Wayside Creations and Dracogen are proud to present Fallout: Nuka Break - Red Star. This 25-minute episode will be released on Machinima Prime this Friday, July 12th!
Red Star diverges from the humor-filled tone of Fallout: Nuka Break-Season One and instead follows the darker essence of the iconic character, “The Ranger.” Red Star begins with “The Ranger” searching for his old tracking partner whom he finds out was slaughtered by Raiders. His partner’s widow enlists “The Ranger” to track and rescue her kidnapped daughter who was sold into slavery. As he reluctantly accepts this quest, the audience quickly becomes aware that this tale is not only one of survival and action but one in which “The Ranger” finds a renewed sense of purpose.
Vincent Talenti returns to direct alongside lead actor, Cameron Diskin, and executive producers, Steven Dengler and Amer Rhamani. Red Star features stars from both film and television. Actress Toni Wynne, of Oz The Great and Powerful, successfully transforms the kidnapped daughter into a warrior her tracking father would be proud of; and The Mindy Project’s Catherine Carlen, embodies a mother’s desperation to find her child. Also starring alongside them are Ed O’Ross of Dick Tracey and Full Metal Jacket, as well as, Vic Mignogna from Fullmetal Alchemist and Star Trek Continues.
Twig, Ben and Scar will return in the first episode of Season Two later this month. Machinima will decide the release date soon, and you’ll be the first to know!
Thank you so much for your continued support. It’s been an amazing journey, and we can’t wait for you to see the show!


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FilmMovement.com offers exclusive viewing of independent and foreign films that have not yet been released in theaters or to the general public. As reviewed in the New York Times and Newsweek magazine, the subscription provides you with one award-winning film each month that is yours to keep. Be the critic of this year’s top films. If you’re prone to rushing to midnight screenings and anxiously await next summer’s blockbusters in the spring, act now and join FilmMovement.com.


In 1935, some local enthusiasts set up a film-making club. Membership grew and many films were made but lack of space led to the decision to put on a play once a year.
In 1938, Ledbury Amateur Cine & Dramatic Society was formed. During the Second World War, Italian prisoners at the camp at Mabel’s Furlong set up a theatre in a Nissen hut. After the war, LADS (the ‘cine’ had by then been dropped) took over the Camp Theatre. In the late 1950s, LADS moved into the old Market Theatre, then known as the Church Room. In 1986, the building was almost destroyed by fire. In 1999, the old building was demolished and Ledbury’s new Market Theatre opened in January 2000.


Festival Family Movie Night – Toy Story 3 (please get tickets on the door)
Festival Family Movie Night, Hill Cliffe Church, Saturday, 7pm
Another classic family film comes to Stockton Heath Festival. Toy Story 3 has delighted audiences of all ages since its release and was met by critical acclaim due to the rolercoaster ride the characters (and audiecne) are subject to, and the musical score from Randy Newman.
The animated story follows Woody, Buzz Lightyear and friends as they are accidentally given away to a day care centre. How will they make it back home?
This event is free and as spaces are limited to you will need to collect a ticket for entry, 7pm.
Please get remaining tickets on the door.
Apologies for this event first being billed Toy Story 2. Toy Story 3 is every bit as enjoyable!
Here’s how to find Hill Cliffe Church, Red Lane WA4 5AL.
Here’s a map showing the venues involved in the Stockton Heath Festival 2019, including blue badge parking.


