Silent House – Official Trailer
From the directors of the hit film “Open Water,” SILENT HOUSE is a uniquely unsettling horror thriller starring Elizabeth Olsen as Sarah, a young woman who finds herself sealed inside her family’s secluded lake house. With no contact to the outside world, and no way out, panic turns to terror to terror as events become increasingly ominous in and around the house. Directed by filmmaking duo Chris Kentis and Laura Lau, SILENT HOUSE uses meticulous camera choreography to take the audience on a tension-filled, real time journey, experienced in a single uninterrupted shot.
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Andrew Simon McAllister is an multi-award winning and nominated composer, capable of creating scores in a variety of styles - from full orchestra to electronic, pianistic, rock and experimental.
He began his musical journey at an early age, playing the cornet at age 6 before progressing to play trumpet and horn. By age 15 he had become an accomplished guitarist, his guitar playing gaining him a prestigious Berklee scholarship.
Andrew received a Royal Televison Awards nomination for the BBC series "37 Days" starring Ian McDiarmid (Star Wars), Tim Pigott-Smith (Spooks, Bond), Nicholas Farrell (Chariots of Fire).
Andrew won Best Soundtrack at the International Film and Music Awards and was nominated at the World Music and Film awards for the feature film "My Lonely Me".
Film 'Macropolis' won an IFTA for Best Animation with Andrew's score being described as a masterpiece.
Education and Training
Andrew attended Queens University where he gained a Bachelor of Arts degree in Music, specialising in electro-acoustic composition.
He relocated to the U.S. to enhance his knowledge of writing to picture. Here he attended Berklee, graduating Summa Cum Laude (Top) in Film Scoring. Andrew started writing and producing music professionally and gained valuable industry experience in LA before returning to work in the UK.
His professional background of composing music for screen includes national wide cinema released feature films, television series for broadcasting giants such as BBC, ITV, Channel 4, HBO, National Geographic, Discovery, Sky, MTV, Nickelodeon and video games.
Andrew is currently scoring the feature “Zoo” starring Penelope Wilton (The Best Exotic Marigold Hotel, Pride & Prejudice, Downton Abbey), Toby Jones (Captain America, Hunger Games, Harry Potter) and Art Parkinson (Game of Thrones, San Andreas, Dracula Untold).
Andrew loves collaborating with directors to help craft an unique score that ultimately helps to tell the story.
Representation / Agent
Please direct all scoring enquires to Chantelle Woodnutt or Laura Nakhla at
Air Edel Associates Ltd
18 Rodmarton Street
London, W1U 8BJ
Tel: +44 (0)207 486 6466
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Kids Summer Movies - 2014
Cheap & Free Summer Movies for Kids
Cinemark Summer Movie Clubhouse
Cinemark Theatres across the country are showing their Summer Movie Clubhouse Shows again this year! Every theatre will carry a different line-up of movies, so check the master list to see what's showing near you.
Phoenix Theatres @ the Legends
The Legends 14 Theater will be hosting FREE movies this summer in Kansas city every Tuesday, Wednesday & Thursday in June and July. Doors open at 9 am and the movie begins at 10 am. Two movies are shown each week, one rated G and the second rated PG -- see the full movie list for the summer!
Movies begin on June 9th - July 31st with shows on Monday - Thursday @ 10 am & 12:30 pm. Check their full Summer Movie Schedule for all theaters in the Kansas City area.
FREE (or $1) Outdoor Summer Movies
North Kansas City Parks and Rec
FREE -- Head out to Macken Park on July 11th to see Ender's Game & August 8th for a free showing of Despicable Me 2 with the kids - more details in the North KC Parks catalog on their website!
Crown Center Outdoor Movies
Grab a chair or blanket and enjoy a FREE Friday Night outdoor movie at Crown Center! This year, they are mixing things up a bit with lots of great options for teens and adults. And the Friday night movies now include a live musical group performing before the show. For kids, July 11th is The Sandlot and August 1st is the Wizard of Oz. They are also showing Jaws on August 8th - good for teens.
Pharoh Theatre at Independence Square
Moonlight Movies on the Square will host free weekly every Thursday evening this summer! Lots of family favorites will be shown! Find all the times and details on their website.
Theater in the Park
Spend the evening seeing a movie on Tuesdays this summer (and a few weekends once the theater shows have concluded). Movies are $1 -- bring your own chairs and blankets. Many nights have double features too. They are showing a lot of the vintage Disney films (love those!) and will have an Ironman marathon. Check the website for which movies are showing!
Not in our area
2014 movies are now posted! Check their list of movies that will be showing in your area (they vary by state). Kansas City is not participating in the Summer Movie Express.
Unfortunately, AMC no longer hosts a summer movie camp.


