Dalek tales, courtesy of The Sun, 12th April) The recent Virgin Media adverts starring David Tennant alongside Richard Branson have been pulled from television - in a joint statement between the company and the BBC they said: "Virgin Media has listened to concerns raised by BBC Worldwide about perceived commercial endorsement by the BBC/a BBC brand relating to the recent Virgin Media advertisement. As a gesture of goodwill Virgin Media has agreed to withdraw transmission of the advertisement and BBC Worldwide is now satisfied that the issue has been addressed." [BBC News, 18 Apr 2012] (Gary Russell signing/videos with thanks to Kristian Barry and Andy Frankham-Allen, Virgin Media update thanks to Chris Moore)

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Bollywood actress dies, at 82 Suchitra Sen, India's legendary actress known for her memorable roles in both Bengali language and Bollywood films, died today after a cardiac arrest, her daughter said. She was 82. Sen was in hospital in Kolkata, the capital of West Bengal state, more than three weeks ago for treatment of a respiratory tract infection, said Moon Moon Sen, who is also an actor. She was due to be cremated later today. Suchitra Sen started acting in 1952 and reigned supreme for 26 years. Sen won fame in the Bengali films, especially co-starring with actor Uttam Kumar. The two become associated with Bengali melodramas and romantic movies through the 1960s and the 1970s. Her most memorable Bengali films included Agnipariksha, Devdas and Saat Paake Bandha. The doe-eyed beauty shunned appearing in public after her retirement from films in 1978. She acted in 57 Bengali and seven Hindi films. Indian prime minister Manmohan Singh said that Suchitra Sen had carved a special niche in the hearts of millions of Indians through her graceful cinematic presence. He said: "Her versatility and range of performances mark a unique contribution to Indian cinema, and to Bengali films in particular." Bollywood superstar Amitabh Bachchan said he was saddened by the news of her death. "Beauty, talent, enigmatic - she adorned the film world of Bengal with exquisite performances ... She graced Hindi films too!" Bachchan tweeted. "She was a wonder. She was not just a legend," said Mamta Banerjee, the state's top elected official. Suchitra Sen made her debut in Bollywood with the 1955 film Devdas, co-starring with Dilip Kumar, another legendary actor, and won the best actress award for the movie. Another big Bollywood hit was Aandhi where she played the role of a politician inspired by the life of the then-Indian prime minister, Indira Gandhi. She was the first Bengali actress to be honoured at an international film festival. She was picked as the best actress for her role in Saat Paake Bandha, a Bengali language film, at the 1963 Moscow film festival. The Indian government honoured her with Padma Shri, a top civilian award, in 1972. Suchitra married Dibanath Sen, an industrialist, in 1947 before launching her successful acting career. Her husband died in the early 1970s. Arts and Entertainment Tweet

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I Love FC / Just-Married 2012 / Maria Sosa & Devin Taylor Edit ModuleShow Tags Maria Sosa & Devin Taylor Be the star in your own love story by having a videographer present Wesport Magazine, September/October 2012 Ralph, Cathy, Ryan, Kelly, Keri and Sean Mayo with bride Colleen, Patrick Jr, Sean, Judy and Patrick Massi photographs by Bruce Plotkin Maria and Devin first met as law students at Brooklyn Law School and quickly became good friends. After graduation the couple began dating, and a few years later Devin proposed to Maria at the Brooklyn Heights promenade. After she accepted, Devin whisked Maria to Almond in New York City to celebrate with family. Father Thomas P. Thorne officiated at the wedding ceremony at the Assumption Church in Westport. After, a lovely reception for friends and family was held at the Inn at Longshore. Maria is the daughter of Monica and Jorge Sosa of Westport. She is a graduate of Staples High School and earned her bachelor’s degree in sociology from Skidmore College. Maria received her J.D. from Brooklyn Law School and works as a lawyer for the Legal Aid Society in New York. Devin, the son of Jackie and Brian Taylor of White Plains, is a lawyer at Cahill Gordon & Reindel LLP in New York. He received his bachelor’s in political science from Wake Forest University and his J.D. from Albany Law School. The bride and groom honeymooned in Hawaii before returning home to New York.

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Film Review: ‘Repentance’; Psychological thriller traces grief-stricken man’s slow descent into insanity Published on Thursday, 06 March 2014 16:52 Written by LAWT News Service March 06, 2014 Therapist Thomas Carter (Anthony Mackie) has just published a popular self-help book about the near death experience which helped him turn his life around. He is proud of the fact that after almost perishing in a horrific, alcohol-related car crash in his teens, he eventually not only earned graduate degrees in World Religion and Clinical Psychology but went on to wed his soul mate, Maggie (Sanaa Lathan). Today, Tommy has a happy marriage and a flourishing practice founded on a spiritual philosophy combining faith and positive thinking. But sadly, his enviable fortunes have proven to be the polar opposite of his wayward brother Ben’s (Mike Epps) lot. The recently-paroled ex-con was barely back on the streets before word of a $12,000 bounty being placed on his head spread around their native New Orleans. So, when Ben approaches his successful sibling for enough cash to keep his bloodthirsty adversaries at bay, empathetic Thomas opts to raise the ransom by extending the best-selling tome’s publicity tour. At a local book signing, he is approached for an autograph by a fan also urgently in need of 1-on-1 counseling. Against his better judgment, the literary rock star agrees to see Angel Sanchez (Forest Whitaker) as a patient, since the $300/session fee definitely will put a dent in brother Ben’s debt. Even worse is Dr. Carter’s fateful decision to make house calls to the home of this loner left devastated by the death of his mother (Adella Gautier). For, although it might be easy to diagnose the source of the deeply-disturbed man’s anguish, the only hint that he’s at the end of his emotional rope is his estrangement from his wife (Nicole Ari Parker) and young daughter (Ariana Neal). The plot thickens when Angel takes his new shrink hostage, tying him up in his basement-turned-makeshift torture chamber. The psycho proceeds to behave sadistically while conveniently managing to keep up appearances for the sake of any visitors and passersby. Directed by Philippe Caland (Ripple Effect), “Repentance” is a momentarily-intriguing psychological thriller that establishes a compelling premise only to morph into an otherworldly horror flick. Over the course of this rudderless adventure, Forest Whitaker ultimately finds himself abandoned by an implausible script. The Silence of the Butler! Fair (1.5 stars) Rated R for profanity, violence and torture Studio: Code Black Films Distributor: Lionsgate Films To see a trailer for “Repentance,” visit: http://www.youtube.com/watch?v=iwBgGZIzliw. < Prev

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Mocking Pretension: Buddy Ebsen [4 August 2003] By Sam A. Hieb Dancer, actor, artist, author, yachtsman: Buddy Ebsen’s many interests and skills demonstrate that life should be savored every day, no matter your age. He was an extremely intelligent man and independent thinker, yet he was reluctant to show off. He was quietly ahead of his time. Buddy Ebsen started his career as a dancer, and one of his early film roles had him hoofing with Shirley Temple in Captain January (1936), his long legs appearing to bend as he skipped around the stage. Such flexibility would have made him an excellent choice to be the Scarecrow in The Wizard of Oz (1939). The part went to Ray Bolger instead, and Ebsen was recast as the Tin Woodsman, until the aluminum makeup put him in the hospital, and the part went to Jack Haley. But this loss did not cause MGM to lose confidence in him. To the contrary, the studio offered him a seven-year contract at $2,000 a week in 1938. But when Louis B. Mayer told Ebsen that, with that kind of contract, the studio would own him, Ebsen balked. Saying what many of us wish we could say to those who write our paychecks, he told Mayer he couldn’t be owned, and walked away from a considerable amount of money in the middle of the Depression. He also walked into a load of trouble. In those days, MGM had very long arms, and Ebsen endured many lean years. He went on the road, performing in plays. “People would lay down their money and laugh and you’d see them walk out happy,” Ebsen told the New York Post in 1965 (quoted in the New York Times obituary, 7 July 2003). In the mid-1950s, Walt Disney hired him to play Davy Crockett’s sidekick, Georgie Russell, on television and films. In 1961, Ebsen played Audrey Hepburn’s abandoned husband in Breakfast at Tiffany’s. He also guest-starred on The Andy Griffith Show, as David Browne, a hobo who leads Opie astray, telling him all his problems could be solved by uttering the magic word, “Tuscarora!” Ebsen didn’t know it, but in 1962, he was on his way to becoming a pop icon. At the time, “country” characters were already visible on television, but The Real McCoys and Andy Griffith featured rural folks on their own turf, surrounded by those people with whom they were familiar. Producer Paul Henning came up with a scheme to place such types in a “strange” setting, Beverly Hills. He pitched the show to CBS executives over lunch at the Brown Derby, and it was a go—after R.J. Reynolds agreed to put up the bulk of the sponsorship dollars. But the studio suits had one more concern. In their minds, the show didn’t have a clear “moral message.” That was the point, Henning told them. The series was a spoof of the frivolous, self-absorbed Beverly Hills lifestyle, not a judgment of it. And so, the Clampetts took off, driving in their 1921 flatbed, to Beverly Hills and beyond. The show rose to number one only three weeks after its premiere on 26 September 1962, and was soon attracting 33 million viewers a week. That was more than double the viewers tuning into the competition, Perry Como’s Kraft Music Hall and Gene Kelly’s Going My Way, a comedy-drama based on the popular movie. The Beverly Hillbillies was a surprise hit, but it cost money to produce. In fact, Hillbillies boasted one of the costliest sets in television, with the 27-inch-deep “ce-ment pond” alone costing $15,000. Henning and the network developed a clever PR campaign, bombarding the media with ads for the show while carefully guarding its stars’ private lives. After all, it would destroy the public’s pristine image of “Uncle Jed” to see a photo of Ebsen lounging on his 60-foot yacht (although Uncle Jed certainly could afford such a yacht). The critics weren’t impressed, however. Newsweek (3 December 1962) called it the “most shamelessly corny show in years,” while Time (30 November 1962) wrote, “The pone is the lowest form of humor… [It’s] a program that is dedicated to finding out how many times the same joke can be repeated.” The New York Times was no kinder, writing that The Beverly Hillbillies was “steeped in enough twanging guitar and rural no-think to make each half hour seem like 60 minutes.” Social critic David Susskind was particularly alarmed, admonishing “the few intelligent people left” to write their Congressmen to complain about the show. But those who believed the series rehashed the same joke weren’t listening to it. The writers frequently inserted clever puns to illustrate to differences between the Clampetts and their elite neighbors, with Jed acting as a go-between of sorts. In perfect deadpan, Ebsen delivered some terrific lines. In one episode, someone asked Jed if Jethro went to Eaton when he was a boy. Jed replied, “If I know Jethro, he went to eatin’ when he was a baby.” In another episode, Jed was trying to enroll Jethro in a private school so he could continue his sixth-grade education. “Are you aware there is a tuition?” the headmaster asked. “If that means it costs money, I can pay,” Jed said, “as long as it don’t cost over $25 million.” After a year, the critics relented, somewhat. “Folks who look down their noses at TV’s number one show have it all wrong,” Arnold Hano wrote in the New York Times Magazine (17 November 1963). “In truth, it mocks pretension—a spectacle the great American public has always enjoyed.” The following Friday, President Kennedy was assassinated. That tragic, real-world event would help solidify the escapism offered by the Hillbillies as a cultural phenomenon. Steven D. Stark, in his book, Glued to the Set, goes so far as to say that The Beverly Hillbillies soothed the “national psyche” in the wake of the Kennedy assassination. “Seven regular episodes of the Hillbillies immediately following the Kennedy assassination grace the list of the most widely-watched half-hour shows in TV history,” Stark writes. Such numbers, for Stark, indicate that the nation used The Beverly Hillbillies to “bury its grief.” The series was tremendously popular. It never left the top 10 during its run, and has remained available in reruns since it fell victim to CBS’ threshing of all its “rural-themed” programming in 1971, in the wake of another popular icon, Archie Bunker. But Ebsen was not disappearing: just two years later, he reemerged as the private investigator Barnaby Jones. Originally appearing on an episode of Cannon (starring William Conrad), Barnaby came out of retirement to solve the murder of his son Hal, who had taken over his P.I. firm. One of the last of the campy Quinn Martin productions, Barnaby Jones ran for 174 episodes, making it, at the time, the second longest running detective show in TV history, trailing only Mannix. Considering the fact that Ebsen was 65 when he started the show, he certainly brought attention to the fact that life is not over when Social Security begins. And he proved that over and over again, for the rest of his life. When he finally semi-retired (he would appear regularly in Matt Houston throughout the 1980s), he took up painting, gladly bringing Uncle Jed back to life on the canvas. He also published his autobiography, The Other Side of Oz, in addition to several other books. For all this, Ebsen’s most surprising accomplishment may be sailing his catamaran, Polynesian Concept, to victory in the Honolulu Trans Pacific Yacht race in 1968—when he was 60 years old. Ebsen’s long and healthy life is a reminder for all of us. No matter our age, we should never stop creating, learning, doing. Published at: http://www.popmatters.com/pm/feature/030804-buddyebsen/

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Lil Wayne, Tha Carter III, and the Afronaut invasion. SlateCultureboxArts, entertainment, and more.June 20 2008 1:50 PM Lil Wayne and the Afronaut Invasion Why have so many black musicians been obsessed with outer space? By Jonah Weiner Lil Wayne In 1927, the Rev. A.W. Nix, a preacher from Birmingham, Ala., entered a recording studio to commit several of his sermons to wax. He intended to release them commercially on the burgeoning gospel-music circuit. A Southern Baptist, Nix had an ear for the musical possibilities of oratory and a taste for fire and brimstone. His sermons, delivered in the rich, ravaged singsong of a Delta bluesman, bore darkly chastening titles like "Death Might Be Your Christmas Gift" and "The Prayer Meeting in Hell." Tucked into this catalog of apocalyptic warnings, though, was "The White Flyer to Heaven," a rapturous, six-minute homily about riding a spaceship piloted by Jesus up to the pearly gates: "Higher and higher! And higher! We'll pass on to the Second Heaven, the starry big Heaven, and view the flying stars and dashing meteors and then pass on by Mars and Mercury, and Jupiter and Venus and Saturn and Uranus, and Neptune with her four glittering moons." "White Flyer to Heaven" is probably the earliest recorded evidence of a phenomenon that's persevered in black music ever since: Call it the Afronaut tradition. Last Tuesday, rapper Lil Wayne put this tradition atop the pop charts with his No. 1-debuting album Tha Carter III, which sold a stunning 1,005,545 copies in its first week. Lil Wayne starts from a hardened gangsta-rap template, but outer space has figured into his increasingly loopy songs for more than a year now: During the 2006 freestyle "Dough Is What I Got," he claimed Martian provenance in a boast about his otherworldly skills; on the woozy 2007 drug track "I Feel Like Dying," he imagined playing "basketball with the moon," adding, "I can mingle with the stars and throw a party on Mars." On Tha Carter III, Wayne devotes an entire song, "Phone Home," to the subject of his alien origins: "We are not the same, I am a Martian," he announces in an E.T.-inflected croak. Advertisement The last rapper to post comparable first-week sales was Kanye West (957,000), who is currently traveling the world with a space-themed tour titled Glow in the Dark;West's set features a rocket ship named Jane, animatronic shooting stars, and a stage designed to resemble rocky, lunar terrain. The Afronaut has been a hip-hop trope since Afrika Bambaataa recorded "Planet Rock" in 1982, but this is the first time it's occupied such a significant spot in the pop mainstream. Many white rockers—Pink Floyd and David Bowie, most prominently—have taken to the cosmos for inspiration, but space has played a particularly vital role in the articulation of African-American musical identity. As a worldview, Afronautics began to take form in the late 1930s with a Birmingham-born college student named Herman Poole Blount. While meditating one afternoon, Blount said, he was beamed to Saturn by friendly aliens, who explained that his purpose in life was to speak truths of the universe through music. By the late 1950s—around the same time that Sputnik went into orbit—Blount had renamed himself Sun Ra, claimed Saturn as his true birthplace, and formed an elaborately costumed jazz collective called the Arkestra, specializing in noisy jams full of chants about space ways, satellites, and, in one of Ra's most-quoted formulations, "other planes of there." In songs, poems, and interviews, Sun Ra mapped out the fuzzy contours of his philosophy, which combined mystical futurism with an interest in ancient Egyptian civilization, and found sympathetic ears among avant-gardists, psychedelia heads, and hippies. Ra grew up an outsider twice over: once for his refusal to participate in military service during World War II, which earned him brief imprisonment and ostracism from his family, and again for the simple fact of being black in the American South. We can glimpse the psychological framework of his space obsession through the lens of his alienation. His 1972 poem "Tomorrow's Realm" mixes images of solitude, slavery, and cosmic escape: I'll build a world of otherness …Other-abstract-natural designAnd wait for you.In tomorrow's realmWe'll take the helmof a new shipLike the lash of a whip, we'll be suddenlyon the way. The whip's appearance in this fantasy brings to mind a compelling formulation from "Black to the Future," a 1993 essay on black sci-fi by cultural critic Mark Dery: "African Americans are, in a very real sense, the descendants of alien abductees." In Ra's mythology, the future is inextricable from the past: His spaceship carries the specter of the slave ship within itself. Another likely influence on Sun Ra—and a considerable influence on many hip-hop stars of the late '80s and early '90s—was the Nation of Islam, whose pamphleteers the jazzman associated with in '50s Chicago. Sun Ra never claimed membership in the Nation of Islam, and he disagreed with many of its teachings; still, his encounters with the group are interesting, since a racialized cosmology is central to both his and the NOI's beliefs. In Elijah Muhammad's 1965 tract Message to the Blackman in America, Muhammad writes of a massive "mother plane"—built by ancient black scientists and containing inside its metal hull "fifteen hundred bombing planes with most deadliest explosives"—that hovers above Earth, poised to rain damnation upon "the white man's evil world." Echoes of Sun Ra and NOI are audible in the music of George Clinton, who must have had both in mind when he transformed Parliament from a doo-wop group into a mother-ship-worshipping acid-funk congregation in the 1970s. Clinton's mother ship, of course, was likelier to drop megatons of booty and cocaine than warheads, but hedonism wasn't the only goal. In the opening bars of "Mother Ship Connection," Clinton announces, "We have returned to claim the pyramids"—a nod to paleocontact theories, which hypothesize that ancient astronauts shared technological secrets with North Africans. Perceptible in this ripple of the Afronaut impulse is the yearning for and fantastical reclamation of an ennobling African history: A trip to space doubles as a return to roots. The Afronaut universe, of course, comprises more performers than those mentioned here and extends beyond music, from the hero of Brother From Another Planet to Astronaut Jones, Tracy Morgan's ridiculous SNL creation. Where hip-hop is concerned, though, the first Afronaut to speak of is Afrika Bambaataa. A gang leader turned community activist and DJ, Bambaataa spun Parliament-Funkadelic records alongside reggae, techno, and rock vinyl and wore elaborate African-Samurai-Cherokee-cyborg costumes doubtless inspired by the Arkestra. In the burnt-out South Bronx of the early '80s, Bambaataa's Afronaut mythology—championing Zulu valor and an interstellar utopianism—offered both racial pride and an escapist-hatch out of the bleak, inner-city quotidian. Ironically, a George Clinton fan named Dr. Dre helped push space to hip-hop's margins for the better part of a decade. In 1988, Dre co-produced Straight Outta Compton, the epochal album by ur-gangsta-rap posse N.W.A, which made the group's stone-faced "reality rap" hip-hop's dominant perspective. Cosmic journeys became fanciful departures from hip-hop's so-called "true" locus, the flesh-and-blood, asphalt-and-concrete street. In the mid-to-late-'90s, bling-era hip-hop supplanted gangsta rap, trading an exaggerated narrative of urban despair for an exaggerated narrative of upward mobility—but not the sort you get from a shuttle blastoff. Rappers continued to construct Afronaut fantasies, of course. Underground New York MC Kool Keith fashioned himself a star-humping Marquis de Sade; Busta Rhymes and Missy Elliott filled music videos with cyberpunk imagery and goofy zero-gravity effects. But Atlanta duo OutKast did more than anyone else to put the Afronaut back on the hip-hop radar. OutKast's 1996 album, ATLiens, came packaged with a comic book in which rappers Big Boi and Andre 3000, armed with holographic lions and purity of spirit, battle an alien warlord named Nosamilli. When OutKast announced that they were "extraterrestrials" in their songs, their purpose was twofold. As Southerners, they'd been excluded from hip-hop's dominant East/West axis, and they sought to turn that outsider status into a weapon. But just as important, these students of Funkadelic and Prince, bored by the conservatism of steely thugs and dollar-eyed hustlers, were arguing for the rightful place in hip-hop of that crucial figure in black postwar pop, the boa-sporting, id-unleashing, out-of-this-world freak. So, what does space mean to Lil Wayne, the biggest Afronaut in the world right now? When he says he was born on Mars, it's a brag: He means it takes an alien system of thought to conduct his chaotic assault on sound, rhythm, and meaning. But Wayne's Afronautic vision goes beyond this. He redefines what it means to be a gun-toting gangsta, importing the anarchic values of a black spaceman: For him, space seems to signify the excesses of emotion, imagination, and appetite banging around his body and brain, dark matter the gangsta-realist idiom typically excludes. Whereas Jay-Z and 50 Cent boast about focus and composure, Wayne allows himself to sound genuinely unhinged—sobbing, spewing gibberish, breaking into fits of laughter. And whereas many rappers talk about destroying their competition, Wayne is certainly the first to fantasize so extensively about munching on his. * On "Phone Home," he raps, "I just eat them for supper, get in my spaceship, and hover." Any gangsta can level a Glock at his enemies. It takes a Martian to whip out the cutlery. Correction, June 23, 2008: The article originally stated that Lil Wayne was the first hip-hop artist to fantasize about munching on his competition. In fact, other rappers have contemplated consuming their rivals. ( Return to the corrected sentence.)