To want and desire something is a very human experience. We all want to be loved. Some of us want children. And, others just want to express their inner emotions to the world. And still, some just want a glass of water. No matter what it is, we all are looking for something. Sometimes it is life-changing and others times it quenches an immediate thirst. In the realm of fiction writing, our hero must want something, very similar to real life.
I especially enjoy the jest from Vonnegut that the protagonist could desire a simple glass of water. In that statement there is brilliance. It shows that even the mundane desires can have meaning. As in life, it is all in the details. The main component of a character’s desire is motivation. It can be a society based or otherwise, but nonetheless, it is there, and it is important.
You want something. What is it? There is your story. Does the public care? Do you care? Are you an addict? Nobody cares about your addiction. They may feel disgusted towards you. That repulsion can actually anchor a reader/observer. Are you seeking to conquer this problem?—now that is a story they can attach themselves to.
In the hero’s journey, the character must appeal to us and in some cases repulse us. He must be interesting enough for us to want to know his story. Remember, not all personas will please everyone. The author knows this, so in his mind, he has formed a “what if?” question to guide the story.
For example, “what if a kid tells his friends about a dead body some other kids found?” Can you name the movie? Can you name the Director? And what was the title of the original short story? The movie is Stand by Me, directed by Rob Reiner, and the short story was written by Stephen King—The Body. If you haven’t seen the movie, watch it. It is one of my favorites.
In Stand by Me, the main character is Gordie. His friend Chris tells him and his other two friends, Vern and Teddy, about a dead body by the railroad tracks. Like curious grade school kids, they decide to go and have a look for themselves. The preparations are made and the adventure begins. Having a goal to obtain is the key to any good story, as is seen here in the adaptation of the Stephen King tale. The “want” is to discover the dead body. Yes, it is morbid but definitely more exciting than a glass of water.
Although the intent might appear to be the body, the real objective of the movie is much deeper. Throughout the mishaps of the story, we discover the reality of the children’s lives. There is nothing normal about any of them and the more we understand the more we empathize with them. This connection is what keeps us glued to the story. In our minds, we see a dead body, but our subconscious is interested in what makes these children tick.
By telling the audience the protagonist’s clear objective and desire, the author gives the reader/audience a reason to stick around. The quirks and misgivings of the main character and supporting actors are the glue that keeps the reader around until the end.
Remember, your protagonist must be hungry or thirsty for something. This will interest the reader and when they are on the journey with your hero, surprise them with his often misguided decisions. The simple thing for the protagonist to do is to sit down and watch a television show and miss out on his life, but that would be boring. Always be clear in your head of what the main character must discover, overcome, or learn. Present this want or desire immediately to the reader and convince them to jump on the adventure with your hero come hell or high water.


The scene begins with a father who is driving a car and comes to a full stop.
Seeming distressed, the father has a flashback to when he and his daughter were canoeing together.
In this flashback, he and his daughter approach heavy rapids and begin to panic. Both fall off the canoe and get swept into the rapids. The father is left searching for his daughter in the rapids.
Fearing she drowned, the father yells his daughter’s name multiple times. He hears a whistle sound and looks to see his daughter waving and blowing a whistle attached to her lifejacket. The father breathes a sigh of relief.
The scene returns to the father in his car. He smiles as his daughter comes out of the house where he is parked to greet her. The father gets out of the car and throws her the lifejacket in their preparation for another canoe trip.
Text on screen: Lifejackets save lives. Wear yours.