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The challenge of playing 'Evita' Emily Capece stars in the title role when the Charleston Light Opera Guild stages "Evita" at the Civic Center Little Theater. The show opens Friday. "Evita" Presented by the Charleston Light Opera Guild WHERE: Civic Center Little Theater WHEN: 7:30 p.m. Friday, Saturday, May 10-11 and 17-18; 3 p.m. May 12. TICKETS: $20 INFO: 304-343-2287 or www.charlestonlightoperaguild.org CHARLESTON, W.Va. -- Emily Capece has plenty to keep her busy. The mother of two is an associate director with the Appalachian Children's Chorus, working with the Cora Voce Choir. She's also the artistic director for the chorale group womanSong. "If there's music, I'm there," she said and laughed. Capece, who has a master's degree in music and choral conducting from Westminster Choir College, lives for music and absolutely loves a musical challenge. Still, with the Charleston Light Opera Guild's production of "Evita," she acknowledged she has her hands full. But she just couldn't pass it up. "The Guild doing this is kind of a big deal," Capece said. "'Evita' is kind of inaccessible to a lot of community theater groups and particularly high school theater. It's vocally very challenging, very complex, and not everyone can pull it off." In her opinion, it's the kind of show that only a group like the guild could really pull off in Charleston, and their willingness to try was irresistible to Capece. The musical, which opens Friday at the Civic Center Little Theater, tells the story of the rise of Eva Peron, the second wife of Argentinian President Juan Peron. A polarizing figure in politics still, Eva was condemned for alleged fascist sympathies and corruption, but also celebrated and nearly sainted for her support of the poor. The musical, written by musical theater heavyweights Tim Rice and Andrew Lloyd Weber, was a massive success in London's West End and on Broadway. It earned Broadway great Patti LuPone her first Tony Award in 1980. A Broadway revival of "Evita" returned in 2012 and has been nominated for three Tony Awards, including Best Revival of a Musical, Best Choreography (Rob Ashford) and Best Performance by a Featured Actor in a Musical (West Virginia's own Michael Cerveris). Capece said "Evita" is a musical theater heavyweight, but it's one of those productions people often only really think they know what it's about. Capece includes herself in that. "I grew up listening to Andrew Lloyd Weber musicals," she said. "I spent huge chunks of my summer singing along to 'Phantom of the Opera,' then 'Evita' and then 'Cats.' Other girls had the Spice Girls; I had musical theater." Still, Capece said she didn't delve too deeply into the subject matter and who Eva Peron was, but with taking on the role, she educated herself more. "Evita's" take on Peron is at least a little controversial. "Andrew Lloyd Weber definitely painted her in a certain way," Capece said. "And really she was probably a lot of what he thought. She was kind of a saint, at least to the poor that she championed, but also vicious and an opportunist." She added that it was her challenge to try and put the humanity of Eva Peron into the larger-than-life character imagined by the music of Weber and Rice. Capece is choosy about the roles she auditions for. Since she and her husband, Christian, moved to the area five years ago, she has performed in just four other Light Opera Guild productions. "I try to squeeze in one a year," she said. Given her life, it's really all she can fit in, and she said she's biased toward the Guild because of it. Capece said there's plenty of talent in the area, but the Charleston Light Opera Guild is very strong technically. "You can have great actors and good singers, but what if you've got stinky lights or bad sound?" Capece added that she's comfortable with the Charleston Light Opera Guild. The performers working with her on "Evita" are more than just veteran actors; they're like old friends. "It's important to have a good time," she said. "Especially, if you're going to devote so much time -- for free." A lot of time has gone into bringing "Evita" to the stage. There have been a lot of long hours with rehearsals sometimes dragging on past midnight. Capece believed it was all worth it. "We started this one about three months out, and we've done so much work. You sort of wish that we had a longer run than just three weekends." A day after gay marriage becomes legal in W.Va., Putnam judge officiates his last wedding Sunday cartoon Charleston Catholic’s Trupo state soccer player of year Upholding your pastor Do you think former Massey CEO Don Blankenship's indictment will result in a conviction? Today's Events "MOUNTAIN STAGE" MUSIC: Fifth Quarter ETC: Open Stage Drag Warz MUSIC: Appalachian Children's Chorus ETC: Capital City Art and Craft Show MUSIC: The Empty Glass

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Efterklang To Repeat Successful Private-Public Screenings Project with New Film, The Ghost of Piramida In The Ghost Of Piramida, the Danish director Andreas Koefoed follows Efterklang on their 9-day audio expedition to the ghost town Piramida on Spitsbergen, located just a thousand kilometers from the North Pole and home to more polar bears than people. Accompanied by their taciturn and indifferent Russian polar bear guard, the group goes on an audio treasure hunt in the empty buildings of the abandoned town, while the narrator, former Piramida citizen Alexander, takes us back to a bygone era, when Piramida flourished and the immigrant Russian miners and their families lived in a Soviet parallel society far from the brutal reality of their homeland. During the expedition, Efterklang collected over a thousand sound recordings for the album Piramida, which they later wrote and recorded in Berlin. The music in the film incorporates some of the early sketches, as well as finished songs from the album. The Ghost of Piramida premiered in November in Amsterdam at the world’s biggest documentary film festival IDFA, and here the film was selected as one of the top three music films of the year. Since then, the film has been screened at several other film festivals and in art house cinemas around Europe. Starting today, Efterklang and Andreas Koefoed are inviting people to host their own screenings of The Ghost of Piramida from February 8th until March 24th. Dubbed Private-Public Screenings, the rules are very simple. In order to host a screening, each event must adhere to the following: • The screenings need to be free entry• The screenings need to be public• The screenings need to have a minimum capacity of 5 people• The screenings need to be verified by Efterklang & Andreas Koefoed (only screenings that are featured on www.theghostofpiramida.com are official Private-Public Screenings) In other words, as long as the host is a private person, entrance is free and it is an open event (as capacity permits) the Private-Public Screenings can take place at a home, at a café, in a school auditorium - basically, anywhere. Those planning to host screenings in their own homes will be able to have full control over who can attend. Efterklang have successfully screened films via the Private-Public Screenings method before. In 2011 An Island, their collaborative film with Vincent Moon, was screened nearly 1,200 times in just two months. For an updated list of the current and future Official Screenings and Private-Public Screenings of The Ghost of Piramida go to: www.theghostofpiramida.com/attend-a-screening Efterklang are currently on tour in Europe and North America. Please visit www.efterklang.net/home/concerts for a list of their 60+ upcoming concerts Related Releases EfterklangPiramida More Releases... More Efterklang

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'Breathe In' Star Mackenzie Davis Joins Monster Movie 'Kitchen Sink' Along With Nicholas Braun By Ken Guidry It looks like actress Mackenzie Davis is starting to become a hot property. After turning quite a few heads recently with her supporting performance in "Like Crazy" director Drake Doremus' new Sundance hit "Breathe In,” she is now currently in talks to star in Sony’s horror comedy “The Kitchen Sink” alongside actor Nicholas Braun ("Perks of Being a Wallflower"). Slated to be directed by Robbie Pickering ("Natural Selection"), “The Kitchen Sink” follows “the unlikely alliance between a high school-aged vampire, zombie, and human as they try to save their own from invading aliens.” Pickering will be directing from Oren Uziel’s black-listed script. Fun bit of trivia: Jonah Hill was originally going to make this his directorial debut, but he eventually moved on. After a small role in last year’s “Smashed,” Davis’ profile seems to be rising steadily. Our own review of the Drake Doremus film called her a “minor revelation” and an actress who is “worth keeping an eye on.” Now she’ll be given a chance to further showcase her talents in a film that should be much lighter in tone than the relationship drama, but will still allow her to show more facets of her talent. You’ll probably have to wait until next year to see Mackenzie Davis and Nicholas Braun in “The Kitchen Sink,” in the meantime, be sure to catch the rising star in “Breathe In” which will hopefully be in theaters this year, though it will need to find a distributor first. The Kitchen Sink, Nicholas Braun, Mackenzie Davis

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Jennifer Lee to Co-Direct Disney's 'Frozen'; Women Helmers Still Minority in Animated Features By Beth Hanna Disney has tapped Jennifer Lee to co-direct the studio's 53rd animated feature "Frozen" with Chris Buck. Lee contributed to the film's screenplay, and was also a co-writer on old-school-arcade box office hit "Wreck-It Ralph." For the first time in its storied history, Disney has tapped a woman director, Jennifer Lee, to helm a theatrical feature. (Women do direct TV features.) Director Chris Buck wanted to bring her on as co-director on the studio's 53rd animated feature "Frozen"; Lee contributed to the film's screenplay, and was also a co-writer on old-school-arcade box office hit, "Wreck-It Ralph." "Frozen" centers on Anna (voiced by Kristen Bell), who teams with an extreme mountain man and his reindeer sidekick when the world is plunged into eternal winter. The trio begins a search for Anna's sister, the Snow Queen (Idina Menzel), to reverse the chilly spell that's been cast on their kingdom. (There's a touch here not only of the "Ice Age" series but Narnia's White Witch Jadis.) Lee's other projects in the pipeline include an adaptation of John Steinbeck's "The Acts of King Arthur and His Noble Knights" for production company Troika, and an original screenplay that is in development with Leonardo DiCaprio's banner Appian Way. Disney's recent history with female directors on animated projects is problematic, as Disney animation and Pixar chief John Lasseter replaced longtime writer-animator Brenda Chapman at the helm of Pixar's "Brave" mid-production in 2011, despite her having spent six years hatching most of the mother-daughter relationship film. Chapman would have been the first woman to direct a Pixar or Disney film; both companies' tally of female filmmakers now stands at zero. Chapman and Lasseter fell out over creative differences, and Chapman did not go gently -- she spoke out widely about being unceremoniously fired from her dream project, and the sexism involved in that company decision. Indeed, women directors in the animated field are rare across studios. Jeffrey Katzenberg's DreamWorks Animation has the best record. Chapman directed "The Prince of Egypt" for DreamWorks, where she is one of four women with a helming credit. But three of these four women (including Chapman, Vicky Jenson for "Shark Tale" and Lorna Cook for "Spirit: Stallion of the Cimarron") all shared directing duties with at least one male counterpart. Jennifer Yuh Nelson, who directed "Kung Fu Panda 2" in 2011, was the first woman in history to receive sole directorial credit on a big-budget animated feature, at DreamWorks or elsewhere. Animation, News, DreamWorks, News, Walt Disney Pictures

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Tony Rock Performing Artists (Click on Artist for Reviews and Previews Tony Rock Tony Rock: Born in the same Brooklyn, NY hospital where most of his seven brothers and one sister found their way into the world, Tony Rock was born laughing. He grew up in one of the toughest neighborhoods in New York and developed a natural knack for entertaining. “On a daily basis I’d see a dozen characters (and I emphasize the word characters). One moment, I’d be fighting for my life. The next minute I’d be laughing hysterically. There’s a lot of drama in the city and I took it all in.” Tony has been performing for years and he has gained a reputation as a young star in the making. The Hollywood Reporter recently picked him as one of the hot young talents to come out of New York. Tony just finished shooting the film “Three Can Play That Game” with Vivica Fox in Atlanta and recently wrapped his fourth season of “All of Us” on the CW, playing the role of Dirk Black. He starred in the films “Life Support” with Queen Latifah, and “Homie Spumoni” with Whoopi Goldberg and Joey Fatone. He is currently featured on the TV screen as the host of TV One’s “The Funny Spot”. Tony's stand-up comedy talents were showcased in the recent revival of “Def Comedy Jam” on HBO. He was previously the host of “Can You Tell?” on Oxygen, and a feature reporter on “Battlebots”. He’s also been featured on Howard Stern, Extra, and Craig Kilborn. Tony can be seen headlining comedy clubs across the country, including Caroline’s, the Apollo, the Laugh Factory, and the Comedy Store.

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Oscar Predictions: EW's final forecast for all 24 categories on Feb 20, 2013 at 9:51AM Comments + (Page 5 of 14) Will Win: Jennifer Lawrence, Silver Linings Playbook Related Oscars 2015: See Full Coverage The Hunger Games star earned her first Oscar nomination two years ago for Winter’s Bone and has since become one of the most sought-after actresses in the industry. Her colorful, charismatic widow in Silver Linings Playbook won over a lot of voters, and despite her youth she has shown remarkable versatility. Her off-the-wall personality also tended to charm more than it offended. She won the SAG Award and the Golden Globe for comedy/musical, but still — this is a close one, and not a lock by any means. Runner-Up: As calculating and cool as Jessica Chastain was in Zero Dark Thirty, her CIA agent kept the world at arm’s distance, which may be a solid portrayal of that type of character but didn’t give viewers much of a personal connection. Amour‘s Emmanuelle Riva, who turns 86 on Oscar night, caused a lot of Oscar-watchers to recalculate with her in the lead after she won the BAFTA award last week, but her agonizing drama about an elderly couple reaching the end of their lives is one of those films that some voters will secretly admit they were reluctant to watch. Surprise: Naomi Watts, The Impossible. Another film that suffered due to voter procrastination. Quite a few dragged their feet when it came to screening this tsunami disaster-drama, which may have prevented it from getting more nominations. Those who have watched it tend to become passionate supporters. She hasn’t won much this season, but if there’s a shock in the acting category this year it might be from Watts. NEXT: BEST SUPPORTING ACTOR Follow @breznican Previous 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Tags:Awards SeasonBest Movies of the YearEW ExclusiveOscar predictionsOscarsPrize Fighter Please enable JavaScript to view the comments powered by Disqus.

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What year did they begin announcing that TV shows were “Filmed in front of a live studio audience”? I was watching antenna TV and now I wonder: What year did they begin to make the point of announcing that specific TV shows were "Filmed in front of a live studio audience"? and which show was the first one to include that announcement in its credits? first-appearance tv-shows credits share|improve this question asked Jul 23 '12 at 5:24 I believe it was "I Love Lucy" which started to announce this - something to do with how it was broadcast. I'd have to research that, but maybe someone else has more on this. – Richard Testani One of the earliest, if not the first such announcements was "All in the Family was recorded on tape before a live audience" from 1971. According to Michael Tueth's Laughter In The Living Room (2005), one of the earliest American sitcoms to broadcast live was I Love Lucy (1951 – 1957). For personal reasons, Lucy Ball wanted to produce the programme from Hollywood instead of New York City, but New York was the only place where live TV was produced and broadcast live. Ball suggested they film in Hollywood, and broadcast from New York. This started a trend. Tueth says they also insisted on filming with a live audience, but this wasn't repeated until a new wave of comedies in the 1970s, such as All in the Family (1971 – 1979) started announcing it "was filmed in front of a live studio audience". Wikipedia says: All in the Family was the first major American series to be videotaped in front of a live studio audience. In the 1960s, most sitcoms had been filmed in the single-camera format without audiences, with a laugh track simulating audience response. Lear employed the Multi-camera format of shooting in front of an audience, but used tape, whereas previous multi-camera shows like Mary Tyler Moore had used film. Thanks to the success of All in the Family, videotaping sitcoms in front of an audience became common format for the genre during the 1970s. The use of videotape also gave All in the Family the look and feel of early live television, including the original live broadcasts of The Honeymooners, to which All in the Family is sometimes compared. For the show's final season, the practice of being taped before a live audience changed to playing the already taped and edited show to an audience and recording their laughter to add to the original sound track. Thus, the voice-over during the end credits was changed from Rob Reiner's "All in the Family was recorded on tape before a live audience" to Carroll O'Connor's "All in the Family was played to a studio audience for live responses". (Typically, the audience would be gathered for a taping of One Day at a Time, and get to see All In the Family as a bonus.) Throughout its run, Norman Lear took pride in the fact that canned laughter was never used (mentioning this on many occasions); the laughter heard in the episodes was genuine. Also from Wikipedia: Creator Norman Lear's All in the Family (CBS, 1971–1979) followed suit in 1971. Videotaped live, Lear wanted the studio audience to actually like the performer, with hopes of the two developing a rapport with each other. Lear was not a fan of pretaped audiences, resulting in no laugh track being employed, not even during post-production when Lear could have had the luxury of sweetening any failed jokes (Lear relented somewhat in later seasons, and allowed [sound engineer and laugh track inventer Charles] Douglass to insert an occasional laugh). Lear's decision resulted in the show being a huge success, and officially ushered in the return of live audiences to the U.S. sitcom mainstream. To make his point clear, an announcement proclaimed over the closing credits each week that "All in the Family was recorded on tape before a live audience" (or during the show's final seasons where live audiences no longer attended tapings of the show) "All in the Family was played to a studio audience for live responses." On the ending credits of The Mary Tyler Moore Show it read, Filmed in Hollywood before a live audience. share|improve this answer answered Jun 6 at 6:02 Welcome to the site! Your answer doesn't really answer the question, but rather provides a single example of an early show that did this. The accepted answer lists some shows that predate this one, so it seems unlikely this is the earliest attempt. When answering any questions here, try to make sure you make your answers as detailed and informative as possible. For more info, check out the Tour under the Help menu :) – Andrew Martin Jun 6 at 8:14 Not the answer you're looking for? Browse other questions tagged first-appearance tv-shows credits or ask your own question. asked What is the cinematic origin (first use) of a “Fortune teller will lose powers after intimacy” trope? What was the first movie released with a tagline? What was the first film or television show that used computer generated credits? Which film or TV-Show was the first to use a '555-' phone number? Is it legal to cut off the credits when showing a movie on TV? Why are electricians listed in the closing credits? Why do movies still have credits? how can I follow new episodes coming out? Why is it Okay for movies / TV shows, to show that their story is based on real events when it is actually not?

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Celeb Scenes 11.20.14 Claudia Jordan explains how she earned her 'RHOA' peach Trina turned down 'Love & Hip Hop: Miami' Porsha Williams trying to mend relationships on 'RHOA' season 7 Style Crush: 5 Tracee Ellis Ross Looks We Love T.D. Jakes responds to Deitrick Haddon's challenge Home » MLK Jr. Memorial Message in the Music delivers message, light on star power MLK Jr. Memorial Message in the Music delivers message, light on star power s2ssparker 0 There was a lot of buzz surrounding the MLK Memorial Dedication Message in the Music Concert, with a lineup that was rumored to include legends such as Stevie Wonder and Anita Baker performing Civil Rights-era music. It turns out the hype was more ambitious than the actual show. Most of the musical acts were either kept private or announced the day of the show, which is also when event organizers canceled Sunday’s Dedication ceremony and other weekend events due to the threat of Hurricane Irene. The show kicked off with Anthony Hamilton backed by the Ray Chew Live band. Anthony’s old-soul vocals and energy definitely complemented the music well. At this point, ushers asked people in the back of the room to fill the empty seats in the front. Whether because of the weather or ticket prices ($100 or $65), there were lots of empty seats in the large Washington Convention Center hall. Following Anthony was Naturally 7, a very talented “vocal play” group whose members mimic the sounds of jazz instruments with their voices. They were nothing short of awesome, and prompted excitement over who would come next. The crowd was back on its feet for Curtis Mayfield’s former group, The Impressions. Since their music was considered to be the soundtrack to the Civil Rights movement, they were a good fit for the theme of the show, which was not as strong as it could have been. The concert was billed as a set of performances of songs from the Civil Rights movement. While some artists did just that, others like India.Arie instead sang songs with inspirational messages of unity and hope. Decked out in all white with a pop of color in her head wrap, India dedicated her performance to her grandmother who she said passed away in 2009 shortly after President Obama’s inauguration. She told the crowd that her grandmother was at the March on Washington and heard the "I Have a Dream" speech. "I know she’s watching," India said. She later chuckled and said, "I can imagine my grandmother laughing right now that I’m about to sing in Hebrew." It is a new skill she’s picked up from her musical soul mate Israeli singer-songwriter Idan Raichel, who joined her onstage accompanying on piano in a preview of their collaboration on India’s upcoming album, Open Door. She also played the flute while Idan sang. India’s second song was "Gift of Acceptance," and she asked the audience to listen closely to the lyrics, which she said capture everything she has ever wanted to say. The crowd gave the duo a standing ovation. We can only hope her fans will be as supportive of the new album. Eddie Levert hit the stage and re-invigorated the night. He did up-tempo O’Jays tunes "Got to Give the People What They Want" and "Love Train" and wiggled and bopped all over that stage and kept the ladies squealing and dancing along. Eddie definitely felt like the headliner and easily could have been. But that honor was given to Patti LaBelle. She said she wasn’t dressed up because she was saving her gown for Sunday’s canceled Dedication concert. But she still looked great in all black. Patti sang a power ballad that she wrote called "Two Steps Away," then she changed pumps and brought the house down with "Somewhere Over the Rainbow." Just when we thought it was over, she started up again, making the show worth the price of admission. Well, if you bought the cheap seats. Eddie Levert takes the stage to give the people what they want. Watch. —Sabrina M. Parker Here’s more:Photos: 2011 Hoodie Awards Photos: 2011 NAACP Image AwardsPhotos: Steve Harvey Foundation GalaPhotos: ASCAP Awards 2011 0 Tags: India Arie » MLK Memorial » Patti LaBelle

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[05/03/12 - 10:34 AM]Starz and Michael Bay Take to the High Seas for New Original Series "Black Sails"The eight-episode series centers on the tales of Captain Flint and his men, and takes place twenty years prior to Robert Louis Stevenson's classic "Treasure Island." [via press release from Starz] STARZ AND MICHAEL BAY TAKE TO THE HIGH SEAS FOR NEW ORIGINAL SERIES "BLACK SAILS" Eight-Episode Season One Commitment for Pirate Adventure Tales of Captain Flint Starz to Retain All Domestic and International Rights Including TV, Home Video, and Digital Beverly Hills, Calif., May 3, 2012 - Starz Chief Executive Officer Chris Albrecht announced the straight-to-series greenlight of "Black Sails" (working title) from executive producer Michael Bay. The new STARZ Original series is expected to air in 2014. The eight-episode first season of the pirate adventure centers on the tales of Captain Flint and his men, and takes place twenty years prior to Robert Louis Stevenson's classic "Treasure Island." Flint, the most brilliant and most feared pirate captain of his day, takes on a fast-talking young addition to his crew who goes by the name John Silver. Threatened with extinction on all sides, they fight for the survival of New Providence Island, the most notorious criminal haven of its day - a debauched paradise teeming with pirates, prostitutes, thieves and fortune seekers, a place defined by both its enlightened ideals and its stunning brutality. "Starz is excited to be working with a visionary like Michael,'" said Albrecht. "Along with the high-octane action that is a hallmark of a Michael Bay production, it has the elements that Starz originals are striving to bring to the premium landscape: epic, larger than life, cinematic storytelling. The series is also a property we believe will appeal to the global content marketplace with broadcasters around the world." "I'm excited to branch out into television," says Michael Bay, the record-breaking director/producer of such big screen hits as Transformers and Bad Boys, "especially doing a long-form series for STARZ, a network known for supporting cutting edge programming." Following the model of the "Spartacus" franchise and "Magic City," Starz will retain all domestic and international rights to the dramatic series, including television, home video, and digital. "Black Sails" will be executive produced by Michael Bay (Transformers, Armageddon, Pearl Harbor) and his Platinum Dunes partners Brad Fuller and Andrew Form (producers on The Texas Chainsaw Massacre (2003) and Nightmare on Elm Street (2009). The series is created by showrunner and executive producer Jon Steinberg (creator "Jericho," "Human Target") and co-executive producer Robert Levine ("Touch"). The production is set to shoot at Cape Town Studios in Cape Town, South Africa later this year. About Starz Entertainment Starz Entertainment, LLC, is a premium movie and original programming entertainment service provider operating in the United States. The company offers 17 premium channels including the flagship STARZ(R) and ENCORE(R) brands with approximately 19.6 million and 33.2 million subscribers respectively. Starz Entertainment airs in total more than 1,000 movies and original series every month across its pay TV channels. Starz Entertainment is recognized as a pay TV leader in providing HD, On Demand, HD On Demand and online advanced services for its STARZ, ENCORE and MOVIEPLEX brands. Starz Entertainment (www.starz.com) is an operating unit of Starz, LLC, a wholly-owned subsidiary of Liberty Media Corporation (NASDAQ: LMCA). About Michael Bay After launching his career as an award-winning commercial and music video director, MICHAEL BAY (Director/Producer) quickly emerged as one of Hollywood's boldest and most bankable feature film directors. Characterized by his aggressive visual style and high-octane action sequences that have become the L.A. native's cinematic signature, the films that Bay has directed and produced via his two production companies have surpassed $5.3 billion in worldwide ticket sales. His impressive directing resume includes the films Bad Boys and Bad Boys 2, both starring Will Smith and Martin Lawrence; The Rock starring Nicolas Cage, Sean Connery and Ed Harris; Armageddon starring Ben Affleck, Bruce Willis, Billy Bob Thornton and Liv Tyler; Pearl Harbor starring Affleck, Josh Hartnett and Kate Beckinsale; The Island starring Ewan McGregor, Scarlett Johansson, Djimon Hounsou and Sean Bean; as well as the trilogy of Transformers blockbuster movies starring Shia LaBeouf, Josh Duhamel, Tyrese Gibson and John Turturro. The latest installment, Transformers: Dark of the Moon, is currently the 4th highest grossing movie of all time. He is presently at work in Miami shooting the dark comedy, Pain and Gain, starring Mark Wahlberg, Dwayne Johnson, Anthony Mackie, Tony Shalhoub and Ed Harris. Based on actual events, this thriller chronicles the preposterous yet diabolical exploits of three bodybuilders who kidnap a wealthy businessman only to find themselves trapped by their own schemes. Bay is also the founder and principal partner of Platinum Dunes, a production company originally conceived to give talented commercial and video directors a chance to break into the feature world, as well as being a partner in Digital Domain, a state-of-the-art digital effects house. About Platinum Dunes Platinum Dunes was established in 2001 by Michael Bay, Andrew Form, and Brad Fuller with the goal of creating opportunities for first-time directors to make commercial, high-concept movies on modest budgets for a global audience. Recently, the company has broadened its horizons to include veteran directors and larger-scale projects. They are currently in post-production on Vigilandia for Universal Pictures and in pre-production on NINJA TURTLES for Paramount Pictures. Platinum Dunes' first production was the 2009 remake of The Texas Chainsaw Massacre, directed by Marcus Nispel. The movie won the Teen Choice Award for Best Thriller and was nominated for two MTV Movie Awards, and grossed more than $110 million worldwide. The second Platinum Dunes project, the 2005 adaptation of The Amityville Horror, directed by Andrew Douglas, also earned over $110 million worldwide. Two more films quickly followed: the prequel The Texas Chainsaw Massacre: The Beginning, directed by Jonathan Liebesman and a re-conceptualization of the 1986 thriller, The Hitcher. It was during this collaboration that Platinum Dunes signed a first-look production deal with Rogue Pictures. In 2009 Platinum Dunes pumped out two more successful films; The Unborn, which has grossed $78 million worldwide to date and Friday the 13th, which set the record for the biggest horror opening of all time with $40,570,000 million. Most recently, Platinum Dunes produced their highest grossing film, A Nightmare on elm Street, which made over $118 million worldwide. · BLACK SAILS (STARZ) · MAGIC CITY (STARZ) · SPARTACUS (STARZ)

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View All Scarlett Johansson Kate Upton Kaley Cuoco Jessica Alba Mila Kunis Miley Cyrus Taylor Swift Nicole Scherzinger Beyonce Katy Perry Cars City Guides AskMen on Facebook AskMen on Twitter AskMen on Pinterest AskMen on Google+ CELEBS GOSSIP Shia LaBeouf's rent-a-dad Shia LaBeouf's rent-a-dad Shia LaBeouf's rent-a-dad Shia LaBeouf used to rent his father. The 'Transformers' actor has revealed he paid his dad Jeffrey £400-a-week to spend time with him on the set of Disney TV series 'Even Stevens' when he was a teenager. Shia said: "Before I landed the role in 'Even Stevens' I barely knew my dad, but because I was a minor I needed to have an adult on set. Dad had just been released from veterans' hospital, where he'd gone through drugs withdrawal. So I paid him £400-a-week to be with me. For him it wasn't about being with a son that he loved. He was rent-a-dad. He was getting some money and he was staying off drugs. For three years we lived in a motel and that's when we started to get our relationship back on track. In a very real sense this business gave me my father back and I'll always be grateful for that." LaBeouf can next be seen starring opposite Harrison Ford and Cate Blanchett in 'Indiana Jones and the Kingdom of the Crystal Skull', which is due to hit cinemas next month.

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Josh Duhamel And Dan Fogler To Get Stranded Together In Scenic Route By Eric Eisenberg 2012-02-21 17:20:19 comments I'm a sucker for any film that just features two or more characters yelling at each other and hashing out their issues for the entire run time. It's one of the main reasons why I enjoyed last year's Roman Polanski movie Carnage so much, and the same can be said for movies and plays like 12 Angry Men, No Exit, and Who's Afraid of Virginia Woolf? There's simply no better way to get a glimpse at human nature than to watch two people trapped in a desperate situation. That lovely tradition will continue with Scenic Route, the new film from writer Kyle Killen and directors Kevin and Michael Goetz. We first told you about the film last July and now, according to Deadline, the two leads have been found. Josh Duhamel and Dan Fogler have both signed on to star in the new survival drama. In the story two former college friends decide to go on a road trip together, but things start going bad when their car breaks down in the middle of the desert. As they begin to lose hope that they will ever be found and rescued, they begin to take their panic out on each other, starting big emotional and physical confrontations. Killen is best known for writing the under-seen Jodie Foster-directed drama The Beaver, which came out last year, but he also created the upcoming NBC series Awake, starring Jason Isaacs (the show isn't set to debut until March 1st but you can watch the pilot right HERE). When I first heard about this film I was thinking that they would cast much younger, but putting Fogler and Duhamel together is an interesting choice. Only problem is that I can't stop thinking of it as a dramatic version of Planes, Trains and Automobiles. Trip Out With Dan Fogler In The First Trailer For His Surreal Indie Comedy Don Peyote Dan Fogler And Steve-O Join Samuel L. Jackson In Action Comedy Barely Lethal Transformers 4 Might Have A Spot For Josh Duhamel Josh Duhamel And Most Other Humans Not Returning For Transformers 4

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Peter Lawford Frank Sinatra, Dean Martin, Sammy Davis Jr., Peter Lawford, Angie Dickinson & others. Lewis Milestone, director. cutout DVD Letterbox/Closed Captioned Long before George Clooney turned Ocean's 11 into a franchise, a gas station attendant named Jack Golden Russell handed the script for the film to Frank Sinatra while filling up the Chairman of the Board's car on the Vegas Strip. The resulting screenplay ultimately received a Writers Guild nomination for Best Comedy of 1960. Sinatra went on to play criminal mastermind Danny Ocean and hired his Rat Pack buddies�Dean Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop�to portray the 11 con artists and thieves who help him pull off the ultimate heist: robbing five Las Vegas casinos on New Year's Eve.

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Print Email Font ResizeEsquire Network seeks to carve new niche for menBy Derrik J. Lang, Associated PressPosted: 09/20/2013 02:41:14 PM MDTThis photo shows Drew Barrymore, center, during "Knife Fight," an underground cooking competition hosted by noted chef Ilan Hall and executive produced by Barrymore, Flower Films and Authentic Entertainment. The Esquire Network TV show premieres Tuesday, Sept. 24, 2013, 9 p.m. ET/PT. (AP Photo/Esquire Network)It's standing room only inside The Gorbals. The hip downtown Los Angeles eatery is filled to the brim with loud lookie-loos who've gathered to sip free-flowing beer and wine while watching a pair of professional chefs sizzle their way through a new televised cooking competition called "Knife Fight," the first series debuting on the new Esquire Network. The boisterous room is momentarily interrupted by Drew Barrymore. Yes, that Drew Barrymore, the Drew Barrymore from the films "E.T." and "Never Been Kissed." She's one of the show's executive producers and is serving as a guest judge for tonight's battle. Without any provocation, Barrymore suddenly hoists herself atop a table and screams at the top of her lungs. "I'VE ALWAYS WANTED TO JUDGE A (EXPLETIVE) COOKING SHOW!" The crowd roars. The chefs keep working on their improvised dishes. Yep, this is not one of those by-the-books cook-offs like "Chopped" or "Top Chef," and it certainly doesn't feel like the sort of series that would launch a channel inspired by — and named after — the slicker-than-slick Hearst men's magazine. That's the point, programming director Matt Hanna notes in a nearby ballroom serving as a makeshift control room. "There's an integrity that you're gonna see with this show that will hopefully reflect what we want the network to be," Hanna said over the clamor from the restaurant next door. "Whether I'm talking about a great comedian, restaurant or TV show, it all comes down to honesty, and there's something really honest here. We're hoping to defy expectations." The network kicks off Monday with a two-hour 80th anniversary retrospective about the network's namesake narrated by "Mad Men" star John Slattery. "Knife Fight," which is hosted by The Gorbals owner and second season "Top Chef" champ Ilan Hall, and a docu-series about Scottish beer aficionados James Watt and Martin Dickie titled "Brew Dogs" both debut Tuesday.This photo shows Joel McHale in "The Getaway," Episode 101. The Esquire Network TV show, produced by Anthony Bourdain and Zero Point Zero Production, takes you around the globe with well known personalities including Joel McHale, Aziz Ansari, Rashida Jones and others. (AP Photo/Esquire Network) Other shows include "The Getaway," a travel series featuring celebrities like Joel McHale and Aziz Ansari trekking to new destinations, and "Boundless," which is about a pair of endurance athletes. The rest of the schedule will be filled with reruns of shows like "Parks and Recreation" and "Party Down," as well as delayed installments of "Late Night with Jimmy Fallon." Despite the fact there's already a fistful of channels targeting guys — Spike, Comedy Central and ESPN, to name a few — Esquire Network general manager Adam Stotsky believes a particular class of upscale gentlemen interested in travel, food, booze and fashion have previously had to curate their own content. Esquire Network is providing them, in essence, one-stop shopping. "There's this white space on the TV dial," said Stotsky. "Outside of sports and news, we don't see a single TV destination exploring the diverse passions men are about today. Our goal is to reach slightly more educated, upwardly mobile and perhaps urbane men that have a dynamic set of interests to serve as the backdrop for these interesting stories." When the network was originally announced earlier this year by owner NBC-Universal, the channel was supposed to debut in April and take over G4, the geeky network catering to gamers. The launch was delayed to cook up more programming. Earlier this month, NBC-Universal decided that its Style Network would instead be the one reborn as Esquire Network. The thinking was that NBC-Universal already owns several networks that serve mostly female audiences, including Bravo and Oxygen, so that means Style is out, Esquire is in and G4's game isn't totally over. Stotsky said the fate of popular Style Network series like "Tia and Tamera" and "Guilana and Bill" will be later decided after Esquire Network opens for business. Other shows coming to the Esquire Network this fall and next year include: "Risky Listing," a reality series chronicling New York nightlife real estate; "White Collar Brawlers," which pits co-workers against each other in a boxing ring; and "Horseplayers," a docu-series about the world of professional horse race betting. At this point, Hanna said there's no plan to air any sports. Esquire, which will be available in 75 million homes at launch, is among several cable network makeovers this year, joining the remodeled Current news network Al Jazeera America, FX offspring FXX and millennial-seeking outlets Pivot and Revolt TV, the upcoming passion project from Sean "Diddy" Combs. Launching a new network ain't easy. Just ask Oprah. Esquire isn't sweating it. "One of the hallmarks of NBC-Universal is our ability to collaborate across a wide collection of assets and promote new initiatives like the Esquire Network," said Stotsky. "There have been a handful of new entries. For us, we're super-focused on Sept. 23 and what we're doing. Fortunately, we've got great partners both internally and externally to help get the word out."This photo Ilan Hall in "Knife Fight," season 1. The Esquire Network TV show premieres Tuesday, Sept. 24, 2013, 9 p.m. ET/PT. Print Email Font ResizeReturn to Top RELATED STORIES Ferguson and the quest for justiceHickenlooper's red flag on immigrationFeds should act quickly on Colorado pot credit union \n\

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Name of the Doctor: Official Ratings Full ratings data for the week ending 19th May 2013 is now available and give Doctor Who: The Name of the Doctor an official rating of 7.45 million viewers, a share of 31.7% of the total television audience. Once ITV HD and +1 figures are factored in, Doctor Who was the 10th most watched programme on British Television for the week. On BBC One, Doctor Who was the third most watched programme of the week, behind the The Eurovision Song Contest and one episode of Eastenders. ITV won the week with Britain's Got Talent with Coronation Street and one episode of Emmerdale in the top Ten.. Figures do not include iPlayer viewings where around 1.6 million have accessed the episode. Final figures will be available later. Ratings, Series 7/33,

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Terminator 3: Rise of the Machines (US - DVD R1) Does T3 live up to the first two? Does the DVD live up to expectations? Could this really be the best Dolby Digital 5.1 Surround t... Introduction Not letting the fact that no film could ever surpass the crowd pleasing sci-fi action of Terminator 2: Judgment Day, the makers of Terminator 3: Rise of the Machines didn’t let the past stand in their way. They have crafted a fun film that never lets itself get bogged down by the history set by the first two films. Inevitably, however, this is the weakest film of the series. But has Warner provided a disc worthy of the fans? Absolutely. Read on to find out why. Movie Terminator 3: Rise of the Machines was a project that had nothing going for it. Without James Cameron behind the camera (or involved in any way at all), many thought the project was doomed from day one. With a new director, Jonathan Mostow ( U-571), a new John Connor, Nick Stahl ( Bully), and a story that seemed like a rehash of Terminator 2: Judgment Day it appeared that the naysayers would be right. I am pleased to say that they were only half correct about this film. Ten years after John and Sarah Connor stopped the T-1000 and Judgment Day, John is in hiding. His fears prove to be well-founded as another, later model terminator, the T-X (played by the smashingly gorgeous Kristanna Loken), travels back to 2003 with a new mission. In the midst of the chaos, John meets Kate Brewster (Claire Danes of My So-Called Life fame), and it seems that their meeting at this time is no coincidence. A T-800 (Governor Arnold Schwarzenegger) leads John and Kate on a journey to learn the truth behind Judgement Day and to stop the T-X. Terminator 3 is not the bomb that many thought it was going to be. Mostow is wise enough to keep the tone and the look of the movie close enough to Cameron’s original style, so as to not alienate this film from the rest of the series. He does, however, throw enough of his own flair into the mix so that we never feel that we are merely watching a replica of Judgment Day. There are also scenes of action in this film that are simply breathtaking to behold. Not thirty minutes into the movie, one of the greatest scenes of vehicular mass destruction takes place, and the movie rarely lets up until the end. At times, the film begins to border on the ridiculous in the action arena - after a while you begin to notice that something blows up every ten to fifteen minutes! Fortunately however, each and every action scene is a joy to watch. The actors here are all very strong. Schwarzenegger and Loken are both excellent in their parts. Arnold would have had no excuse to not play a perfect terminator; the real worry lay with the ability of Loken, a virtual unknown, to carry such a heavy role. Loken is a real delight as the T-X with her ability to create small moments with only her head and face movements. Nick Stahl is also believable as John Connor and does a good job throughout. Claire Danes is decent in her role although she would qualify as the weakest link amongst the cast. The real problem with the movie is the script. As hard as it tries, the story here is nothing that we haven’t already seen from a Terminator film. The good terminator versus bad terminator premise was carried out to much greater effect ten years ago with Judgment Day. The time-travel aspect and inherent paradoxes therein reach a new level of confusion in this film as both terminators have unnatural knowledge of each other's movements from the very beginning and the audience is left to wonder why this movie needed to be created after the finality of the last film. Also, there is far too much goofiness involving Arnold’s terminator. Where Terminator 2 used carefully placed and crafted bits of humor to showcase the small bit of humanity contained within the machine, Terminator 3 frequently uses the terminator as ludicrous comic relief when none is needed. Finally, the much talked about ending is admittedly a little weak and underwhelming in light of the rest of the film. There is no escaping comparison to the two films that came before Rise of the Machines. The first two in the trilogy are true examples of modern classics. While Terminator 3 tries its best, it is by far the weakest of the series. The admirable job done by the cast and crew to ensure this films place in the series, however, is to be commended. With less brains and more popcorn value, this film should satisfy most fans of the action filled saga. Video Warner Brothers have overseen a most excellent transfer for Terminator 3. The 2.40:1 anamorphic widescreen picture is absolutely flawless. This is reference quality folks. Even under close scrutiny on a big screen TV, there was no evidence of edge enhancement. There were no nicks or scratches to be found on the print. Free of any defects, full of rich color and containing deep and detailed blacks, this transfer is a joy to behold. This is the DVD to use when showing your friends that new television set! Audio Fear not, my friends, although we do not get a DTS track here (like our Region 2 cousins), the Dolby Digital 5.1 is probably the best 5.1 surround track I have heard. Every scene is full of effects that totally envelop. Dialogue remains crisp and clear; even when the action gets tough. Most will be more than satisfied with this wonderfully hyper surround track. Others, however, will be able to see the incredible potential of a DTS track on any future release of the film. Do not feel cheated by buying this disc, it will give your system a true workout. Extras The supplemental package included in this release of Terminator 3: Rise of the Machines begins with two audio commentary tracks. The first includes director Jonathan Mostow and stars Arnold Schwarzenegger, Nick Stahl, Claire Danes and Kristanna Loken. This track is made up of individual clips from each person involved. This keeps the track from every becoming cluttered or confusing. Each person delivers interesting information and the track is never boring. The second track with director Jonathan Mostow is equally excellent. He has a deep appreciation and understanding of the Terminator movies and he explains the connections between this film and the first two in the series. He also gives some of the detailed technical information that some of us look for in our commentary tracks. Both tracks come highly recommended. Also included on Disc 1 is the theatrical trailer for Terminator 3 and the trailer for the film’s video game counterpart. Disc 2 starts off with a short introduction by Arnold. Following that is a documentary on the film. It’s more a promotional piece than a documentary, although we do get some decent interview clips and some behind-the-scenes peaks. Next is the infamous deleted “Sgt. Candy” scene. This shows some of the research being conducted by CRS in conjunction with the Skynet project. In this deleted scene we see the prototype for the Arnold-style terminator. We meet Sgt. Candy and hear his “real” voice and discover where the Arnold-style accent came from. This scene is overly ridiculous and the humor falls flat. If it had been done in a more serious fashion it would have been sorely missed. In the state it is in, though, it was wisely left out of the final cut. There is also a short gag reel. This reel is good for a chuckle and should definitely be checked out. Watch for the naughty hand gesture pulled off by the T-X endoskeleton. Next we enter the real meat of the extra features: The “Visual Effects Lab”. Following an informative introduction by some of the cast and crew, we are invited to detailed breakdowns of four effects heavy sequences in the film: the Crane Chase, the TX Transformation, the Future War and Crystal Peak. Each section presents a challenge for the effects team and gives us video clips and interviews with the people involved with the creation of said effects. These sections are technical enough for those interested but never overly so. They are always interesting. Finally, there is a “Create Your Own Visual Effects” feature that sounds much more fascinating than it ends up being. Using the tricks that you have learned in the Visual Effects Lab you are able to put together your own scene. You can chose from “Robots” and “Underwater Scene” background plates. Once inside your selection, you can mix and match different elements to configure. Once finished, your completed scene is played. Unfortunately, the scenes are either clips from the film or clips from the film with obviously rendered changes. Interesting idea, poor execution. Two features combine to provide some background information on the Terminator series. After correctly answering a trivia question, you are able to enter the Skynet Database and read about the characters and machines involved in the three movies. There is also a Terminator Timeline that will help sort out the now complex series of events spread across the three films. There is also a trio of interesting featurettes included on the DVD. The first is a storyboard featurette that plays the Crystal Peak scene while simultaneously showing the storyboards for the scene. This automatically progressing featurette is much more interesting than your standard static storyboards. The next featurette is called “Dressed to Kill” and explains the work that went into the costumes in the film. Lastly you will find “Toys in Action” which covers the action figures that came with the Terminator 3 marketing blitz. All three are interesting and worth checking into. Rounding out the features is a trailer for the PC game, a making-of for the video game and some web links. The making-of the video game featurette is far more interesting than it should be and was actually a pretty fun watch. This DVD package, while not the most spectacular ever conceived, is quite comprehensive. Although a more detailed behind-the-scenes documentary could have been included, most information contained within such a feature can be found spread out on these discs. As a side note, all special features can be viewed with French subtitles. Bravo Warner Brothers. Overall Terminator 3 was a pleasant surprise for a huge Terminator fan such as myself. While the film was disappointing overall, it wasn’t the astronomically depressing disappointment I anticipated. The movie sets up the series for a fourth addition, although with Arnold busy with his new political duties I do not foresee a quick (or good) sequel coming along. Standing alone as an action film, T3 excels. If for no other reason, pick this disc up for the reference quality picture and one of the best 5.1 tracks ever. Otherwise, pick it up to enjoy an admirable attempt to follow-up one of the best sci-fi films ever. Terminator 2: Judgment Day - Ultimate Edition (US - DVD R1) Terminator, The (AU - DVD R4) Aliens: Special Edition (UK - DVD R2) Review by Brian Kelley Dolby Digital 5.1 (English); Dolby Surround (French) Commentary with Stars and Director; Commentary with Director; Introduction by Arnold Schwarzenegger; HBO First Look Making-Of Documentary; Sgt. Candy Scene; "Terminal Flaws" Gag Reel; T3 Visual Effects Lab: Build Your Own Eye-Popping Action Sequences; Skynet Database of Weapons and Personnel Dossiers: Terminator Timeline; Storyboards; Dressed to Kill; Toys in Action; The Making of the Video Game Arnold Schwarzenegger, Nick Stahl, Clair Danes, Kristanna Loken