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I have loved writing and performing music for theatre. Collaborating with directors, writers, designers and actors presents a constantly changing array of challenges, and encourages the exploration of new musical languages and compositional techniques.
At the age of 15, in the school play, I took the role of John Proctor in Arthur Miller’s The Crucible. This sparked an appetite for the stage that led to further roles at school and later at university, including Autolycus in Shakespeare’s A Winter’s Tale, and roles in plays by Tom Stoppard, Molière and Eugène Ionesco. I didn’t pursue acting beyond university days, however I subsequently became very interested in writing music for theatre.
In the late 1980’s I moved to Newcastle in the NorthEast of England where I worked extensively with street theatre and community theatre, including projects with Alan Lyddiard of Northern Stage and Ozzie Riley of Dodgy Clutch Street Theatre. I then moved to Japan where I composed music for several Japanese theatre productions including The Dream of Odin with Yurabe Masami, and The Cult of Dionysus with Zen Zen Zo physical theatre.
In 2003 after returning from Brazil to live in Cornwall, I became a musical director for Kneehigh Theatre, working with the director Bill Mitchell in creating the live soundtrack for A Very Old Man with Enormous Wings which toured for three years and was performed on the docks of Birgu in Malta, and in Nicosia, Cyprus, where the show was staged in the vast no mans land that separates Northern and Southern Cyprus.
I then went on to become musical director for Wildworks Theatre, specialising in outdoor productions in spectacular locations. For Wildworks I worked again with Bill Mitchell, creating the music for Souterrain, based on the myth of Orpheus in the Underworld. This production was performed in the ruins of a Napoleonic citadel in Northen France, an empty department store in Colchester and a disused tin mine in Cornwall.
Working as musical director for these theatre companies I have been very fortunate to collaborate with a range of exceptional international musicians including the celebrated Cypriot singer Michalis Tterlikkas, the Maltese folk-fusion group Etnika, the French jazz group Trio d’vie and the African gospel choir Les Messagers.
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Transformers Studio Series 30 Crankcase is Deluxe Class and stands approximately 4.5-inches tall in robot mode. 30 Crankcase transforms from Sport Utility Vehicle to robot and back and is screen accurate to the Transformers: Dark Of The Moon live action movie. Each Studio Series figure jumps out of the big screen and into your collection with a high attention to detail and accurate color schemes reflecting their appearance in the Transformers live action movie.
Studio Series Transformers are the perfect gift or collection starter for the casual fan. Available in Deluxe, Voyager, and Leader Classes with traditional colors, they’re the perfect blending of movie specs and designs with classic coloring and will look good in any collection.
Manufactured to the highest quality standards by Hasbro, each Studio Series Transformer is a high quality representation of the characters we’ve all come to know and love. They’re easy to transform, feature a few awesome accessories per character and are scaled to reflect their actual film size. With awesome articulation, customization and solid construction, Studio Series Transformers are sure to last for a long time whether you display or decide to take them out of their packaging and stage a movie-themed Transformers battle of your own.


FIRM is working very hard alongside other organizations in serving 26+ Syrian refugee families. Part of our work is helping the wider community understand some of the circumstances in Syria that led to such a large number of refugees.
Flight of the Refugees is a 40 minute documentary film directed by Elias Matar. This film documents the harrowing journey of various families as they cross the Macedonian border from Greece to Germany. Over seven thousand refugees start this journey everyday seeking asylum in Western Europe. Flight of the Refugees bears witness to six of those days. The film has won a number of film festival awards.
Flight of the Refugees will be screened in Fresno at the Tower Theatre on Thursday, April 6 at 6 PM. This is a free event, however there will be an opportunity to make donations to assist the local Syrian refugees. Director Elias Matar will be present for a Q & A time after the film.