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B R I E F S Y N O P S I S One of the most controversial and influential figures in world politics, former Secretary of Defense Robert S. McNamara, takes us on a journey through the seminal events of the 20th century. Combining extraordinary archival footage, recreations, newly declassified White House recordings, and an original score by composer Philip Glass, director Errol Morris (The Thin Blue Line, Mr. Death, Fast, Cheap and Out of Control) composes a disquieting and powerful essay on war, rationality and the nature of history itself. The Fog Of War: 13 Questions and Answerson the Filmmaking of Errol Morris • by Errol Morris Q Is it true that you interview people using a machine? A Yes, the (patent pending) Interrotron. It's a machine that uses existing technology in a new and novel way. When I made my first film, Gates of Heaven, I interviewed people by putting my head right up against the lens of the camera. I would be talking to them, and it seemed as though they were looking directly into the lens of the camera, but not really. Almost, but not quite. Of course, they were looking a little bit off to the side. Q Why? What's the point? A To create the first person. When someone watches my films, it is as though the characters are talking directly to them…There is no third party. On television we're used to seeing people interviewed 60 Minutes style. There is Mike Wallace or Larry King, and the camera is off to the side. Hence, we, the audience, are also off to the side. We're the fly-on-the-wall, so to speak, watching two people talking. But we've lost something. Q What? A Direct eye contact. Q Eye contact? A Uh huh. We all know when someone makes eye contact with us. It is a moment of drama. Perhaps it's a serial killer telling us that he's about to kill us; or a loved one acknowledging a moment of affection. Regardless, it's a moment with dramatic value. We know when people make eye contact with us, look away and then make eye contact again. It's an essential part of communication. And yet, it is lost in standard interviews on film. That is, until the Interrotron. Q I don't get it. A I got tired of sitting so close to the camera. (In my early films, my cameraman would grab the back of my head and pull me back because you could see the side of my head in the lens. When he yanked me back, it often hurt.) And I started to wonder, what if I could become one with the camera. What if the camera and myself could become one and the same? Q You're losing me. A Well, not literally. Are you familiar with Teleprompters? Q Not really. A Well, Teleprompters are used to project an image on a two-way mirror. Politicians and newscasters use them so that they can read text and look into the lens of the camera at the same time. What interests me is that nobody thought of using them for anything other than to display text: read a speech or read the news and look into the lens of the camera. Q OK. A I changed that. I put my face on the Teleprompter or, strictly speaking, my live video image. For the first time, I could be talking to someone, and they could be talking to me and at the same time looking directly into the lens of the camera. Now, there was no looking off slightly to the side. No more faux first person. This was the true first person. Q It sounds like Buck Rogers. Were people willing to tolerate this? A I worried at first. Would it frighten people? Would they run out of the studio screaming? Who could say? I used it for the first time in Fast, Cheap & Out of Control. And it worked like a charm. People loved the Interrotron. Q The Interrotron? Did you make up the name? A No, it was named by my wife, Julia Sheehan. She liked the name because it combined two important concepts — terror and interview. Q But doesn't the device intimidate people? A Oddly enough, no. It doesn't. People, if anything, feel more relaxed when talking to a live video image. My production designer, Ted Bafaloukos, said, "The beauty of this thing is that it allows people to do what they do best. Watch television…" We often think of technology as working against the possibility of intimacy. But there are so many counter-examples. The telephone is a good counter-example. There are things we can say to each other on the phone that we would never say if we were in the same room. You know, "Being there is the next best thing to using the phone…" The Interrotron is like that. It creates greater distance and greater intimacy. And it also creates the true first person. Now, when people make eye contact with me, it can be preserved on film. Q Have you used it much? A Whenever I need to. I used it in a film that introduced the Academy Awards® in 2002. Gorbachev, Laura Bush, Iggy Pop, Al Sharpton and Walter Cronkite have all been on the Interrotron. Q Did Robert McNamara like it? A Well, you have to remember that we are talking about someone who has been interviewed a thousand times. He walked into the studio and said, "What is that?" I smiled and said, "The Interrotron." He said, "Well, whatever it is, I don't like it." But then he sat down, and we proceeded to record over twenty hours of interviews. I guess he came to like it, too. ©2004 Landmark Theatres

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example: life, funny (comma separated)example: Einsteinexample: one small step for manSearch HelpAdvanced Search Kiefer Sutherland(Canadian Actor)Date of Birth:December 21, 1966Nationality:Canadian Kiefer William Frederick Dempsey George Rufus Sutherland is an Emmy- and Golden Globe Award-winning Canadian actor, well known for his lead role of Jack Bauer on the television series 24. Sutherland also owns a recording studio and record label, called Ironworks.More on Wikipedia… 123nextAll quotes by Kiefer Sutherland (27 quotes found) “I liked the ceremony, the ritual of preparing cocaine, as much as doing it. I did it for a year, loved it, then stopped. Now I feel the same way about cooking.” “This time, something happens to Jack on a very personal level. Because he's presumed dead, a lot of the boundaries he was restricted by -- by virtue of who he was working for -- don't exist now. And he's mad.” “Carlos [ Bernard , Tony] is your guy. He had two police officers arrest Mia Kirshner [then playing Mandy] for allegedly smoking marijuana outside her dressing room. And as they went to take her away, Carlos got into a fight with the officers about [how they really should be] protecting the city.” “We're kind of in our own cocoon making it. Every once in a while you stick your head up for a second, and you just can't believe how successful the show has become.” “The graphics are the really freaky thing. I have two stepsons who are really good at the games, and they saw the likenesses. They had a gleam in their eyes, and I could see that the reason they liked it was because they could play to a point and then just stop, and I would get wasted. I think there's a certain amount of joy in, like, 'Let's watch him get shot again! Do it again!' You can make him really get riddled.” “I commend Julia for seeing how young and silly we were, even at the last minute, even as painful and as difficult as it was. Thank God she saw it.” “For me to have an opportunity to work with someone like that, it's a fantastic learning experience.” “The writers keep managing to turn the show in on itself, coming up with something that's well thought-out and miraculous.” “I'm committed to the show as long as I feel that we're moving forward. And I'm committed to the show as long as an audience will allow me to do it. I think they'll be very clear in the end, as will you all, when (the show) is no longer effective.” “I think the show is working. I think the character is growing on many levels. I think one thing that we're all discovering is that every season has impacted another, and the character has grown, and the character is allowed to carry with him what he has suffered the year before.”

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Kristen’s Interview with Globe and Mail Kristen talks about the amazing and unbeleivable support her fans have for her, showing a bit of surprise when one asked her to sign a copy of East of Eden: “I signed a copy of East of Eden last night,” says Kristen Stewart. “I was like, what the …” You’d have to see her to know she doesn’t believe this herself. There’s the ironic emphasis on Eden. There’s her self-deprecating smile gone awry. There is, in every Stewart interview, a certain undisguised incredulity at the people who’ve made her famous. When asked about why Kristen had a splint on her finger, Kristen replied that she had broken it, not expanding on the topic. We know Kristen is such a klutz and aren’t surprised that she’s hurt herself once again, but what seems fishy here is that normally she tells us how it happened, almost as if she’s proud of how it occurred. Needless to say, Kristen has been keeping a lot of herself private, nowadays :/ Later on in the interview, Kristen talks about her love for books: “I think if you were to watch a true depiction of the novel in every sense, if you could predict every line, it would be so not the experience of reading the book,” says Stewart, who read and fell in love with it when she was 14. “[Salles] didn’t change things just to have a beginning, a

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The Saints Are Coming 2006 The Saints Are Coming Lyrics The Saints Are Coming - Live Lyrics This 1979 classic track from Scottish punk band The Skids, got a whole new life when Green Day joined U2 at Abbey Road Studios in London to record a special version to benefit those affected by Hurricane Katrina. The band managed to track down Richard Jobson, former Skids frontman and now filmmaker, who wrote the song - and couldn't believe it when Edge called him up to ask about performing 'The Saints Are Coming'. 'I thought it was one of my Irish mates winding me up, I really did!' 'It's true, he just wouldn't believe me,' adds Edge. 'I was saying, 'This is Edge from U2 and he was saying, 'yeah, yeah, yeah...' Eventually, Edge managed to convince him of his impeccable rock'n'roll credentials, and told him the song had a special resonance for Music Rising. Produced by Rick Rubin, all proceeds from the release of the track went to Music Rising, the charity set up by Edge to help 'put the music back in the hands of the musicians' in the region affected by Hurricane Katrina. The official music video for 'The Saints Are Coming' was directed by Chris Milk. U2 & Green Day performed the track live in 2006 during the re-opening of the Louisiana Superdome. Produced By: Rick Ruben Engineer: Greg Fidelman Release Date: 2006-11-06 Label: Recorded At: Abbey Road Studios The Saints Are Coming VIDEOS

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Tag Archives | Tobe Hooper How to Make a Massacre: Tobe Hooper on Masters of Horror By Lee Camp on October 26, 2013 in News 8 After seeing Night of the Living Dead, Tobe Hooper was inspired to make a horror movie of his own with the goal of giving fans as much scare for the buck as he could. Standing in front of a chainsaw display in a department store, surrounded by a rude throng of Christmas shoppers, Hooper had an idea that became a legend. For my money, The Texas Chainsaw Massacre is the queen-mother of all horror films. The hulking brutality of Leatherface combined with the grimy realism of the low budget production values makes the movie feel more like a documentary than a horror film — the results are as chillingly real today as they were at its 1974 debut. This segment from the horror film doc Masters of Horror puts Hooper and his cast in the spotlight, remembering the grueling labor of love that became one of the most enduring horror films ever made.… Read the rest Continue Reading Stream/download it here!

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F E D R E V A Progressive Review of Mass Media & Culture HomeMission StatementFedRev ArticlesContact/SubmissionsResourcesDonate Godzilla and Reckless Arrogance in the Nuclear Age Posted on May 19, 2014 by FedRev :::SPOILER ALERT FOR GODZILLA (2014)::: The original Godzilla (a.k.a. Gojira) was released in Japan less than a decade after the end of World War II. In 1954, the reality of nuclear annihilation was still fresh in Japanese consciousness after the United States dropped two atom bombs on the already devastated and defeated nation. Gojira (1954), inspired by a real nuclear “accident” in which a ship of Japanese fishermen was irradiated by an American hydrogen bomb test in the Pacific, was a powerful anti-American* film that warned against the rush to use science as a weapon and condemned the arrogance of those who thought they could keep such destructive forces under control. The monster set loose by nuclear testing in Gojira is essentially a living atom bomb. Over the years, nearly 30 Japanese Godzilla sequels have been produced, as well as 2 Hollywood remakes, making the franchise one of the most enduring and prolific in film history. While many of the sequels don’t take themselves very seriously, descending into camp with outlandish, silly creatures and bizarre scenarios, there can be no denying the impact the original film has had on society. It was a terrifying but highly entertaining film whose politics were integral to the plot, and its pointedly anti-nuclear stance obviously resonated with millions of people around the world. When Roland Emmerich directed the first Hollywood remake he openly admitted to not being a fan of the original film, and, not surprisingly, Godzilla (1998) de-emphasized the anti-nuclear theme. While the monster in Emmerich’s film was the result of French nuclear testing (not American), beyond that the morality and politics of nuclear power plays virtually no role in the film. Dr. Tatopoulos, a scientist studying the effects of nuclear radiation (Matthew Broderick) seems to have no qualms with hunting down and eliminating the monster, in direct contrast with the scientific minded characters in Gojira who caution against violent reaction and stress the importance of knowledge and patience. For Emmerich, nukes are just a convenient plot device to set the story in motion. Ishiro Honda, on the other hand,