by John Larmer
Editor in Chief
Our PBL World event in June is centered around BIE’s professional development workshops, but the keynote speakers, networking opportunities, and location in the Napa Valley are additional reasons why the event is so popular. Attendees will find some extra bonuses too, like they did last year with the screening of the film Beyond Measure.
This year, we’ve just confirmed that we’ll be screening the acclaimed documentary Most Likely to Succeed on Wednesday, June 21, 2017 at 3:30pm. And, bonus on top of bonus, we’re delighted to announce that the film’s producer Ted Dintersmith will be PBL World’s keynote speaker at 8:30am that morning.
Ted is quite a guy. In the 1980s, he ran a business at Analog Devices that “helped enable the digital revolution” and in the 1990s was named a “top performing venture capitalist.” More recently, he’s been described as “one of America’s leaders in innovation, entrepreneurship, and education.” He recently co-authored a book with Tony Wagner, Most Likely to Succeed: Preparing Our Kids for the Innovation Era. You can read more about him here.
The Most Likely to Succeed website has lots of information, clips from the film, and other tools—for parents, teachers, school leaders, students, and change agents— to provoke conversations and support education change efforts in schools and communities.
The goal of Ted Dintersmith’s campaign is to help schools “re-imagine their purpose, and create learning experiences that prepare kids for life in the 21st Century.” They’re making the film available to schools for screenings that bring teachers, parents, and students together and engage in discussion about the future of their school and kids. Dintersmith has been traveling to all 50 states, bringing together government officials, educators, business people, philanthropists, parents, and students. This campaign is being led by The Future Project, a non-profit dedicated to “transforming inner-city public schools across the country and with a big vision for America’s future. (We) seek to create a nationwide movement to empower our schools to help every child in America.”
Here’s a quote from the film’s press release:
“The acclaimed film Most Likely to Succeed offers an inspiring look at what students and teachers are capable of—if we have the vision and courage to transform our schools. Directed by acclaimed documentarian Greg Whiteley, the film has been an official selection of two dozen of the world’s top film festivals, including Sundance, Tribeca, and AFI DOCS. It’s been featured at leading conferences on education, including ASU/GSV, SxSWedu, Harvard/GoldmanSachs, and NewSchools Venture Fund. Audience members call it the most compelling film ever done on the topic of school.”
I reviewed the film when BIE hosted a screening of it back in April, 2016. Here’s a teaser from that blog post:
“The film interweaves commentary from various experts about our changing economy and mostly-unchanging schools with the story of High Tech High. It follows two ninth graders as they work on a project about why civilizations rise and fall. One girl is directing a play about the Taliban written and performed by her and her female classmates and based on Euripides' Trojan Women (the boys performed the original play). In another classroom that included math and science, the ninth graders are expressing their understanding of the driving question by building an elaborate work of art involving interconnecting gears, made mostly of wood. The central drama: will they be ready for Exhibition Day in the spring, when fellow students, parents, and the community show up to hear about and see their work?”
Sounds good, eh? See you there!
Register soon for PBL World 2017. A limited number of seats are available for the film screening.


A child of a drama theatre family, Nina Kotyantz is a writer/ director who grew up with immense fascination for the depths of the human psyche. Curious to understand what makes us who we are, she went on to explore the human condition through various artistic and academic forms, exploring memory, identity, dreams and the unconscious mind. She holds a master's degree from Harvard University specializing in existential anthropology, psychoanalytic theory and storytelling, and an MFA in film production from Loyola Marymount University. She has published fiction and non-fiction in various magazines, and her short films have screened at festivals domestically. Her upcoming short film, PHANTOM VALLEY, was shot on Super 16mm. Nina is currently developing a follow-up feature script.


I haven’t had the easiest time coming up with a response to Robert Icke’s Hamlet for a number of reasons. First, I hadn’t really wanted to see it in the first place. When it had its initial run at The Almeida, I thought I’d dodged a bullet. The last Icke production I’d seen at The Almeida was Uncle Vanya, arguably one of the most ponderous, tedious, and cruelly long evenings I’ve ever spent in the theatre. Telling tales out of school, I sat near the actor Stephen Mangan, who, swearing under his breath, left in a hurry at the first, (or was it the second?) interval. The ingredients in Uncle Vanya were all there for Hamlet: long play, lots of text, speeches galore, gloomy central male character, endless pontificating about life and man’s nature, Robert Icke directing, and Jessica Brown-Findlay. So I was hesitant. But when the invitation came through for the West End transfer to the Harold Pinter Theatre, I snapped it up, because an overwhelming amount of critical praise had been heaped upon the production at The Almeida. I then had another moment of doubt after coffee with an actor friend, who pointed out that not only did I have serious reservations about Icke, I also did not particularly care for the lead actor, Andrew Scott. Granted, I had only ever seen him in Sherlock, as a twerpy, psychopathic sort of Moriarty, but it was enough. I groaned at my ordeal. Thee plus hours of things that surely cannot, would not, come to good! So I went along, more in sorrow at myself than anger, and lo, was hoisted by my own petard. For I have been to a production of anything, let alone Hamlet, which was so alive to each and every actor onstage. From the electrifying moment a security guard shouts the famous first line (“Who’s there?”) to the equally famous last, I was gripped. I had such trouble coming to grips with the emotions from the play cluttering up my brain that it took a great deal of time to actually be able to sit and write them all down.
I had done a disservice to both Icke and Scott. This is one of the most stupendous things I have seen onstage. I have never, even knowing the story well, had so many moments where my heart was in my mouth, laughter on my lips, or tears pricking my eyes. Shakespeare’s words leapt from the page and became (too, too solid) flesh, and the whole thing seemed so vital, so alive.
The wedding party is in full swing when Hamlet darkens the stage, fresh from travel. In the background, a gentle, throbbing baseline is heard, and balloons and streamers crowd the dance floor, as Gertrude and Claudius nuzzle each other, for one more slow dance. The famous lines in Hamlet come thick and fast, but never were they spoken in a more natural, unaffected way as here, particularly by Scott. I have written before about a problem actors have with Shakespeare: how if you don’t fully and completely understand each and every word you are saying, it comes out as a sort of beautiful word salad, but that if the person understands his speeches, their meaning then becomes clear to the audience. There was literally none of that here. Icke has teased out excellent performances from each of his players. So when Scott strolls on stage and plays verbal tennis with Claudius, uttering the refutation “A little more than kin, a little less than kind,” the rebuke is as stinging as a slap, but not half so showy. And when Hamlet enters into his first soliloquy, it is so natural, so funny, so mournful, that I forgot he was the Melancholy Dane, and was rapt.
The relationships here are one of the many things which stood out. Everyone seemed so much closer in this production, so when it all goes wrong it’s truly horrifying. Juliet Stevenson as Gertrude, leaves all of the one-note performances of that unfortunate lady behind with her kind, desperate, lustful Queen. Her relationship with Hamlet is clearly one of great mutual respect and concern (though not, as some have attempted, an incestuous one,) so when the scale of her folly is revealed, you feel Hamlet’s horror for her as well as her own. And Ophelia, poor, sexy, sacrificed Ophelia, is ruined and driven to suicide by Hamlet’s antic disposition (and the murder of Polonius.) Brown Findlay plays her straight, a young woman in love, and in thrall to her father and brother. The visual impact of her transformation from dewy ingénue to ruined madwoman could not have had a more unsettling effect.
For all of the death and navel-gazing, one of the more surprising things about Icke’s production was how funny it was. Polonious might categorise it as a “Tragi-Comedy.” There has always been an archness to Hamlet’s character, but Scott really subtly inhabits his dry, amused nature. There were many, many, laugh-out loud moments. The most famous of these often involve Polonius, and here he is ingeniously given bits of business in his spying and meddling which adds both to the overarching theme of surveillance in the play and to its comedic heart.
But, naturally, what Shakespeare does best is tragedy. And in Hamlet, famously, there is a lot of tragedy to go around. Without giving too much away, the final act, the duel, is so tightly crafted with suspense and horror that I was speechless at the end of it. Where Laertes was once Hamlet’s willing killer, here he is, after a time, reluctant, almost begging to switch swords. When the end has come for all, up comes the slow thrum of the wedding reception, and each character is welcomed back to the eternal party.
I’ve never been so affected by anything in my theatre-going life. Bravo to all involved. It is a masterpiece.
Hamlet is at The Harold Pinter Theatre until 2nd September 2017.