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Fridays...with Greg Hatcher Friday in the bionics (and other) labs by Greg Hatcher | May 25, 2007 @ 7:44 PM | 17 Comments | Tweet I spend a fair amount of time here reminiscing about 70′s super-people. But in a discussion the other day about NBC’s new revival of The Bionic Woman, it occurred to me that my favorite 70′s superheroes weren’t from comics at all. They were from television. Although they didn’t actually start on TV either — they had their beginnings with a series of novels from a noted military and aviation historian. Martin Caidin already had an enormous body of work in print, and even some Hollywood success with his NASA space-suspense adventure Marooned, when he wrote his original Steve Austin novel, Cyborg, in 1972. The book was very tough and cool and plausible… sort of like a cross between Tom Clancy and Michael Crichton in its tone, the story of test pilot crash victim Steve Austin being rebuilt with cybernetic bionics was a compelling read from start to finish. Caidin created Steve Austin as a Yeager-esque USAF lifer, bitter about his accident but slowly coming to terms with his new status as government secret agent, and the resultant uneasy relationships that created with everyone around him. It was adapted as a made-for-TV movie in 1973, The Six Million Dollar Man, with Lee Majors starring as the somewhat embittered Steve Austin, and Darren McGavin as his ruthlessly manipulative government boss Oliver Spencer. Martin Balsam had a nice turn as Dr. Rudy Wells. The structure was essentially the same three acts as Caidin’s novel — crash, rebuilding, first outing as bionic superhero in the Middle East desert– but it cast Steve’s superiors as much more sinister, and the desert mission turns out to be ultimately pointless. This is a bit jarring, and was probably an outgrowth of Hollywood’s Vietnam-era distrust of all things military. (Caidin’s Austin was a smart aleck who would occasionally lip off to his superiors, but he was, on the whole, a good soldier who respected military protocol.) Caidin followed it up with three more novels: Operation Nuke, High Crystal, and Cyborg IV. They are also very tough, plausible, military action thrillers with a slight overlay of Crichton-esque SF. But by the time the fourth one had come out, Steve Austin was already a television and merchandising success. Turns out the Cyborg TV-movie did well enough for ABC to take it as a series. Originally ABC envisioned Steve Austin as being one-third of a rotating series of 90-minute TV-movie adventures, similar to what NBC was doing with its “NBC Mystery Movie” lineup rotating Columbo, McMillan & Wife, and McCloud. There were two Steve Austin movies made after the Cyborg pilot, “Wine, Women and War” and “The Solid Gold Kidnapping,” and though there were hints of the good times to come, these two efforts seemed a bit too restrained and confused; they are trying way too hard to NOT look like science fiction or superheroics. The resultant split between sort of James Bond camp and sort of 70′s cop-show manages to be mostly just a mess. Plus they are saddled with quite possibly the worst opening-credits sequence ever assembled, with a horrible song by Dusty Springfield playing over a really wonky montage of scenes supposedly from Steve’s point of view. (There’s a blinking-eye oval frame to really hammer it home.) Steve Austin as I (and most people) remember him showed up a few weeks later. The Six Million Dollar Man was retooled and reimagined as a weekly one-hour drama on Friday nights. With a MUCH better opening that I think is still imprinted in the American consciousness: “We have the technology. We can make him better than he was before. Better. Stronger… faster.” And, incidentally, a helluva lot cooler. The first of these one-hour episodes, “Population Zero,” was my first encounter with Steve Austin and it blew my twelve-year-old self right out of the chair. You have to understand, the television climate was very different in 1974. In particular, the hostility towards SF and superheroics was an almost palpable thing. The only real comic-book successes on television up until then had been the George Reeves Superman and the Adam West Batman, neither of which were known for their seriousness of approach. Star Trek was gone. Twilight Zone was gone. Even the Irwin Allen crap like Land of the Giants was gone. And none of them were regarded as ‘successful’ in Hollywood terms. Science fiction and fantasy was generally seen as a losing proposition on television. Anything that had even a whiff of comic-book superheroics about it was dismissed as ridiculous, and anyone actually daring to try a superhero series generally went for the big laffs. Yet, at the same time, the superhero comics themselves were doing more amazing stuff than they ever had before. O’Neil and Adams on Batman and Green Lantern, Goodwin and Simonson’s Manhunter, Englehart-Brunner Dr. Strange, all of that stuff was blowing the doors off what people had thought was possible with traditional superheroes. The fundamental disconnect between what we fans thought of as ‘superheroes’ and what most people thought of as ‘superheroes’ had never been wider. So as I watched that first hour, my jaw just dropped. It was a revelation. For those of you that aren’t familiar with it, here is a brief recap from a fan site: “When a motorcycle cop discovers the twenty-three inhabitants of the small town of Norris lying in a death-like state, Steve Austin is called in to investigate. Donning a spacesuit, Steve enters the town limits, but is astonished to see the supposedly dead townsfolk suddenly come alive before his eyes. Shortly after, Oscar Goldman is contacted by Doctor Stanley Bacon, a bitter scientist who was dismissed from his work for the government due to unethical practices. Now determined to gain his revenge, Bacon demands the sum of $10 million – otherwise he will use his deadly sonic device to attack another town, only this time, he vows to kill every one of the inhabitants… “ Basically, it was The Andromeda Strain, but instead of a disease caused by an alien crystalline spore, the town was in trouble because of a pissed-off scientist and his sonic death ray. Now, let’s own up — a mad scientist is way more fun to take down than a bunch of meteorite spores, especially if he’s got a death ray. (I strongly suspect that it was ABC insisting that the town not actually die but just be in a coma… that felt like a second-draft fix.) Because everything else was just BADASS. The climax of the episode, with Steve Austin improvising an acetylene torch and breaking out of Dr. Bacon’s deep-freeze locker (Bacon knew that bionics don’t work in extreme cold) struggling to recover in time to race to the mobile-death-ray unit, and finally killing Bacon and his crew by ripping a steel-and-concrete post out of the ground and hurling it THROUGH Bacon’s van like a javelin, causing the whole thing to explode… that was awesome. Yeah. THIS was the stuff. This was what superheroes looked like. Except for a costume, Steve WAS a superhero. He had powers, a secret identity, the whole ball of wax. He even had supervillains: Evil Dr. Dolenz, maker of killer androids (not to be confused with evil Dr. Franklin, maker of killer fembots.) Unstable race-car driver Barney Miller, the seven million dollar man. And of course, the alien spy enclave in the Cascades and their bionic Bigfoot. These and many more recurring villains built the same kind of mythology and continuity that you saw from Marvel comics. It really was superheroics for television. I was instantly a fan and had soon sought out all the Caidin books. But Caidin was far from the only one shaping the character of the bionic superman and his world. The architect of a great many of the aspects of the Steve Austin TV mythology was actually a man by the name of Kenneth Johnson. He created many of Steve Austin’s recurring adversaries and supporting characters, as well as the love of his life. Johnson actually can be credited with saving the show at one point. The script that kicked Steve Austin up into the ratings stratosphere was Johnson’s two-part “The Bionic Woman.” He solved a number of the show’s ongoing problems with that one episode and set the tone for years afterward. Ironically, the difficulty that The Six Million Dollar Man ran into week after week was money. The kids like me wanted to see Steve Austin doing super stuff, but a weekly show in 1975 couldn’t really deliver the goods in those pre-CGI days. We were resigned to the slow-motion sequences when Steve was allegedly running at 60 miles an hour, but the lifting and jumping and breaking things were starting to look pretty damn cheap with all the budgetary cheats producers were forced to use. That left the show to be carried by the scripts — standard adventure plots, then, not a lot different than other cop shows — and the actors. And that was a bad place to be. To be honest, Richard Anderson as Oscar Goldman was pretty stiff; but he looked like he was emoting hysterically next to Lee Majors. Majors’ Steve Austin had two expressions — deadpan, and deadpan with a raised eyebrow. In fairness, the scripts weren’t very emotional but for God’s sake, would it kill Austin to crack a smile once in a while? So the show was desperate for people stories, something with a little more depth of feeling than the arms-dealer-of-the-week. The producers asked Johnson to come up with a story that would emphasize Steve Austin’s emotional life (one suspects that they really wanted him to demonstrate that such a thing was even possible) and Johnson delivered in spades. Kenneth Johnson introduced tennis pro Jaime Sommers, an old flame of Steve Austin. On a visit to his parents in Steve’s old hometown of Ojai, Steve runs into his childhood sweetie, Jaime. Steve and Jaime rekindle their relationship, but then a skydiving accident leaves Jaime as destroyed physically as Steve had been in his crash. She loses an arm, both legs, and an eardrum is punctured. Steve begs his O.S.I. boss Oscar Goldman for help, and so Doctor Rudy Wells performs another bionic replacement operation. However, just as Steve and Jaime are making plans to get married, Jaime’s body rejects her cybernetics and she dies tragically. I assure you there wasn’t a dry eye in the house. Looking back it really was a radical departure. We finally got to see Steve Austin as a regular guy, with parents and a home and a life. This was the episode when the show finally shucked off the whole faux-James Bond vibe once and for all. Steve Austin wasn’t a secret-agent type. He was a soldier, serving his country: one of Our Boys. In a weird way Johnson dragged the character back to his military-service Air Force roots and then upped the ante by making him a small-town hero coming home for a visit while he’s on leave. One could easily imagine Steve’s mother sending cookies to Steve care of the OSI, and a fruitcake for the whole staff at Christmas. Best of all, the script gave us Jaime Sommers, a delightful young lady played by an actress who really knew what the hell she was doing. Lindsay Wagner raised Lee Majors’ game just by being in the frame with him. Jaime was so sure Steve Austin was a great guy that we all believed it too. Even the unfortunate decision to have Lee Majors sing a ballad over the titles couldn’t kill the new energy and good feeling Lindsay Wagner brought to the episode. It was a smash. And it saved the show. Steve Austin became a top ten hit and a licensing juggernaut. I actually am very fond of many of the licensed novels that spun out of the show’s new success. Michael Jahn, who has gone on to be a well-regarded mystery novelist, did a bunch of nice work and added a lot of Caidin-esque touches to the ones he did. They brought Lindsay Wagner back as Jaime to open the following season (showing that the series had absorbed yet another tenet of comic-book superheroes, the idea of death being something you can get better from) and soon The Bionic Woman had its own place on the schedule, complete with the occasional Marvel-style crossover event with its parent show. After that, the new school of superhero took off. Suddenly we started to see pilots for shows like Exo-Man, a made-for-TV version of Iron Man in everything but name… And many of us have mildly fond memories of Patrick Duffy as The Man From Atlantis. At least the pilot. The show was pretty awful. Though the Marvel comic had the dubious distinction of being better than the show it was spun out of, it seemed ridiculous for Marvel to even publish it when they already had Namor the Sub-Mariner. Oddly, the one place none of these new characters did well was in comics; any character who got a title out of this little TV-hero boom lasted less than a year. Even Steve Austin couldn’t carry a comics version into double digits as either a magazine or a standard-format book, despite some really amazing artwork from Neal Adams and the gang at Continuity Studios. ABC and CBS were finally willing to go to the source and try adapting real superhero comics, too. ABC took a swing at Wonder Woman, first with a horribly wrong-headed Cathy Lee Crosby ‘update’ in the spirit of Steve and Jaime: Then with a charming version starring Lynda Carter, now enjoying a second life on DVD. Although, God help me, if I ever saw the Crosby version at a convention I’d probably snap it up. I’m a big nerd that way. Stan Lee had just moved out to Hollywood, and he was quick to jump on board. Soon he’d cut a deal with Universal to license several of the Marvel characters to television. Spider-Man, Captain America, and Dr. Strange all got TV-movie pilots, and Spider-Man even had a brief, stuttering tenure as a mid-season replacement series. But the real success of that deal was the incredible Hulk. Not surprisingly, the success of that effort came from the guy that saved Steve Austin by giving him Jaime Sommers: Kenneth Johnson. For a classically-trained Carnegie grad, Johnson’s got great instincts for making silly pulp super-hero stuff work. Get the costumes out of the equation, give the characters an emotional life, get real actors who can deliver. I have been watching a number of these old shows recently and I am awed at how well they all still work: Bill Bixby as David Banner in the Hulk pilot is amazing. There’s a DVD containing that pilot and the episode “Married” and I recommend that to you a million times more than the Ang Lee version. You get a great bonus with those — it’s not widely acknowledged, but Kenneth Johnson does absolutely the BEST DVD commentary in the world. His stories of making the original Hulk show are fascinating. I might as well own up to it. I’m a big fan of Kenneth Johnson. I loved the original V and the television version of Alien Nation. In fact I think I’m the only guy that bought those comics, based solely on my affection for the television shows they sprang from. Johnson fans — I know I’m not the only one out here –should check out his website. Certainly I was very excited to discover this – Currently in development at Warner Brothers, apparently. Marc Singer had said something to Julie and I about it when we met him at a signing in San Diego a couple of years back, but we’d given up hope. I admit I am looking forward to a V revival, and the new Bionic Woman. I guess Johnson’s not involved with it, which is a pity; though I hope they at least are giving him some money. Certainly these pre-release photos are very promising. But you know what my dream revival project would be? The League of Extraordinary Kenneth Johnson Gentlemen. Jaime Sommers, anxious to avenge the death of her husband Steve Austin, recruits Buck Francisco, David Banner, and fembot architect Dr. Franklin to assist her in throwing the Visitors the hell off our planet forever. Their first mission would be a journey to the Cascades, to find an abandoned alien installation in hopes of reconstructing the superstrong android Bigfoot… and unbeknownst to them, they are being pursued by reporter Jack McGee, who’s cut his own deal with the Visitors in hopes of getting the goods on the Hulk once and for all… Now THAT would rock. See you next week. Tagged: Comics History Comments below Hey Greg, have you checked out ‘Heat Vision And Jack’? It’s a pilot for a show that never happned written by the chap who used to write the comic ‘Scud: The Disposable Assassin’, and it’s directed by Ben Stiller, and stars Jack Black as an astronaut who was exposed to rays that cooked his brain, and now he gets smarter when exposed to the sun, and also stars Owen Wilson as his talking bike. It’s a great send up of the old Hulk and Six Million Dollar Man shows, but it was made before any of the stars were famous. They put it up on YouTube where it became a hit, and now there’s a movie being planned. Here’s the link: http://www.youtube.com/watch?v=6lWgXDOAJ5s It’s all good fun, and the tone is almost perfect. The credit sequence is spot on and hilarious. If you haven’t seen it, I definetly reccomend giving it a look. Last I heard, Steve Austin and the Bigfoot were an item. “Awwww…you coulda told me sasquatch was a dude!” “Oh, come on, Brock…sasquatch doesn’t have anything you’ve never seen before…” “Sasquatch IS something I’ve never seen before!!” …I’ll never look at The Six Million Dollar Man the same way again. That Jack Black thing really is brilliant; clearly I’m not the only one those shows imprinted on back then. Thanks for pointing it out, Funky! Love the Kenneth Johnson proposed crossover you suggest, except for the part about Steve Austin being dead. That would be wack. SwanShadow I’ve been trying to convince people for years that The Six Million Dollar Man had a cheesy, sappy theme song when it premiered. Everyone only remembers the “Better… stronger… faster” opening. Now, at long last, I can prove I didn’t imagine that dreadful bit of musical business! You know, what’s making me nuts is I can’t stop thinking about it. I keep toying with the idea and thinking of refinements for it. What if Shalon’s people, you know, Stefanie Powers and the Bigfoot bunch — what if THEIR planet was the one that Faye Grant and the resistance signaled at the end of the first V miniseries? What if the mountain hideaway was actually established as some sort of spy station as part of an ongoing war, a sort of beachhead Earth thing? Maybe BOTH sides need this planet for something or other…. What if the Tenctonese slave ship was on its way to the Visitors’ homeworld when it crashed and that was the trigger event that actually brought Diana and the lizard people to this star system to begin with? That would make the Tenctonese refugees more dangerous to the Visitors than anyone else on earth, probably, because they would know more about them…having John’s reptile face revealed on national TV, as the resistance did in the second miniseries, would have doubtless lit a fire among the Tenctonese LA refugees — there would have been panic, rioting, when they realized the benevolent Visitors were actually the SAME slave masters they were escaping from… …and so on. It’s the classic definition of what Peter David called a Useless Story, because you can’t ever do anything with it but you can’t stop playing around with ideas for it either. I have this whole timeline worked out in my head now of how events would have had to play out on Earth-KJ in order for everything to come together — THIS was when OSI first started experimenting with bionics, which means THIS has to be when David Banner was working on gamma research with Elaina Marks and Franklin was first putting together his fembot enclave and building his ‘son,’ which would make THIS when the Tenctonese ship crashed, and about seven years after that would have to be when the Visitors arrived. It’s like the Wold Newton game. I can’t help myself. As for Steve being gone, I had two reasons — one dramatic, one nerdy. The dramatic one was wanting a tragic motivation for Jaime (similar to Mina Harker’s in the original LOEG; to properly echo Moore’s original, the League should all be damaged goods, seeking redemption) and it seemed reasonable that a military man would have been one of the first wave of casualties. Same thinking was behind leaving out Matt Sykes and Sam Francisco. The nerdy reason was in trying to restrict it to Kenneth Johnson originals as much as I could. Of course the Hulk screws that, but really Johnson’s David Banner is miles away from the comics’ Bruce Banner. Oh well. It’s all just daydreaming and goofing off anyway. Ted Watson WOW! Do I have a few comments here. First, SIX MIL, as Lee Majors himself abbreviated it, did not rotate with anything. It was the only recurring thing in what was called THE ABC SUSPENSE MOVIE, which had been developed as CRIME, but censors objected. Several of the features here WERE caper stories, but the retitling opened it up to other things too, such as HEAT WAVE, with Ben Murphy and Bonnie Bedalia as an expectant couple trying to get away from the oppressive titular situation. Second, I have always felt that the introduction of “The Bionic Woman” was the bookmark for the end of the worthwhile era of SIX MIL. When it would come in syndicated reruns, I generally quit watching. Universal hit a big snag here, by the way. This two-parter was the last work Lindsay Wagner did under her contract with the studio, which was allowed to expire as soon as filming wrapped. As you say, Greg, the episode hit big, and they had to negotiate an entirely new deal with Wagner to bring Jaime back. She was well–paid from the outset. She also won an Emmy for the series, incidentally, putting the lie to the oft–made statement by STARLOG, who REALLY should have known better, that Mariette Hartley’s win for the HULK ep. “Married” was the first non–technical Emmy to a SF program (to say nothing of Agnes Moorehead’s win for her guest shot on THE WILD WILD WEST in the 60s!). Of course, in 1978, the same magazine published an interview with Veronica Cartwright conducted on the set of the first INVASION OF THE BODY SNATCHERS remake about her experiences as a child actress on LOST IN SPACE, which actually featured HER SISTER ANGELA, NOT VERONICA! I can only hope that Veronica thought it was a funny joke not to tell the reporter that he had the wrong Cartwright, but somebody in the editorial offices should have caught it. They never published anything in their letter column pointing it out, and it is impossible to believe that they didn’t receive anything. Third, it may be even weirder than you think that Marvel put out a MAN FROM ATLANTIS comic. That Marvel/Universal/CBS deal that gave us the late 70s HULK, SPIDER–MAN, CAPTAIN AMERICA and DR. STRANGE TV versions involved at least two other characters who didn’t get into production. As Brian Cronin covered in an early URBAN LEGENDS entry, HUMAN TORCH was one. Another was, depending on the source, either the then recently created SPIDER–WOMAN or SUB–MARINER. Reports of the latter claim that it was dropped because already on the air was…wait for it…MAN FROM ATLANTIS! Finally, as for the new BIONIC WOMAN series, since Kenneth Johnson had a “Created by…” credit on the original (literally on-screen, I mean), I’m certain he has to get some money here. The nerdy reason was in trying to restrict it to Kenneth Johnson originals as much as I could. Ahhhh, that makes sense. I get it now. Good point. I had actually meant to mention Lindsay Wagner’s Emmy AND Mariette Hartley’s, but I got sidetracked. But this is as good a place as any to mention that I really thought Ms. Wagner hit it out of the park in the episode she won for. It was “Deadly Ringer,” the two-parter with the evil double Lisa Galloway being altered with plastic surgery and then amped up with ‘adrenalazine’ to simulate cyborg-level strength so she could be substituted for Jaime…. only Lisa starts to assimilate so well into Jaime’s life that she decides to screw her mission and just BE Jaime Sommers. At the same time, unbeknownst to Lisa, the adrenalazine is burning her out…. Lindsay Wagner played both parts and she really did the hell of a job, especially in part two when Lisa is starting to unravel. It is one of my favorite ‘evil twin’ iterations ever. I occasionally wonder if Joss Whedon and the Buffy crew were influenced by it when they did their Buffy/Faith switch in the fourth season and Faith starts to think being Buffy is worth it in the second part of THAT episode. Wagner won for the season as a whole, although that may well be the episode she submitted as an example of her work thereon (that’s how the competition works; however, I freely concede that the academy has experimented with letting series actors be nominated expressly for an individual episode, just not at that time). And I felt that she did very little to distinguish between the two women other than make the double’s real voice a Southern accent, which I saw as an obvious crutch. Many industry observers felt that Wagner winning over Sada Thompson of the heavy drama FAMILY was absurd. As far as the imposter wanting to take over permanently is concerned, THE AVENGERS did it first, with the impersonations of Steed and Mrs. Peel accomplished with a mind swap machine rather than by creating doubles. It also should have been mentioned (by me first time around, too) that ABC cancelled WOMAN, but NBC picked it up, resulting in Richard Anderson playing Oscar Goldman regularly on two different networks simultaneously. BTW, are you certain that Darren McGavin’s character in the SIX MIL TV-movie was Oliver Spencer, and not Oscar Goldman? I thought he was (you admit that Martin Balsam plays Dr. Rudy Wells, the same character that first Alan Oppenheimer and then Martin E. Brooks did in the series), and he certainly was O.G. in Caidin’s novel where it all started. Mike Jahn Thanks for those nice words about Steve Austin, Martin Caidin, and me. Those novelizations were my first published fiction, they launched my career, and 50 books later I still have a fond spot in my heart for them. Too bad when Universal asked me to choose between writing the books on “The Bionic Woman” or on “Switch” (a con-man series starring Eddie Albert and Robert Wagner), I chose the latter. I guess wrong that “Switch” would last, and I also was afraid that trying to keep track of male AND female bionic body parts would put me back in therapy. Anyway, thanks! Let me know if you trip over “Armada,” a SF novel I published in 1980. Somebody is trying to develop it as a movie. http://www.myspace.com/michael_jahn Well, *I* loved the “Switch” books, Mr. Jahn. If it makes you feel better, I bought them on the strength of your name; by then I knew you were “the guy that wrote the GOOD Steve Austin novelizations.” I was especially impressed with the way you wove the two DC Fontana scripts together in the fifth Six Million Dollar Man book. I still own and enjoy all of those licensed books, even the one adapting David McCallum’s version of The Invisible Man. Everyone else reading this, you should check out Mr. Jahn’s other novels, especially the Bill Donovan mysteries, which are great fun. Chuck T. Six Million Dollar Man is one of those things I love, even if I can barely remember more than having the action figure. I did read Cyborg 4 (or was it 5?) repeatedly from the library as a kid: Steve Austin hardwired piloting a space plane? Freaking awesome. Speaking of the novelization of the pilot for the David McCallum/Invisible Man show, there’s a great bit in it: When Daniel Weston (the McCallum character) goes to a friend to make the masks, etc., to make him seem visible, the guy says he was involved in fixing up an ex–astronaut/test pilot after a plane crash left him really messed up. Said it was all “hush–hush.” Right, Greg? curt b. Re the death of Steve Austin…Don’t worry about it. As you pointed out people in these stories DO comeback-like Jaime! i’m sure the real steve Austin.will break out of his prison and return to Jaime in the third act of your interesting scenario. I just found this thread. and I have to mention this: How could you write so longingly about Steve’s recurring villains and NOT mention the Probe!

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'Agents of SHIELD' postmortem: Jeff Bell and Jeph Loeb on what [spoiler's] new role means for the series Andrea Towers on Apr 9, 2014 at 12:01AM @atvgeek82 Image Credit: Kelsey McNeal/ABC Comments + SPOILER ALERT: If you haven’t seen Tuesday’s episode of Agents of S.H.I.E.L.D. (and for that matter, if you’re even halfway interested in the Marvel-verse and haven’t yet seen Captain America: The Winter Soldier), do not read beyond this opening paragraph. This post contains massive spoilers concerning the plot twists and character developments in “Turn, Turn, Turn,” as well as speculation on future storylines. You’ve been warned… Related Agents of S.H.I.E.L.D.: See Full Coverage 'Agents of SHIELD' first-look art teases Clairvoyant reveal -- EXCLUSIVE 'Agents of S.H.I.E.L.D.' react: Deathlok'ed Okay, admit it — who saw that coming? Because I sure didn’t. Tuesday’s game-changing episode of Agents of S.H.I.E.L.D. dropped some big surprises, answered some big questions, and set the stage for the final act of the season, putting us on a path about as bumpy as Agent Garrett’s plane ride. Simply put, if you were still on the fence about whether the drama had found its footing, “Turn, Turn, Turn” was a payoff and a gut punch all at once — and in true Marvel fashion, that’s just what the show wanted. To get all the scoop on that twist (Ward!) those shocking reveals (Garrett!), and what’s ahead for the remainder of season 1, EW turned to the men behind the curtain: Marvel’s Agents of S.H.I.E.L.D. executive producer Jeff Bell, and executive producer Jeph Loeb, Head of Marvel Television. Read on for more — access to Level Seven awaits. ENTERTAINMENT WEEKLY: Ward! First of all, tell me how long the events in this episode were planned. JEFF BELL: We’ve known what Captain America: The Winter Solider was all about since we came together a year ago. And so we knew that we were doing a show called Agents of S.H.I.E.L.D. and that in the movie, S.H.I.E.L.D. gets blown up. And it’s full of the “H word” [Hydra.] And so we’ve been working with the studio from the get-go towards this moment. Our challenge was that we couldn’t say the “H word” until after Captain America 2…so we had to have an ongoing threat that we’ve called Centipede, that we’ve called The Clairvoyant, that we’ve called other things, because we could not say the word Hydra. What wasn’t a challenge was coming up with twists and turns, and making you think it was this person, because we work very hard to hopefully hide the ball with who it is. JEPH LOEB: And the fun of the show was taking our time in order to let you get to know our characters and hopefully fall in love with them. One of the things that makes our job both challenging and very exciting is the movies — these gigantic tentpoles — that have the widescreen adventure that we obviously can’t do every week on a television budget and television schedule. But what we can do is create an intimacy with the audience and create characters that our audience is invested in, so when you find out that someone on the team is not who you think they are — at least now, not to say there aren’t more twists to come — that’s the fun of it. We’re hoping that the reason you’ve had this visceral reaction to the reveal is because you are invested in those people. We have told 16 stories to get you to a place where the 17th story turns 17 all on its head. And then what happens? Because that’s not the end. This isn’t the season finale. We have a long way to go, six big more episodes. Going into the series, how much did the actors know about their specific character journeys? BELL: Different people knew different amounts. We didn’t tell Brett [Dalton] at the very beginning because it didn’t seem fair to have him carry that burden all season, but we made sure to always write him a way that when you look back, we can say, “this is why you did this, this is why you did that from the get-go.” He understood all the dots, he understood what we were planning, and we understood what we were writing. And one of the things that’s fun for us is that now that the gloves are off, he can be this other guy. And having seen where it goes, watching this Grant Ward is a lot of fun. LOEB: But we want to caution everybody that just in the same way that our team is going to be divided, we expect that there are people out there — particularly if you’ve seen Winter Soldier, and you know the story of the Winter Soldier and you know the story of what Hydra is capable of doing to your mind — who will ask, what is the reality of who you can trust? And whether or not a person is all bad, made bad, might not be bad…it’s all good stuff. So what does this mean for the team going forward? Trust issues aside, everyone seems like they’re going to be on edge. BELL: That’s our hope. I believe the team will be split on what does this mean for Ward? Is he a good guy? Is he a bad guy? Is he being controlled? Does he have a reason for doing this? And then we also have divisions within the team, so for us, it’s a chance to tell really compelling stories that focuses on our characters. So with the emotional stuff that Jeph was talking about, the movies blow S.H.I.E.L.D. up and then we get to spend several episodes exploring the consequences of that. And who can you trust,what does it mean to be loyal to S.H.I.E.L.D., what does it mean to work for S.H.I.E.L.D.? What does it mean when everyone you believed in has been a lie? Has it been a lie? Those are the things that are really fun for me to work with. LOEB: Because we don’t want to start calling the show “Agents of Nothing.” Poor Coulson. First he dies, then he finds out his entire resurrection was a lie, now he’s betrayed…is he ever going to be able to trust anyone ever again? LOEB: Well, let’s start with this question: we know that he was in a secret lab, having something secret done to him in his secret head. How do we know that what’s in his secret head is a good thing? They put in Tahiti…but who’s they? Now you’re just being evil! BELL: But those are the questions that are fun for us to explore. LOEB: And what’s really wonderful is our cast, who is remarkable, has really taken the challenge of who everybody is and who they can trust. Just put it down on the level of Fitz and Simmons looking at each other and wondering if they can trust each other, when they have as good a bond as Coulson and May do. I’m really impressed at how you set everyone up to get to this point, because once you realize what’s happening, you definitely see how it all ties together. LOEB: And part of what’s so much fun is being able to go back and look at the pilot and see where Coulson says to Ward, “we haven’t scores like yours since Romanov.” Now, at the time, you probably thought “oh, that’s a really good spy.” But then if you think about what Natasha has done with her life and the number of identities she’s had and the number of people that she’s burned along the way, that may have not been the best compliment to give somebody. BELL: Let me put this on another level: Ward had put Garrett on this plane for a reason, and so he had to come in and be accepted to this team. And so if you’d look at how he related to everyone — Coulson loves projects. Here is a guy who didn’t have people skills. So Garrett says, can you help this guy Ward round off some of the rough edges? So he comes onto the team. Coulson is now vested, because he’s got a project. Who is Ward’s greatest threat? May. What does he do? He seduces her. Who is the one unknown on the team? Skye. He becomes her S.O. How do you get everyone rally around and trust you? You jump out of a plan trying to save someone else. Now, he had a parachute. Let’s say he failed to save Simmons, he would’ve been fine. Everything he’s done has solidified how people feel about him over the course of the season. LOEB: And what was the next thing he had to do after he saved Simmons? He had someone on the plane who was jealous of him: Fitz. And what did they do? They went on a mission together and they had a really good time together. And a bromance was started. And that took care of that. BELL: And then even when he was with Lorelei, and she was talking about the darkness inside of him and the other qualities, she saw something that a lot of other people hadn’t seen. So we feel like we laid things out pretty well. Because you don’t want to over tip your hand, but we think people are pretty smart, and you can look back and go, “oh yeah, it was all there the whole time if I had looked.” And what’s fun now that you’ve seen 17, watch it again, or watch 16 again, and every look Ward does seems to have a double meaning. I love that. Give me an example of something that might be a little less “obvious” than the Romanov line that could be fun for viewers to realize. LOEB: We’ll give you one that’s a lot of fun, and that’s in “Seeds,” episode 12. Towards the very end, there’s a lovely, heartwarming moment where Skye is standing in front of the fallen S.H.I.E.L.D. agents through the decades. Watch that scene, and keep an eye on Ward. BELL: And what she’s saying as you’re looking at him. Everyone brought their A-game in this episode but I have to say, Clark Gregg just floored me. What a great, emotional performance. LOEB: We’re so thrilled with our cast, and in particular with our captain Clark Gregg who brings a humanity to the role that is unsurpassed. It’s what made him break out of these movies when there were these giant movie stars all around him — Agent Coulson became one of the most beloved character in the Marvel universe, an original reaction, not someone that had the backing of 50 years of Marvel publishing. And that really goes to Clark and his extraordinary gifts not only as an actor, but as a person. BELL: And one of the things that’s fun for us is that we’re writing a heroic character in a world of antiheroes and serial killer heroes and dirty cop killer heroes. It’s sort of fun to write an honorable man who’s trying to do the right honorable thing in a corrupt and terrible world, watching him struggle with the deceit around him and watching him try to do the right thing. And that’s been one of the joys of the season for us. LOEB: And it makes it fun. It makes the kind of show you can watch with your entire family or that you can watch as a fanboy or that you can watch as a woman who has a crush on some of our characters. BELL: Or a dude who has a crush on some of our characters. Assuming the show is brought back for a second season, will these revelations and Hydra be part of an ongoing mythology? LOEB: This is absolutely an ongoing story. And this is Marvel. We’re telling the stories of what happens to ordinary people in extraordinary situations. And just as it is in the movies, where all those films led up to The Avengers and there’s been movies that have come after that, the fun of being able to tell a story is that for this season, it’s 22, and let’s hope that we get to tell 100 more. And that includes answering questions along the way…right? LOEB: Let’s put it this way. We do believe in rewarding our audience for staying with us, and that a mess of questions will be answered before the end of season. But it would be unfair to our audience to not leave some other questions, so should we have a chance to come back, it’s the longest summer ever. How many stories do you have planned out? BELL: We can’t wait for next season. Here’s the thing: Hydra is now loose. A lot of things that we couldn’t talk about in the first 2/3 of the season are now our in our world. S.H.I.E.L.D. has fallen apart, we’re trying to figure who we can and cannot trust, and all the bad things that S.H.I.E.L.D. has ever caught have been loosed upon the world. Hydra’s out there, nobody trusts us…we can’t wait to tell those stories. I feel like that it might’ve taken awhile to build up to the intensity of this episode, but now it’s all paying off in a very real way. BELL: I’ve said before, when you’re doing a 22 season arc, it moves at a different pace than when you’re telling a 13 episode cable arc. When you’re doing 13 episodes, episode 7, you’re halfway through. We got episode 11, we were getting just halfway. And so it does give us more time to set things up, and our goal is to pay everything off, and I think 17 is a good start of that. What did you think of “Turn, Turn, Turn?” Sound off below, and stay tuned to EW.com for our weekly react. Tags:Agents of S.H.I.E.L.D.Marvel Please enable JavaScript to view the comments powered by Disqus.

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Overlooked Movies: Chopper "I didn't really surmise anything. I never felt pressured to come up with some kind of definitive explanation, or judgement of him. It's like someone you might hate in the media, but then you hear they're a really nice person but you actually don't want to know about it. It's the same with Chopper. People who read his books might like him because of the image he put forward, but the more politically correct might think him an idiot because he's a criminal. Somewhere in between all that, there's a judgement for those who want to judge." -Eric Bana on Mark Read Eric Bana is Mark "Chopper" Read, real-life convict and bestselling author of "How to Shoot Friends and Influence People." His story is frightening, savagely funny and twisted. The son of a devoutly religious mother and a one-time soldier with a fondness for sleeping alongside a loaded gun, Chopper dreams of making a name for himself as a legendary crime figure. His journey starts out as a wisecracking criminal failure, inside a maximum-security prison, but he manages to twist his life into a fascinating and wickedly funny take that the press and the public can't get enough of.Click here to watch a scene from Chopper:Taglines: Never let the truth get in the way of a good yarn.The truth, the half-truth, and nothing like the truth.Fun Trivia:Eric Bana spent 2 days living with Mark "Chopper" Read so he could get a better understanding of how to play his character in the film.Mark "Chopper" Read suggested that Eric Bana play Chopper, after seeing him in the sketch comedy series "Full Frontal".Read wrote his first book Chopper: From the Inside while incarcerated in Melbourne's Pentridge Prison. It contains tales and anecdotes of his criminal and prison exploits in 1991. Attempts were made to ban a children's book written by Read titled Hooky the Cripple. The story is set in the sixteenth century. It is about a hunchbacked son of a prostitute who stabs a bullying butcher in the head 21 times, and eventually goes to trial for murder.Chopper getting his ears sliced off with a razor blade (not for the faint of heart):Fun Quotes:Chopper: Why would I shoot a bloke BANG, then drive him to the bloody car and wizz him off to the hospital at a hundred miles an hour? It defeats the purpose of having shot him in the first place.Chopper: I'm just a bloody normal bloke. A normal bloke who likes a bit of torture.Chopper: Jimmy, if you keep stabbing me, you're going to kill me.Chopper: Look, you're not still angry at me about the leg, are you?Neville Bartos: Nah, forget about it.Chopper: Because I don't know if you remember, Neville, but I had that bloody shotgun pointed at your head. I reconsidered and dropped it down to your kneecap. Remember?Neville Bartos: Forget about it. All right?Chopper: I mean, what the bloody hell were you doing getting lippy at me with a bloody shotgun? I had a bloody loaded shotgun.Neville Bartos: The leg is okay, all right?Interviewer: You've written a best-seller...Chopper: Yeah, I know - and I can't even bloody spell. What about those poor bloody academics, those college graduates, battling their guts out to write some airy-fairy piece of exaggerated artwork? And here's a bloke, sitting in a cell, who can't spell, and he's written a best-seller. It's sold two hundred and fifty thousand copies. And it's still selling. And he's writing another one. And I can't even spell. I'm semi-bloody-illiterate.Chopper: Even Beethoven had his critics. See if you can name three of them.Here is a list of Chopper Read's criminal convictions:At the age of 17, Read was sentenced to one month's imprisonment on assault related charges.In 1974, at the age of 19, he was again imprisoned for one month on charges of carrying an offensive weapon.He later received a good behaviour bond for charges of assaulting police.In May 1975 he was convicted of robbery and sentenced to two years' imprisonment.In December 1975 he was convicted of armed robbery and received a further one-year sentence.In 1978, at the age of 23, he was convicted of causing grievous bodily harm and sentenced to two years' imprisonment.Five weeks later Read was sentenced to twelve years' imprisonment on abduction-related charges for the attempted abduction of a County Court judge while on parole.In 1978 Read was sentenced to nine months' imprisonment for a parole breach.In 1981, while imprisoned, he stabbed a fellow prisoner in the neck using a pair of scissors and was sentenced to a further three months' imprisonment.In October 1989 he was convicted on two charges of being in possession of an unregistered pistol.In November 1989 he was sentenced to three years' imprisonment for malicious injury and wilful damage. He was also convicted of recklessly endangering life for shooting a man in the stomach and setting fire to the house of a known drug dealer.Chopper Read describes how he robbed drug dealers: Great film. I was very surprised when they announced the cast for The Hulk, and I had to go "That guy?"...I've never read any of the books, I'm curious as to the writing style. Have you seen any of his stuff? Yes great film and Eric Bana's best acting I think (though I haven't seen Munich yet).And I haven't read any of the Mark Read books. I'm not sure they're even available in the US but my boyfriend knows someone who lives in Australia and tells me Chopper Read is really, really famous. Al Kretschmer I must agree that this film is a classic. I truly love it especially Chopper's ability to twist any truth (or fact) to his advantage. A true portrait of a deeply disturbed, violent bully.All of his books were dictated and thus have a strong conversational tone; very similar,in flavour, to his interviews on the DVD extras.Absolutely love your web site also.CheersAlby the Oz Classic Film! Eric Bana's best performance. Overlooked Movies: Beyond the Valley of the Dolls Girls with Guns #5 Misty Mundae Go Team Venture! New on Video: The Venture Bros. Girls with Guns #4 Milla Jovovich Cartoon All-Stars to the Rescue Tiger Love Futurama is go! Cartoon Fun: He-Man and She-Ra Girls with Guns #3: Sheri Moon Zombie Girls with Guns #2: Jane Fonda Finally we get to see Spaced! Girls With Guns #1: Asia Argento Overlooked Movies: Scarlet Diva Asia Argento Pin-ups Ever Played Dungeons & Dragons? Overlooked Movie: The Long Riders 80's Cartoon Mania! with commercials header 2 I Will Survive: A Tribute to B-Movies Movie of the Week: Phantasm Gnarls Barkley is the Coolest Band in the Universe... Live From New York It's Saturday Night! Bitter Pill with Toast

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‘Horrible Bosses’ To Get Back In Business With Sequel Posted by Jordan Raup, on January 4, 2012 at 3:35 pm If we’ve learned anything today is that if a comedy is successful, it must have a sequel at any and all costs. Universal announced plans to push forward with Bridesmaids 2, even if star Kristen Wiig is not a part, and now Warner Brothers will develop sequel to their break-out comedy hit of the summer. THR reports that Horrible Bosses screenwriters John Francis Daley and Jonathan Goldstein have just signed a deal to write a sequel for the film that racked up over $200 million worldwide. If you’ve seen the film then you know not to expect any of the bosses to return (especially not Colin Farrell), but its main cast of Jason Bateman, Charlie Day and Jason Sudeikis are planning to come back. Director Seth Gordon (who found initial success with his videogame doc King of Kong) is also expected to return. With a budget of $35 million, Horrible Bosses was my favorite comedy of the year, in terms of laughs-per-minute. I only hope that Jamie Foxx as Motherf*cker Jones makes a return. I could see WB getting another slate of A-listers to play bosses terrorizing our three leads, but wouldn’t it be kind of awesome if the trio themselves became the horrible bosses? Make it happen, WB. Daley, who broke out in Freaks & Geeks, and his partner Goldstein are also behind the Steve Carell and Jim Carrey magician comedy Burt Wonderstone and the Cloudy with a Chance of Meatballs sequel. In sea of R-rated comedies, they are clear stand-outs with their smart slapstick. What would you want to see from a Horrible Bosses sequel? Tags: Horrible Bosses, John Francis Daley, Jonathan Goldstein Please enable JavaScript to view the comments powered by Disqus. Watch Oscar Isaac, Jessica Chastain, and J.C. Chandor Talk ‘A Most Violent Year’ As First Clips & New Images Arrive

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October 18, 2005 > Broadway West goes for a perfect '10' Broadway West goes for a perfect '10'by Susana Nuñez With Corpse! set to kick off this weekend, Broadway West is getting closer to reaching their 10th season, dazzling thespians of all ages. A company that has lived up to its bold name, it is among the most respected theatre companies in the area. Formed by Paula Chenoweth and Rick Shapiro, the duo sought talented actors that could convey a variety of characters' emotions and fit a multitude of genres. They wanted each season to have something different, yet equally amazing, to offer. After a few years, Shapiro left the company, but Mary Galde stepped in to take his place and is currently part of the team. Chenoweth and Galde have a combined 40 years of experience that have allowed them to lead Broadway West through season after season of successful productions. Producing five full-length plays every year, as well as hosting other events such as mystery dinners and children's shows, next year the dedicated group will jump to six productions. The upcoming Corpse! will be the company's 45th production.Chenoweth emphasizes that what makes Broadway West different from other theatre companies is that they strive to make guests feel at home when they come to the shows. The company provides free refreshments and even hosts two free Sunday brunches for every production, in addition to a tea-time during Sunday intermissions. For evening shows, they offer complimentary desserts and snacks; season ticket holders, however, are treated as guests of honor in their lounge area offering hors d'oeuvres. Although the company is a for-profit business, it is not a profit-making theatre. While it does have over 400 season ticket holders, as well as 20 lifetime holders, the company only makes enough to keep running. "We're very proud of being the only independent theatre in the Tri-City area; we're a community theatre, but we're trying to present ourselves as a step above that," states Chenoweth. "We've always aimed for high quality and we get actors from all over the Bay Area to participate in our shows. We try to make it a great experience for them as well our audiences." Broadway West will be celebrating their 10th anniversary in January 2006, with a new season of productions. Although the company will not be hosting a special anniversary event, it will be recognized during the group's Felix Awards in February. Similar to the Tony Awards, the Felix Awards honor the best actors and participants of the year. The new season lineup is a mix of comedies, dramas and thrillers including:Jan. 13 - Feb. 11Driving Miss Daisy by Alfred Uhry A rich, sharp-tongued Jewish widow wrecks her car and then must depend on her chauffeur, an unemployed black man, Hoke, who she immediately dislikes but with whom she develops a very close relationship.Feb. 15 - Feb. 25Love Letters by A.R. GurneyA bittersweet romantic comedy about a man and woman who grew up together and their letters exchanged over a lifetime.March 17 - April 15The Caine Mutiny Court-Martial by Herman WoukBased on the 1951 Pulitzer Prize-winning novel, about the court martial of the lieutenant who commandeered the USS Caine during a potentially deadly storm.May 19 - June 17The Foreigner by Larry Shue A hilarious modern comedy set in rural Georgia in a fishing lodge often visited by "Froggy" LeSeuer. On this one particular visit, Froggy brings a friend named Charlie who is afraid of conversation with strangers, so Froggy tells everyone that Charlie is from an exotic foreign country and speaks no English.July 21 - Aug. 18Harvey by Mary ChaseA charming, gentle period comedy about Elwood P. Dowd and his imaginary friend, Harvey, a six-and-a-half-foot rabbit.Sept. 22 - Oct. 21Accomplice by Rupert HolmesA mind-bending, English thriller about a sex-starved wife and her lover who plan to murder her husband, but once the secret is discovered, the story twists and twists again and again. Try as you might, you'll never figure out how it ends. (Mature audiences only).Nov.17 - Dec.16Fully Committed by Becky ModeAn innovative holiday comedy about Sam, an out-of-work actor who mans the red-hot reservation line at Manhattan's number one restaurant. He has to deal with a cast of desperate callers amid his own needs to contend with his dad who wants him home for Christmas and a choice part he's up for at Lincoln Center. One actor portrays every character in this hilarious comedy.Season tickets for Broadway West range from $70 to $100. The company is currently offering a $5 discount for Corpse! for those who are interested in purchasing a season ticket. The company has recently started selling lifetime tickets, but they will only be selling 50. If you are interested in purchasing a lifetime ticket, act quickly as 20 have already been sold. For more information, call (510) 683-9218. Broadway West Theatre is located at 4000-B Bay Street in Fremont. For information on upcoming productions, visit www.broadwaywest.org.

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The Royal (ITV Medical Drama) 26th - 27th November 2008 (Scarborough, UK) During November 2008, I was approached by “Action Vehicles” as they were looking for a 1950’s Regal van for filming that wasn’t a girder fork type. 1950s Regal vans are in very short supply and the ones I know about are off the road. Whilst Lucie is a 1961 model, she is effectively the last model of the 1950s series with a wooden frame and side-valve engine and so as it seems she is the only known van of this type on the road I was asked if Lucie could be used. It turned out that the van was needed for the TV Drama “The Royal”, a British medical drama that is set in 1969 and located in the rural seaside town of Elsinby (Scarborough in real life). The van for filming though had to be very rough and dirty and as Lucie was a bit too clean and healthy looking, prior to filming she had a “dirty make over” which was good fun and certainly changed the character of the van no end. Thanks to the M1 motorway, it was just over a five hour journey from Tamworth to Scarborough though thankfully we were not driving the Reliant, instead she was attached to a towing dolly at the back of my car. It was just as well we decided to go down a day before filming started. After checking into the Acacia hotel in Esplanade Road (Highly recommended and exceptionally clean) we were then able to relax for the night. We were on set bright and early next day and as we had breakfast from the TV canteen (a double decker bus with tables and chairs) we had great fun spotting various members of the cast. Many of them we spoke to and they were all such down to earth and friendly folks. We then drove Lucie down to the building that portrays “The Royal” in the program and managed to get a few shots before the cast and crew arrived. Until the episode has been aired, I do not want to give anything away in terms of the story and so I will just post a few photos of my car on its own and update this page again at a later date. I will just say that Lucie is driven on screen by two members of the cast. Thankfully once warmed up, Lucie ran great for the first lot of filming and then was required again the next day. Infact she was the first scene to be shot at 8 am. Again she ran well (or as well as can be expected for a car that is almost 50 years old) and our scenes were finished by about 9:30 am. It was then back to the base unit where she was loaded back up onto the dolly and brought back home. Thankfully the homeward journey took just under three hours as the roads were OK. As mentioned, once the episode in question has aired, then I will update this page and add a few more photos. Lucie will be in the 11th or 12th episode in the eighth series set to start in mid 2009. Elvis Payne. Update July 2011 Despite being shown in Denmark in 2009 and then both Canada and Finland in 2010, it wasn’t until July 31st 2011 that the episode was shown in the UK. In episode 86 shown on July 24th 2011 Lucie appeared briefly at the end with highlights of what was to come next week and then the week after the episode was finally shown (Episode 87 - The Enemy within) This was also the very last episode of the series as it has now been decommissioned due to cost cutting. Lucie appeared in two scenes, one where the Reliant is introduced to the porter Alum Morris (Andy Wear) and then the second when he drives along to pick up one of the nurses in it for a date. You don’t see the vehicle again after that but it is often referenced for the remainder of the episode for apparently covering the nurse in oil stains and giving them both flea bites. The photos on this page have now been updated to reflect the filming more. A video clip of Lucie in the program can be seen here. Click on any image to view

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»Rita Moreno Celebrates... Rita Moreno Celebrates 70-Year Career The legendary star premieres Life Without Makeup, a one-woman show about her life by: Erika Milvy, from: AARP VIVA, August 18, 2011 — Photo: Berkeley Repertory Theatre En español | “I feel like I could go on forever,” says Rita Moreno, musing on the latest chapter of her life and career. The Tony, Oscar, Emmy and Grammy winner is back onstage. And on TV. And is planning to write a book about her life. “I’m this year’s Betty White,” she jokes during lunch on one of the patios at her home in the Berkeley Hills of California. See also: Q&A with Rita Moreno. The levity belies the difficult year Moreno, 79, has had. First her husband died; then she underwent knee-replacement surgery. Yet, just two months out of the hospital, the actress and dancer was back performing onstage — in a chair. She's spent this summer commuting up and down the California coast, taping a new sitcom in Los Angeles and rehearsing a new play in Berkeley. Her stunning home with a large front patio and an outdoor fireplace is a few minutes from the theater where she's played strong women like soprano Maria Callas in Master Class, Amanda Wingfield in Tennessee Wiliams’sThe Glass Menagerie and, soon, herself. Rita Moreno With Answers. Read True West Side Stories. Read Q and A with Arthur Laurents, the original librettist for West Side Story. Read Ghetto Klown One-Man Show. Watch Life Without Makeup, Rita Moreno’s story, will premiere at the Berkeley Repertory Theatre in September. Written by Tony Taccone, the theater’s artistic director, the play is the culmination of many often emotionally grueling hours of interviews with the actress. Onstage, Moreno (née Rosita Dolores Alverío) recalls the stormy sea voyage from Puerto Rico to New York with her family when she was 5. She describes the apartment they shared with three other families, the sweatshop where she and her mother worked, and the dance classes. At 9, she says, she was “working the bar mitzvah circuit as a miniature version of Carmen Miranda.” Her mother made her the fruit-decorated hat. Later, to support her mother and a string of consecutive stepfathers, she took on a number of film roles she considered degrading and an assault on her dignity: a mute runaway Indian slave, a Polynesian in a sarong, an Arab in a turban. And even after her heralded success in West Side Story, she was offered mostly roles as gangland girlfriends, mothers of gang members or whorehouse madams. Next: All about her one-woman show. >>