“If Arthur Miller were also a doctor on the side, he might have written a play like Unlikely Heroes”
- Hap Erstein, Florida Theatre on Stage
WORLD PREMIERE FAMILY DRAMEDY STARRING AVI HOFFMAN
Dark secrets, anger, laughter, love, and hope are woven into the fabric of this riveting new dramedy about a dysfunctional family (is there another kind?) that is faced with seemingly insurmountable circumstances. How fragile are the bonds that hold our families together? What defines heroism?
Sometimes strength can be a weakness and weakness a strength.
Meet our Star/Director
Avi was born ‘Avrum Ber’, son of Mendl and Miriam Hoffman, in 1958 in The Bronx, NY. A child of Holocaust survivors, Avi was taught at an early age to appreciate the beauty and depth of the Jewish culture, literature, music and tradition. At age 10, he was featured in his first professional production – “Bronx Express” – at the Yiddish Folksbiene Theater on East Broadway. The New York Times review said: “Avremele Hoffman displays a sense of humor.”
By 1969 his family had moved to Israel, and over the next 9 years Avi continued to perform in dozens of Hebrew and English plays, as well as two Israeli television series and a film – BLOOMFIELD – directed by and starring Richard Harris. In 1977, he returned to the US and got his BFA in Drama from the U. of Miami, graduating cum laude.


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Marvel fans worldwide are rejoicing as the highly anticipated Thunderbolts movie finally enters production, marking a significant milestone in the Marvel Cinematic Universe (MCU). After much anticipation and speculation, the wheels are finally in motion for this thrilling addition to the superhero franchise.
The Thunderbolts, a team of complex and morally ambiguous characters from the Marvel comics, have long been a favorite among fans for their compelling narratives and dynamic personalities. Now, with the start of shooting, audiences can look forward to seeing these beloved characters brought to life on the big screen in spectacular fashion.
Directed by a visionary creative team and featuring a star-studded cast, the Thunderbolts movie promises to deliver an unforgettable cinematic experience that will captivate audiences of all ages. With its blend of action, drama, and suspense, the film is poised to become a standout entry in the MCU canon.
As production gets underway, details about the plot and characters of the Thunderbolts movie are being closely guarded secrets, heightening anticipation and excitement among fans. However, rumors suggest that the film will explore themes of redemption, betrayal, and the blurred lines between heroism and villainy, providing a fresh and compelling perspective on the superhero genre.
The start of shooting for the Thunderbolts movie represents the culmination of years of planning, development, and anticipation, and fans can’t wait to see the final result. With its promise of thrilling action sequences, rich character development, and epic storytelling, the Thunderbolts movie is shaping up to be a must-see event for fans of the MCU and superhero cinema alike.
As production progresses and more details emerge, anticipation will only continue to grow for what promises to be an epic addition to the Marvel Cinematic Universe. With its stellar cast, talented creative team, and rich source material, the Thunderbolts movie is poised to make a significant impact on the world of cinema and leave a lasting impression on audiences worldwide.


Dale M. Pollock is a film professor, writer, filmmaker and a catalyst who makes things happen. He is based in Winston-Salem, North Carolina, after a 22-year career in Los Angeles as an award-winning newspaper reporter and feature film producer, with 13 movies to his credit. Dale is also the author of Skywalking: The Life and Films of George Lucas, the best-selling authoritative biography of George Lucas. For seven years, Dale was the Dean of the School of Filmmaking at the University of North Carolina School of the Arts, and co-founded the Producing Program at the American Film Institute in Los Angeles. He also brought the RiverRun International Film Festival to prominence in Winston-Salem, where he has received numerous civic and artistic awards. He is currently Professor of Cinema Studies and Professor of Producing at UNCSA. Dale writes and speaks frequently about film at schools, conferences and festivals around the world.


Some cast members, production team and network executives were at the State Capitol yesterday (March 31) to receive congratulatory certificates from both the Senate and House recognizing a successful first season for the hit CBS TV show, “Hawaii Five-0″.
Cast members Alex O’Loughlin and Daniel Dae Kim were joined by original series actor Al Harrington as well as an executive from CBS TV on the Senate floor. Members of the production team as well officials from the state and city film offices met with legislators after the floor presentation.
CBS is expected to renew “Hawaii Five-0″ for a second season this coming May.
Al Harrington, Daniel Dae Kim and Alex O’Loughlin seated on the Senate floor.