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View All Scarlett Johansson Kate Upton Kaley Cuoco Jessica Alba Mila Kunis Miley Cyrus Taylor Swift Nicole Scherzinger Beyonce Katy Perry Cars City Guides AskMen on Facebook AskMen on Twitter AskMen on Pinterest AskMen on Google+ CELEBS MEN Actor Pharrell Williams More Pharrell Williams pics Pharrell Williams Pharrell Williams A B C D E F G H I J K L M N O P Q R S T U V W X Y Z MAGNETISM “I just do what I do. It's not something that should be revered as something that's great.”- Pharrell Williams You might not know Pharrell Williams, but you most certainly know his work. That’s because this multiple award-winning artist is responsible for producing some of the biggest hits of the past two decades, including songs by Britney Spears, Justin Timberlake and Ludacris, to name but a few. In fact, a 2003 survey found that Pharrell was personally responsible for producing 43% of the songs played on U.S. radio. MAGNETISM While most guys Pharrell's age have difficulty attracting even a single woman, he routinely gets to witness vicious catfights over who will get to take him home. That was precisely the case back in March when his jealous ex-girlfriend, Jade Jagger, caught him chatting up Christina Aguilera. Despite the attention, Pharrell insists he’s looking for a decidedly more stable situation. “I’m just looking for the right girl,” he says, “I’m looking for my Yoko Ono.” SUCCESS While in his early 30s, Pharrell already managed to become one of the most influential hit makers in pop history, earning comparisons to legends like Quincy Jones. That’s because the Virginia Beach native has produced, through The Neptunes, Grammy award-nominating tracks for artists, such as Kid Rock, Justin Timberlake, Lil’ Kim, LL Cool J, Ludacris, Mariah Carey, Backstreet Boys, Beyonce, Britney Spears, Ice Cube, Ja Rule, Janet Jackson, Moby, No Doubt, Prince, The Rolling Stones, Snoop Dogg, Usher, and many more. In fact, “Pha-real’s” Rolodex has more big names in it than most people’s entire CD collection. As a member of N*E*R*D, Pharrell has also released In Search Of… (2002) and Fly or Die (2004), and in 2006 he polished off his first solo album, In My Mind -- a 15-track feast for the senses sure to be a No. 1 hit. As if that weren’t enough, he has also composed impossibly catchy songs for major motion films such as Any Given Sunday (1999), Austin Powers in Goldmember (2002), Daredevil (2003), The Girl Next Door (2004), and Alfie (2004). Pharrell Williams Biography Pharrell Williams was born April 5, 1973, in Virginia Beach, Virginia. It was there as a young child that he was first exposed to the many facets of popular music. “We lived across the street from a biker group called The Renegades, which were like Hell’s Angels,” he recalls. “They played a lot of rock ‘n’ roll; so they’d be playing ‘Born To Be Wild’ across the street. Meanwhile in my house, my mom and dad are playing Earth, Wind & Fire, but on the radio they playing Rick James and Queen. I never really lost that.”pharrell and chad hugoWhile those sounds were taking shape in his head Pharrell began making his own music as an aspiring drummer, a passion that eventually landed him a spot in a local jazz band camp several years later. It was there, as a geeky 12 year old, that he first met Chad Hugo, another Virginia Beach native who would become his lifelong musical collaborator. Hugo recalls, “Pharrell played drums, and I played sax. We'd bang on the cafeteria tables. He would freestyle. That developed into making music in my garage after school. He would come up with hooks and beats. We had the cheapest keyboards ever, like a small Casio.”Despite their humble origins, the boys soon made names for themselves at their high school where they formed a popular four-piece R&B group along with friends Shae Haley and Mike Etheridge. Thanks to a little luck and a whole lot of talent, the group soon caught the attention of local New jack swing producer Teddy Riley who signed the boys following their graduation.pharrell and rump shakerThat deal quickly paid dividends for all concerned when Pharrell contributed lyrics to Wreckx-N-Effect's hit single "Rump Shaker" in 1992. In addition to claiming the No. 2 spot on the Billboard Hot 100 chart, the song also established Pharrell as a legitimate songwriting talent. the neptunes produce superthug Pharrell and Chad parleyed Pharrell’s reputation into a lucrative gig as producers and became collectively known as The Neptunes. After several years of producing tracks for promising artists such as Total, Mase and BLACKstreet, The Neptunes finally hit the jackpot in 1998 when they produced Noreaga’s “Superthug.” The song quickly became one of the hottest hip-hop singles of the year, going on to peak at No. 36 on the Billboard Hot 100 chart. Perhaps more importantly, “Superthug” created a major buzz in the industry and The Neptunes reaped the rewards by receiving offers to work with A-list talent like Mary J. Blige, Busta Rhymes, Babyface, Mariah Carey, and Justin Timberlake. n*e*r*d releases in search of…Although producing songs for others was gratifying in its own way, the boys ultimately hungered to leave their own imprint; Pharrell, Chad and Shae created their own up-tempo rock band called N*E*R*D, an acronym standing for “Nothing Ever Really Dies.” The group’s first release was 2002’s In Search Of…, a slickly produced 12-track album with a distinctive funk-rock vibe. Although the album failed to find a mass audience, Pharrell and Chad still received plenty of props later that year when they were named Producers of the Year at The Source Awards and the Billboard Music Awards. the neptunes presents... clonesNow well-respected industry vets, The Neptunes followed up their award-winning success by creating No. 1 hits for Nelly and Britney Spears. Pharrell also learned to stretch his wings in 2003 by releasing his own hit single "Frontin'," featuring Jay-Z. The song was also included on that year’s The Neptunes Presents... Clones, an album of remixes from top-flight artists like Busta Rhymes, Snoop Dogg, Kelis, and Nas. pharrell receives two grammys2004 proved to be another busy year as N*E*R*D released their second album, Fly or Die, a 12-track disc featuring performances by special guests Lenny Kravitz and Joel and Benji Madden of Good Charlotte. Pharrell also continued to stay busy on the production side of the biz and was rewarded for his hard work with a pair of Grammys for Producer of the Year, Non-Classical and Best Pop Vocal Album.pharrell goes soloPharrell’s next major undertaking was In My Mind, a daring 15-track solo album released on July 25, 2006. The decision to go solo was actually something he wrestled with for a long time. “I figured I would do something a little more reflective of how I think,” he explains. “And the best thing was In My Mind because in my mind I'm all these things -- I'm good, I'm bad, I'm holy, I'm horny.” The long-awaited album also features performances by Kanye West, Jay-Z, Nelly, Slim Thug, and Snoop Dogg.What else do you need to know? 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Click for More Articles on NEW YORK CITY... Susan Louise O'Connor Leads Readings of Wild Root Company's PERFECT ARRANGEMENT Today June 19 12:30 AM The Wild Root Company, a New York City-based production endeavor committed to cultivating new works from emerging playwrights and screenwriters, will present two free industry readings of Topher Payne's timely new comedy PERFECT ARRANGEMENT today, June 19, 2014 at 3:00 and 7:30 pm at The Creative Center at Manhattan Theatre Club. Linda Lombardi, who helmed the play's critically acclaimed, sold-out world premiere at The Source Festival in Washington, D.C. in 2013, will direct. The Wild Root Company will produce the readings in association with Sean Hudock, Rocco Natale and Thatcher Stevens. The cast of PERFECT ARRANGEMENT will feature Susan Louise O'Connor, who received a Theatre World Award, the Dorothy Loudon Broadway Debut Fellowship and an Outer Critics Circle Nomination for her Broadway debut in Blithe Spirit opposite Angela Lansbury, as well as members of the original Washington D.C. cast: Raven Bonniwell, Christine Callsen, Andrew Keller, Kiernan McGowan, Jill Nienhiser, Zach Brewster-Geisz. In Topher Payne's PERFECT ARRANGEMENT two gay couples marry each other's partners and live next door to each other in a seemingly perfect picture of 1950's domestic bliss. But when the US government focuses on a new "threat" to national security, their perfect arrangement is in jeopardy. "It ends up being [about] how much you should disrupt your own existence for the sake of demanding something more." said Payne in a 2013 interview with The Washington Post. "And that's an argument we're still having"??Payne, an established theatre artist in the greater Atlanta theatre community, received the American Theatre Critics Association 2014 M. Elizabeth Osborn New Play award for an emerging playwright forPerfect Arrangement. The award, which was presented on April 5 at the Humana Theater Festival at Actor's Theatre of Louisville, recognizes "the work of an author who has not yet achieved national stature." PERFECT ARRANGEMENT received its world premiere at 2013 The Source Festival in Washington, D.C. and was developed in 2008 by the Process Theatre Company's Plays-in-Process in Atlanta, Georgia. An earlier version of the script premiered in April 2009 under the direction of Barbara Cole Uterhardt. The Creative Center at Manhattan Theatre Club is located at 311 West 43rd Street on the 8th Floor. Industry folk who wish to reserve free seats for PERFECT ARRANGEMENT may do so by emailing wildrootcompany@gmail.com or by visiting www.WildRoot.org.

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Issue Date: September 2012 Screen TestHathaway Brown's Maddie Stambler created a film festival to show off the talent of fellow Northeast Ohio high school students. Maddie Stambler has her eyes set on the big screen, and her inspiration is a familiar one to those who take part in the city's annual spring rite of spending hours in the dark at Tower City Cinemas. "I've always loved the Cleveland International Film Festival," she says. "So I wanted to do something like that, but for my high school." During her sophomore year at Hathaway Brown School, Stambler got the idea to create her own film festival with the help of the Edna Dawley Strnad '42 Fellowships in Creativity Program, which supports student projects with funds and mentorship. With support from the art department, her friends, family and teachers, Stambler unveiled the iMagine Film Festival — a term coined by Stambler to play off the technological era we live in — last April. But her work on the event began at the start of her junior year. "I sorted out the different schools I wanted to reach out to, I called all of their offices and sent information to their art departments," recalls Stambler, who created a website and a commercial to entice fellow Northeast Ohio high school students to submit short films. In total, Stambler showcased 13 films produced by 27 high school filmmakers from Laurel School, Hawken, Beachwood High School, St. Joseph Academy and Hathaway Brown. "Maddie and her student colleagues, her teachers and advisers did a terrific job in getting different types of short films," says local filmmaker Scott Lax, the event's keynote speaker. "The films were often thought provoking, some were quite funny and all were creative." Best of all, Stambler made a new friend: Cleveland native and Modern Family writer and co-executive producer Dan O'Shannon. In town for the Cleveland International Film Festival, he surprised Stambler by attending the iMagine Film Festival with CIFF executive director Marcie Goodman. "Meeting Dan O'Shannon was surreal," Stambler says. "He is so modest and unassuming, and has become a true role model for me in this industry." Stambler is returning to Hathaway Brown for her senior year after a summer at the University of Pennsylvania, where she was a student in the arts and architecture program. This year, she plans to expand her film festival with hopes of it becoming an annual event. "With the school's support, I will expand the festival to include an international component in collaboration with HB's Global Scholars program," she says. "I plan to increase the number of submissions and garner community support, because I feel that this festival fills a niche in Northeast Ohio's high school community."

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TCM Greatest Classic Legends Film Collection�Lucille Ball: Du Barry Was a Lady; Forever Darling; The Long, Long Trailer; Room Service Lucille Ball, Desi Arnaz, James Mason, Ann Miller, Red Skelton, Gene Kelly, Keenan Wynn, Louis Calhern & others. 4 DVDs Full screen Three decades of comic brilliance shine through these four films from the Queen of Comedy. Lucy costars with Ann Miller and the Marx Brothers in the 1938 comedy classic Room Service. In Du Barry Was a Lady (1943), she plays a sassy songstress caught between the affections of Red Skelton and Gene Kelly, in both present time and in an extended dream sequence that unfolds in the court of Louis XV. The last two films find Lucy teamed with husband Desi Arnaz. They play newlyweds who hit the honeymoon road with a 40-foot house trailer in tow in the Writers Guild�nominated The Long, Long Trailer (1954); Forever Darling (1956) wrings laughs from an ill-conceived camping trip overseen by guardian angel James Mason.

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Oscar-Winning 'Searching for Sugar Man' Director Sadly Dies at 36 by Ethan Anderton May 13, 2014Source: Deadline Following the sad news that Alien visual effects and creature designer H.R. Giger passed away, we have even more tragic news. Deadline has learned that director Malik Bendjelloul, who just won the Academy Award for Best Documentary in 2013 for the musically infused Searching for Sugar Man, was found dead in Stockholm today. No cause of death has been given, but local newspaper Expressen learned from the police that his death was not being treated as suspicious and no crime is suspected at this time. This is some truly tragic news for a young and gifted filmmaker who quickly climbed from Sundance buzz to Oscar glory. Bendjelloul wrote, directed, produced, edited and composed addition score for his documentary that chronicled a personal search for reclusive musician Sixto Diaz Rodriguez, an unlikely and mysterious musical hero from the 70s who faded into obscurity. Due to Bendjelloul's documentary (which also won the Audience Award at Sundance along with accolades from DGA, PGA, WGA, BAFTA and National Board of Review) Rodriguez became popular again, and is currently touring the country. Who knows what future fame Bendjelloul might have found in the documentary world, but we're saddened that we will never see his career continue. Our thoughts go out to his friends and family. Rest in peace. UPDATE: We're sad to call your attention to an update from the Associated Press with word from Johar Bendjelloul, brother of the filmmaker, that Malik Bendjelloul unfortunately committed suicide. Apparently the director struggled with depression when he was younger. If you're struggling with depression and have thought about suicide, don't be afraid to speak out by calling The National Suicide Prevention Lifeline at 1-800-273-TALK (8255). Suicide is not the answer. Find more posts in Movie News, Obituaries Taken aback. SEARCHING FOR SUGAR MAN was such a good documentary. shane willett You don't just die at 36 unless you have s chronic Illness or your a drug addict, hope the Swedes figure this one out or they may need hire Salandër for this mystery... It seems like he jumped in front of a train... Tragic. Hi - could I ask how you heard that he jumped in front of a train? I do have a reason for asking, not just morbid curiosity. Thanks. What a shame. I'm damn curious to find out how he died... http://www.ilobresources.com/ Marc Callado This is such a good example of depression as an illness and not something as many believe to be "just in your head." For someone to be so great at his art to win an Oscar and yet take his own life... So unfortunate. Thanks for adding the Suicide Prevention Hotline. http://www.youtube.com/watch?v=M7YGEVuJ4mM Carpola I found that documentary incredibly inspiring, a favourite from recent years, Rodriguez's attitude toward life came through really well in the film. Depression is a strange beast and incredibly crushing, powerful and all consuming, but we all have so much to live for. Here's an interesting quote from a radio interview where Bendjelloul touches on the subject of a long life: "Though, I wonder if I'm really going to make a documentary about the moon illusion /in which the moon appears larger near the horizon/. I thought at first that it would be a great idea. I would just go around to different cities around the world and take pictures of huge full moons when they go up over the Tower Bridge in London and the Christ figure in Rio de Janeiro and the pyramids in Cairo, but then I remembered that the moon is only full once a month. So I should just be able to shoot a picture of the month. And moreover, it may be cloudy that evening when it is full, and then I'd have to wait a whole month. I simply do not have the time. If life was ten times as long, I would gladly go out and take pictures of full moons. But, since this is not the case, then the full moons suddenly no longer feels sufficient urgent. It is strange, perhaps even sad, that you already at age 35 take decisions based on the knowledge that you will not do everything you want in your life, and therefore carefully must choose what the heck you should get involved in. But it is certainly also useful, it is also probably the same knowledge that can make you care about something, care for real. Like for example, the story behind this man. " (tune is playing)... This was Rodriguez with "I wonder".

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Anything Goes - the official biography "Anything Goes" traces the life and career of John Barrowman, from his Glaswegian childhood and American adolescence to his first big break starring alongside Elaine Paige in "Anything Goes". Since then, John has made a name for himself with outstanding West End achievements, including an Olivier Award nomination, and success in the movies the "Producers" and "De-Lovely". His triumphant transition into television was confirmed when "Torchwood" won a Best Drama BAFTA. John also lays bare his personal life: his emigration as a child, coming out to his family and his 2006 civil partnership with long-term boyfriend Scott Gill. "Anything Goes" is revelatory and insightful, told with real heart and characteristic Barrowman charm. This is a wonderful tale of how one boy achieved his dreams. You can buy Anything Goes from Amazon in the UK by clicking the Anything Goes: The Autobiography link. Price: £5.59

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Books and a Blanket This Week in DVDs: October 30, 2012 By: CW8 Staff Updated: Mon 3:09 PM, Feb 18, 2013 By: CW8 Staff Home / Article It's a sparse week for DVD and Blu-Ray releases, but there's plenty of good scares coming to a store near you (and a few laughs so you can sleep afterward). Be forewarned, though: there aren't too many family movie picks in the bunch. Alfred Hitchcock:The Masterpiece Collection Today holds the release of one of the most anticipated Blu-ray sets of the year for film lovers. Universal Studios has opened up the archives to release Alfred Hitchcock: The Masterpiece Collection on Blu-ray. The set contains fifteen classic Hitchock films, thirteen of which have never been released on the Blu-ray format before. The set comprises 1,759 minutes of the Master of Suspense's work on a total of 15 discs. Each film has been digitally restored and remastered, though there are some debates about the quality of the video presenatations. Additionally, while Hitchcock's most famous films come with a number of special features, don't expect to see a wealth of content on less-beloved titles like Frenzy and Marnie. Even Rope and The Man Who Knew Too Much are fairly spartan releases. It's also worth noting that the only knew special feature to this set is a 15-minute retrospective on The Birds. That said, this is the single most definitive collection of Hitchock in 1080p to date and will likely be a must-have for many this holiday season. If the $225 price tag doesn't scare you off, then settle in for a fright with the Master of Suspense. Rosemary's Baby: The Criterion Collection Edition It's clearly a good week for digitally restored horror, as Polanski's Rosemary's Baby also makes it way to DVD. Unlike the Hitch collection, this disc is chock-full of new special features and is available both on Blu Ray and DVD. Although Rosemary's Baby is now nearly fifty years old, it still rings just as scary as when it first ran in theatres. The film is a Halloween classic and will definitely make you think twice about your creepy next-door neighbors. If you've got the funds this week, you definitely need to pick this disc up. I'm not saying that I'd elect The Campaign as the year's best comedy, but in the run-up to election day (or after watching all those scary movies), it makes for a great antidote. Will Ferrell and Zach Galifianakis make for a great comic duo in this campaign-season farce. Although it can be overly preachy at times and the jokes occasionally fall flat, The Campaign is definitely worth a watch, even if it's just a rental. What are you watching this week? Let us know in the COMMENTS section!

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Lil Rel Howary Biography Milton "Lil Rel" Howery takes you inside his world of growing up on Chicago's West Side when he hits the stage. Introducing characters from his mother, father, uncle and of course your favorite neighborhood "hoodrat," his character style comedy leaves audiences in stitches. He currently tours the country leaving pieces of himself and his life on every stage and city he touches. Lil Rel is perhaps best known as a semi-finalist on NBC's Last Comic Standing and from his show stopping performances on Comedy Central's Russell Simmons Presents Stand-Up at The El Rey, Martin Lawrence 1st Amendment on Starz, and HBO�s Diddy's Bad Boys of Comedy. He also recently appeared as a round table guest on E�s Chelsea Lately and has performed at some of the most prestigious comedy festivals in the world including the Just For Laughs Festivals in both Montreal and Chicago, the South Africa Comedy Festival and NBC�s Diversity Showcase, which he is returning to host this year. Lil Rel was also cast in the reboot of the Fox series In Living Color spearheaded by the original creator Keenen Ivory Wayans. His new CD, "I Know You Hear Me, But Are You Listening" is available on iTunes. With all of this already under his belt, it is no surprise that Lil Rel was also named by Variety as one of 2012 Top 10 Comics to Watch. Additionally, he has also just taped his Comedy Central Half Hour which airs Spring 2013 and currently developing a sketch series for Comedy Central. � lilrel.com All right reserved.

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ROBERT ALDRICH’S ATTACK! Attack! 1956. USA. Directed by Robert Aldrich These notes accompany screenings of Robert Aldrich’s Attack! on November 21 and 23 in Theater 3. Robert Aldrich (1918–1983) imbibed a certain quantity of leftist nourishment through his pre-directorial associations with Jean Renoir, Robert Rossen, Abraham Polonsky, Joseph Losey, Charles Chaplin, and Jules Dassin, all of whom he served as an assistant. He also had experience with war films, working on William Wellman’s The Story of G. I. Joe, Lewis Milestone’s Arch of Triumph, and Fred Zinnemann’s Teresa. So it was not altogether surprising that he would wind up directing films like Attack!, The Dirty Dozen, Too Late the Hero, and Twilight’s Last Gleaming. After a period of HUAC-induced exile from Hollywood, unlike many of his left-wing associates he returned and thrived, eventually becoming president of the Directors Guild of America. Aldrich’s dedicated union activism contrasted with his privileged upbringing as a relative of the Rockefellers, and there was always a tendency to non-genteel grittiness or rawness in his work. Women are conspicuously missing from much of his world, and the Joan Crawford and Bette Davis characters in What Ever Happened to Baby Jane?, Davis and Olivia De Havilland in Hush…Hush, Sweet Charlotte, or the “ladies” in The Killing of Sister George are hardly finishing-school role models. What Aldrich lacks in grace, he makes up for in the naked power of Ralph Meeker as Mike Hammer in Kiss Me Deadly, or the chutzpah of Rod Steiger in The Big Knife. Jack Palance in Attack! 1956. USA. Directed by Robert AldrichI recognize that the opportunity to post these weekly blog posts is a privilege, but it carries with it an unstated assumption that I possess omniscience in all subjects that might come before the camera. Obviously, that is not even remotely close to being true. I have never been a tightrope walker, but it is my job in writing about Chaplin’s performance in The Circus to describe his genius as a swarm of escaped monkeys climb all over him, bite his nose, and pull down his pants while he is balancing on the wire. I have never ridden a horse, but that doesn’t humble me enough to prevent my telling you why the Westerns of

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DOCTOR WHO: A Companion’s Companion – Season 17 By Kyle Anderson on October 3, 2013 After the success of “The Key to Time” season, Doctor Who took its largest leap into the silly. Graham Williams was about to begin his third and final year as producer and he’d just brought on Douglas Adams as new script editor, having written “The Pirate Planet” the previous year. Mary Tamm had chosen not to come back for a second season as Time Lady Romana and would need to be replaced. Even John Leeson, who had voiced K-9 for the last two years, would not be around, giving way to David Brierly. Conversely, Tom Baker was beginning his sixth year as the lead of the series, edging past Jon Pertwee as the longest-serving Doctor and, owing to his enormous popularity (and enormous ego), he felt that this show was his. This was to be a witches’ brew for scenery-chewing and insanity that became Season 17, a year that gave audiences three incredibly weak serials, one pretty good one, one hands-down masterpiece, and one that wasn’t even finished due to industrial action. The ‘70s are ending with a real bang. Season 17 – 1 September 1979 – 12 January 1980 Unlike his predecessor Philip Hinchcliffe, who ushered in the Tom Baker tenure, Graham Williams didn’t have nearly the same control (nor did he seem to want to exercise any) over his lead actor. You get the sense, going through Seasons 15 and 16, that Baker is trying to see how far he can push the craziness and get away with it. It appeared he could push it all the way. By time Season 17 rolled around, Williams was dealing with health issues, Anthony Read’s sure-handed script editing had given way to Douglas Adams’ sci-fi zaniness, and Tom Baker now had free reign. If it seems like I’m setting up Tom Baker’s egomania a bit too much, it’s because he was, in my opinion, an egomaniac at this point. I’m not going to lie, I really don’t like Season 17, and a lot of it is because Baker is ridiculously over the top. I’m all for silliness in Doctor Who if it’s well handled (and if Adams himself writes the scripts, it seems that it can be well handled), but not if it begins to feel like the people making the show are making FUN of the show at the same time, which this season often did. It didn’t start off on the best foot, either. Like many seasons in the past had, Season 17 began with the return of an old foe… the Daleks. Unfortunately, it’s one of their worst outings. The final script to be written for the show by Dalek “creator” Terry Nation, Destiny of the Daleks was their first time on the show since 1975’s “Genesis of the Daleks.” The serial begins with an offscreen Romana talking about wanting a change and trying out different looks for her regeneration before finally settling on looking like Princess Astra from the previous story, “The Armageddon Factor.” This was because they wanted to cast Lalla Ward and needed a reason for it. This scene was almost certainly written by Douglas Adams and has his brand of absurdity all over it. Unfortunately, however, so does the rest of the story. From here, they land on the remnants of Skaro following the complete destruction of the Kaled city after the events of “Genesis.” The Daleks have not been killed off and are using humanoids as slave labor. After the Daleks kidnap Romana, the Doctor meets members of the Movellan race, aliens who are at war with the Daleks. Good for them. Wouldn’t ya know it, though, Davros, the scientist responsible for the creation of the Daleks, isn’t dead either, instead waking from suspended animation. There’s more talk about the Daleks and things, and eventually they are infected with a Movellan virus and defeated, seemingly forever… except not at all. I find this story all but insufferable. There’s a very specific way the Daleks CAN work, and that is if they’re taken 100% seriously, despite how rather silly they look. As over-the-top as “The Stolen Earth” was at parts, the scene in Torchwood where Captain Jack all but gives up hope when he hears the Daleks are around is exactly the way they need to be handled. They look ridiculous, we get it. They can’t really move very well and they have plungers and egg beaters as weapons. That’s painfully obvious. But if the Doctor openly mocks them, and they simply shout and shout and shout and never do anything, their entire reason for being feared goes right out the window. Very stupid story, and a crap way to begin a season. Luckily, the second story is one of the best the show ever did. Credited to the fictional David Agnew, City of Death was actually written by Douglas Adams, Graham Williams, and David Fisher. It sees the Doctor and Romana take a trip to Paris, which was actually filmed in Paris! After feeling a time disturbance, the Doctor and Romana encounter the Countess Scarlioni at the Louvre Museum and a slovenly detective named Duggan. Duggan fears the Scarlionis are going to steal the Mona Lisa due to their dealing in a lot of high-end art. What we eventually learn is that Count Scarlioni as actually Scaroth of the Jagaroth, an ancient species of alien, and he is attempting to fund his time travel research to get back to the moment of The Big Bang to prevent it. In order to do this, and this is ingenious, he, back in the early 1500s, forced Leonardo da Vinci to paint multiple copies of the famous painting so that Scarlioni could sell them in the future to people for exorbitant amounts of money, and they would each think they owned the real thing. And no one would ever check it because that would be admitting they have a stolen masterpiece. It’s quite the scheme. However, the Doctor, also a genius, writes “This is a Fake” on the back of each of them, even the “real” one. This way Scarlioni can’t sell it, because it’s perceived as a phony. This story is so good, and the production matches it so well, that it could only have come out of adversity. As the story goes, Fisher wrote the original story, which took place in Las Vegas in the 1920s, but when it was determined that they actually could film in Paris, Williams asked that he change it and drop a number of elements (like K-9). However, Fisher was indisposed, dealing with a messy divorce, and so Williams stuck Adams in a room for a weekend and told him to finish it. The result is arguably one of the most accessible and enjoyable classic Doctor Who stories of them all, and a great one for people who’ve never seen the show before. How could such a thing come from such a crap season? And it only gets crappier, as the next story is Fisher’s The Creature from the Pit. The Doctor, Romana, and K-9 follow up with a distress signal sent from the planet Chloris. It is a lush and green planet nearly overrun with plant life. They soon discover the humanoid population are ruled by Lady Adrasta, who callously hordes the planet’s last remaining metal mine, which people need to make the tools to cut back all the plants that are choking the resources. Lady Adrasta takes the Doctor prisoner, while Romana and K-9 are taken captive by metal scavengers, who are deeply impressed by K-9. The Doctor gets thrown into Adrasta’s pit where he encounters Organon, an astrologer who’d been thrown in the pit long ago, and the creature that lives down there, which is a giant, green blob of a thing that has, well, has what appears to be a giant phallus. It turns out that this creature, Erato, is the ambassador from the Tythonian race who has been imprisoned by Adrasta. Adrasta is the real baddie here, as Erato had arrived to negotiate a treaty between Chloris and Tythonus exchanging metal for chlorophyll. Adrasta was keen to keep all the metal for herself, and so kept Erato in the pit; only now, Tythonus has declared war on Chloris. Whatever will everybody do? This is just the stupidest thing I’ve ever seen. Everybody clearly knows that Erato looks like a writhing bag of nothing with a huge penile-shaped protrusion, but nobody did anything to change it, or maybe that was their idea all along. Tom Baker does some very questionable things with the creature for “comedic” purposes, and K-9 is used about as stupidly here as he ever has been, shooting everything all the time, as though the problem wasn’t there in the first place. It’s hard for me to decide whether it’s this one or “Destiny of the Daleks” I dislike more. Real toss-up here. I can’t believe I’d ever say this, but, hooray, there’s a story written by Bob Baker next. Baker had been partnered with Dave Martin for eight previous stories, but here the lone Bristol Boy gives us his final script for the show, Nightmare of Eden. Two spacecraft, a cruise ship and a trade ship, come out of hyperspace at the exact same time and coordinates, fusing the two vessels together, quantum-like. The Doctor and Romana must figure out a way to separate them or there could be a massive time-space disaster. The captain of the cruise ship is highly dubious of the Doctor and keeps a keen watch on him. Elsewhere on the ship is Professor Tryst and his assistant Della, zoologists who, using a Continual Event Transmuter Machine, can literally remove pieces of a landscape to be kept in crystals and projected whenever they want to visit. Their most recent one is the planet Eden, upon which one member of their expedition died. Romana is sure she can see eyes in the darkness when looking into Eden. There are also drugs aboard the ship, a highly dangerous hallucinogen called Vraxin, to be precise, and some giant monsters called Mandrels. But what could they all mean and who could be behind it all? “Nightmare of Eden” tends not to be regarded very highly, and I think a lot of that has to do with the time in which it was made, in a season full of insanity. However, this story is very well plotted and paced, which I think is due to Bob Baker being an old pro at it by this point. The characters are very interesting, and it even tries to put in some anti-drug messages for the young people, which is handled rather well. The director of this serial, Alan Bromly, was harangued off the set by Tom Baker, and the rest of the story had to be directed by Graham Williams himself. The behind-the-scenes unpleasantness does transfer ever so slightly on screen, as do some questionable acting choices from the guest artists, but overall I think the serial works. It’s not great, but it’s good. The final broadcast story of the season was certainly not meant to be that. Former script editor Anthony Read returned to pen The Horns of Nimon, in which Tom Baker is at his least-reined-in, but that doesn’t really matter, because it lets Lalla Ward’s Romana take center stage. Honestly, the best part of this story is that the Doctor is almost Romana’s companion, proving that she is just as, if not more, capable of getting things done. It’s an okay story otherwise, though the costuming of the titular Nimon (a horned beast akin to a minotaur) is a bit silly. The acting of Graham Crowden, who plays the mad dictator Soldeed, is a thing to behold. It’s like he thought the show really had gone into full pantomime, and in some ways it had. The show had, in a way, become a parody of itself. There might have been a change to that idea had the planned final story of the season actually been finished. Douglas Adams scripted the six-part finale, Shada, and it had been cast, locations were scouted, sets were built, and half of it was even filmed when industrial action (a strike, in other words) caused a halt in production. Unfortunately, when the strike ended, the BBC deemed other programs more important to finish and thus, Doctor Who’s season was cut short and “Nimon” ended the season on a bit of a sour note. In 1992, the existing portions of “Shada” were released on video with Tom Baker on hand to give linking narration for the bits that were never shot. It’s a weird thing to watch. All of the exteriors were filmed and about 40% of the interiors were shot, meaning everything in certain locations is there, but often, especially toward the end, it’s a continual cut back and forth from one location, to Tom, to the same location again, back to Tom, and so on. It’s a real shame, as “Shada” could very well have been one of the best stories of the Baker era, and it surely would have been Douglas Adams’ crowning achievement. The story revolves around the lost planet Shada, on which the Time Lords built a prison for defeated would-be conquerors of the universe. Skagra, an up-and-coming would-be conqueror of the universe, needs the assistance of one of the prison’s inmates, but finds that nobody knows where Shada is anymore, except one aged Time Lord who has retired to Earth, where he is masquerading as a professor at St. Cedd’s College, Cambridge. Luckily for the fate of the universe, Skagra’s attempt to force the information out of Professor Chronotis coincides with a visit by the professor’s old friend, the Doctor. It’s a delightful idea with some terrifically funny lines and enjoyable characters. If I were you, I’d watch either the BBCi audio/animated version (featuring Eighth Doctor Paul McGann) and/or read Gareth Roberts’ novelization that came out in 2011. You’ll get the idea. And so, Season 17 ended with a thud, as did the tenures of Graham Williams and Douglas Adams. Both had led the series into a tone so comedic that it lost its grip on the kind of show it once was. You could blame Adams for it, but yet the stories he actually wrote himself are easily the best. It’s a strange dichotomy. Williams made the series more fun, certainly for its lead actor, and made it much less terrifying for children. But I’m an adult, so I don’t really care for that. When the show would return in fall of 1980, its new producer, John Nathan-Turner, would have changes galore. His would be the longest tenure of any producer, lasting until the end of the classic series run. There would be a new theme arrangement, new sets, new costumes, a greater focus on hard science, and, by the end of Season 18, a new Doctor. It’s Tom Baker’s end next time. Companion's Companion, daleks, Doctor Who, Fourth Doctor, K-9, Lalla Ward, Review, romana, sci-fi, Season 17, television, tom baker Related Posts A Kurt Cobain Documentary Is Coming to HBO in 2015 The Shelf: MYSTERY SCIENCE THEATER 3000 Turkey Day Collection & More Could Another STAR WARS Animated Series Be in the Works? Remember Me amysrevenge • October 4, 2013 at 1:15 pm I just watched City of Death for the first time last weekend. It was VERY good. Brief cameo from John Cleese too. Ray Adamson • October 4, 2013 at 7:40 am Very unfortunate that you obviously do not enjoy this season as much as i do,Mr Anderson.I wish it was more pleasurable for you.There is a definite drop in the quality of the production standards,even compared to other television productions at the same time from the BBC.Retrospectively,that might have been caused by neglect as much as by economic circumstances.I find Destiny Of The Daleks to be an enjoyable curiousity with the strange combination of Adams and Nation.Adams is present in the dialogue in a lot of the script but there is also the usual amount of death and plotting that tends to feature in all Nations stories.For all the problems,i still like a lot of the writing and performances in Doctor Who at this time.I think considering the production quality was so poor that many of the actors thought they would look less ridiculous if they over played things.I don’t think Graham Williams was as much of a pushover as you suggest as Tom Baker has expressed some regret about the number of arguments they had when he was in charge of the programme. Kouban • October 4, 2013 at 7:34 am Douglas Adams finishing a script in a weekend makes me imagine him being literally chained to his desk so he can’t procrastinate. DOCTOR WHO: A Companion’s Companion – Season 17 | Rocketboom • October 3, 2013 at 9:03 pm […] DOCTOR WHO: A Companion’s Companion – Season 17 Source: http://www.nerdist.com/2013/10/doctor-who-a-companions-companion-season-17/ 0 […] Mike Callahan • October 3, 2013 at 5:32 pm I really like this article it is the first Dr Who I saw on television, when I was stationed in Europe while I was in the Army. After television went digital I did away with televison, get my entertainment on the internet. I just wish that the BBC would have a online station. I wouldn’t mind paying a reasonable subscription fee to watch their programming.

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Welcome to the 2014/15 season Season Calendar New Productions 2014/2015 Revivals 2014/2015 Recitals 2014/2015 Concerts 2014/2015 NOW! Opera for you / Events for children and young people 2014/2015 Special Events 2014/2015 Cast Changes Ensemble, guest artists and teams The orchestra Opera Studio Videos Tickets, services on offer and other useful information Online Booking Seating Plan / Ticket Prices Reductions on Tickets Advance Bookings Ticket Shops Extra Services General Information Before and After the Opera Gift Vouchers Hotel Offer CD-Recommendations OperaCard / JuniorCard General Terms and Conditions Bi-monthly programme / magazine Preview History Opera in Frankfurt's history from the beginning until the present day New productions at Oper Frankfurt from 1945 to the present day World Premieres at Oper Frankfurt since 1900 Intendants since 1900 Opera House Fire 1987 Subscriptions How to Find Us Contact / Newsletter Press Releases Orchestra & chorus vacancies / other jobs Published by Patronage Partners Home | Contact | News | Directions Opera house fire 1987 Frankfurt’s fire brigade’s report: The Städtische Bühnen’s fly tower was totally destroyed by fire on November 12th 1987. It all started on November 12th 1987, a cold, wet and windy night, when an ionization detector in the ceiling above the auditorium set off fire alarms at 03.19am. This automatically set off alarms in the theatre and city’s fire departments. Three fire engines where rushing to the scene while two in house firemen, trying to find the cause, soon came across thick smoke. The fire engines arrived only five minutes after the alarm went off. They still had no idea of what was yet to come. The two in house firemen opened doors so that the engines could enter and turned off the electricity in the theatre. Everyone then tried to find the source of the fire. The fire chief said: "Unmistakable sounds and loud crackles led the way to the burning fly tower. Attempts to open the doors were made impossible because of the enormous pressure that had built up inside. The view of the stage from the auditorium was terrifying. The closed 16 ton iron curtain glowed red. Lighting towers on both sides of the stage were on fire and the intense heat has already badly damaged the first few rows of seats in the stalls. The house firemen began fighting the fire in the auditorium. The men from the fire brigade tried to fight their way to the source of the fire."It is now clear that the whole fly tower is on fire and further fire engines were summoned at 03.33am. The fly tower collapsed seven minutes later, raining fire down onto Neue Mainzer Straße where the fire fighters, and first bystanders, were assembled. Eye witnesses report that flames 20 metres high licked their way into the night sky from the building. More and more fire fighters took up position but the fire, whipped up by the wind, was not to be beaten. Clouds of sparks carried by the wind threatened the Steigenberger Frankfurter Hof Hotel and the volunteer fire brigade from Niederrad were ordered to prevent other nearby buildings from catching fire. A television camera set up on the roof of the other half of the theatre helped the fire chief get a better view of the catastrophe and see how best to deploy his men. So many hoses are now being used that water is running out. The men from Niederrad connected two hoses to the river Main (Untermainbrücke – bridge). More fire engines arrive. The chief, knowing what dangers can lie in wait for his men in these situations, orders regular head counts. By now every available fire engine is at the theatre. The chief puts out the call to the voluntary fire brigades in Enkheim, Hausen, Oberrad, Seckbach and Unterliederbach to man the city’s fire fighting centres in order to be able to deal with any other emergencies that might break out. The stage is now a picture of distruction, the floor covered by an enormous tangled mess of steel girders, charred wood, iron bars, collapsed walls and destroyed scenery, hiding nests of fires from view. And then, to crown it all, the scenery builders’ paint store caught fire. The firemen fought desperately and managed to put it out. Firemen were also able to rescue musical instruments valued at €150,000 from a rehearsal room.It was not until six days later that the fire brigade could confirm that the fire was finally out. The tasks of pumping water from the cellars and clearing away the mess began.How did the fire start? A man managed to climb in through a window, apparently looking for something to eat. Angry at finding nothing he set fire to some newspapers and used them to burn some scenery. He fled when he realised that his little bonfire was turning into a major fire. He rang the police same night and admitted to having started the fire. The officer involved managed to keep him talking long enough for the call to be traced. A car was sent to arrest him. He was sent to prison for seven years but was released after he had served two thirds of his sentence.The fire that destroyed the fly tower also badly affected other parts of the building and forced everyone involved used to the luxury of modern machinery to improvise for three years. The Schauspiel (drama theatre in the same building as the opera) were more than generous in volunteering to move into a hastily adapted Bockenheimer Depot (which turned out to be a splendid venue that is still used today by the opera, straight theatre and dance companies) so that the opera could perform on their stage.Rebuilding the damaged parts of the Opera House took almost three and a half years. Two good things came about after this dreadful catastrophe: the theatre ended up with brand new, state of the arts modern machinery and fire prevention and detection methods were optimised so as to rule out the possibility of a fire not being dealt with before it can get out of hand. March

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PS2 News: Sony Announces God of War II - PS2 News Sony Announces God of War II Confirming what we already knew, Sony Computer Entertainment America announced today the Q1 2007 release of God of War II, available exclusively for the PlayStation 2. Developed by Sony Computer Entertainment America's Santa Monica Studios, God of War introduced a groundbreaking, combat action-adventure videogame based on Greek mythology, and went on to capture more than a dozen "Game of the Year" Awards, including the prestigious Academy of Interactive Arts & Sciences "2005 Overall Game of the Year Award." In God of War II, players get reacquainted with the vicious ex-Spartan warrior Kratos and embark on the continuing epic odyssey. "We're excited to bring God of War II to PlayStation 2 fans, furthering our commitment to the platform for years to come," said Susan Nourai, director, online and product marketing, Sony Computer Entertainment America. "By taking the highly successful features of its predecessor and presenting players with new moves, puzzles, and more bosses to defeat, God of War II is set to raise the bar and deliver a new gameplay experience." Famed award-winning God of War creator David Jaffe will continue to oversee development of God of War II. "In the gaming world, it's rare that a sequel equals, let alone eclipses the original," says Jaffe, "but I think this is going to be the exception to the rule in terms of quality, gameplay and story. I always said that God of War was my dream game, well no longer, God of War II really is the game I've always wanted to play." Storyline Description for GOD OF WAR II God of War saw Kratos, a mortal warrior, set upon an epic quest to dethrone a God. But his journey did not end there. In God of War II, Kratos sits atop his Olympus throne, as the new God of War � far more ruthless than Ares ever was. To end his continued torment, Kratos must journey to the far reaches of the earth and defeat untold horrors and alter that which no mortal, or god has ever changed, his fate. God of War II sets an epic stage for a devastating mythological war to end all wars. Gameplay Description for GOD OF WAR II In God of War II, players retake the role of Kratos. Armed with the deadly blades and blistering rage, players will be aided by new breath-taking magic and new brutal combat moves. The journey will take them through vividly striking environments where they will be faced with a labyrinth of challenging puzzles and mini-games intricately woven into the story. The violent world of Greek mythology will come to life in gory detail as Kratos encounters new mythical characters, and compete in epic boss battles in his quest. Key Features Huge Collection of Combat Moves: Players can utilize their favorite combo attacks from GOD OF WAR along with a whole new set of moves and magic. Magic is based on nature's elements which include utilizing the power if wind, ice and much more. New Characters: From the popular Cyclops and Cerebus to the Flying Gryphon and more, players will encounter some of the greatest Greek mythological beasts, along with more enemies and bosses. Puzzle Solving: GOD OF WAR II features more puzzle solving, where players must solve intelligent, challenging and progressively more complicated puzzles latent with brutal elements that are intricately woven into the overarching story. Exploration: Players will continue their previous experiences in the dark, violent world of Greek mythology and test their agility through more levels as they traverse treacherous, often brutal terrain that will range from the undiscovered Sisters of Fate to the Dark Swamp and more. 3/22/2006 Frank Provo

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The Bold and the Beautiful options B&B FrontPage B&B news archive ABOUT B&B About The Bold and the Beautiful The Bold and the Beautiful Recaps Last Week on B&B The Bold and the Beautiful Previews B&B Two Scoops commentary TWO SCOOPS The Bold and the Beautiful Commentary A girl's gotta suffer for fashion: Power-hungry Maya wasn't the only one donning the latest fashions this week. Rick wore a scowl. Ridge wore Bill's fist on his face. Eric wore a dis... Read the column now... Visit B&B's Board The honors keep coming for The Bold and the Beautiful. Now in its 24th year, the Emmy-winning CBS soap has earned the distinction of being named the most popular daytime soap by a world-famous book of records. Another soap opera has made the pages of a world-renowned records book. Guinness World Records has named The Bold and the Beautiful the "Most Popular Daytime TV Soap - Current." A Guinness World Records Adjudicator presented B&B's head writer/executive producer, Bradley P. Bell, and the show's cast with the certification of this coveted distinction on Stage 31 of CBS Television City, where the series has taped since its inception in March 1987. How popular is The Bold and the Beautiful? The show can be viewed in more than 110 countries. In 66 of those countries where there are systems to measure the number of people watching a particular program, B&B garners an audience of more than 24 million viewers. The Bold and the Beautiful has also won four consecutive Golden Nymph trophies from the Monte Carlo TV Festival's TV Audience Award, an award that is given to the most-watched television programs in the world. B&B has been nominated for the award again this year. The latest honors are just some in a long line of recent praise for The Bold and the Beautiful. Last year, the CBS soap was named Outstanding Drama Series at the Daytime Emmys. This year the show has earned eleven Emmy nominations -- the most it has ever received in a single year -- including another nomination as Outstanding Drama Series. Two other soaps have made Guinness' list: Guiding Light is listed as the longest-running scripted program in television history, and actress Helen Wagner is mentioned for her work as Nancy Hughes on As the World Turns. Hughes, who recently passed away, is listed as the actress who has played a role on television for the longest time.

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Telegraph Box Office Stage Video Theatre Trailers Stephen Fry wins first Tony nomination for Twelfth Night Stephen Fry and his co-stars compete for the American theatre award Stephen Fry in Twelfth Night at the Globe Theatre Photo: Simon Annand By Agencies Stephen Fry has notched up his first Tony nomination for his Broadway debut in Shakespeare's Twelfth Night. The award-winning TV star is up for best performance by an actor in a featured role in a play for his portrayal of pompous steward Malvolio in the revival of the Shakespeare's Globe production, which transferred to New York last October. FULL LIST: Tony Award nominations 2014 His co-stars Mark Rylance and Paul Chahidi are also up for the same award. Fry made his long-awaited

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