Imphal, 01 September 2016 ( Evening News ) : Chief Minister Okram Ibobi Singh today appealed to the insurgent groups to re-consider the ban on screening of Bollywood films in cinema halls in Manipur. Chief Minister observed that despite the ban the people of the state still watch Hindi movies. Ibobi Singh was speaking at the function to mark the reopening of the one of the oldest cinema halls in the state Usha Hall, Paona Bazar. Screening of films resumed at Usha Cinema from today. He said he feels embarrassed when visitors or guests from other countries asked him about the cinema halls in the state. The Chief Minister said it is shameful that cinema halls are shut down in a state like Manipur where people have been preserving their cultures since time immemorial. He also emphasised the need to promote them more. Ibobi mentioned that Manipur Film Policy is almost in the final stage. He reiterated the role of films in bringing about a change in the society.
Chief Minister Ibobi appeals to insurgent groups to re-consider ban on Bollywood films in Manipur
Latest from Jitendra ( Admin)
- Naked protest warned in District Hospital row
- Special Judge, POCSO, Imphal West convicts one Sagolsem Ranbir under section 6 of POCSO Act 2012 for raping a minor
- “Road To London, 2018”
- Manipuri Hindus are observing Cheiraoba festival today
- Police disperse agitators over relocation of Imphal East District Hospital at Sagolmang; at least 4 agitators injured
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After the success of the A Midsummer Night’s Dream 2020 show, Araluen Botanic Park is teaming up with the Roleystone Theatre, and the talented director Paul Treasure for another season.
Don’t miss this year’s production “The Taming of the Shrew” by William Shakespeare which will be held in Summer at the Park in the Grassed Amphitheatre.
A great family event suitable for all ages. Tickets on sale soon.
- Saturday 6 November
- Sunday 7 November
- Saturday 13 November
- Sunday 14 November


Director Katsumi Sakaguchi’s newest film “Walking with My Mother”
Official selection of Tokyo International Film Festival 2014
Director Katsumi Sakaguchi captures the life of his mother, Suchi, 78 through film, as she lives with dementia and depression, coping with the loss of her daughter and then her beloved husband. In the film Katsumi documents a life of distress, frustration and grief as his mother tries to remain resilient against all the trials and tribulations that life has hurl against her. He captures his own feelings and emotions as he tries to understand the needs of his mother and his own, and to cope with the changes that life has brought for both of them. The film also showcases their travel back to Suchi’s hometown and the positive improvements that such a change brings.


With over 10 years of experience working as a creative producer, director and editor, Gabriella has an extensive expertise from the film- TV- VR, commercial and content industry in Stockholm and London.
She is directing and executing projects from start to finish, from idea and concept development, creative directions and production, to final activation. Gabriella develop digital films, communication campaigns and content, based on data-driven insights. With frameworks such as Google Analytics, Google Ads, SEO and Facebook Business Manager etc, she help companies measuring and analyzing the results, effects and ROI from their websites and digital campaigns in social media.
She has produced moving content for companies as Proventus including 60 min portrait of Robert Weil, Chairman and Founder of Proventus, Philip Zandén, Pia Forsgren (Drottningholms Slottsteater), Agneta Ekmanner, (Dramaten), Katarina Frostenson (Svenska Akademien) and Ari Fioretos (kulturråd).
With a background from the film and television industry, her experience includes as well Nile Hilton Incident (awarded at Sundance World Cinema Grand Jury Prize and Gulbaggen 2017), The Spire by Roger Spottiswoode, Blå Ögon, H&M c/o Veronica Maggio and Lifegiver with Pernilla August (VR).
She is a Board member of the Swedish Association of Film and Television Editors, SFK.
Since 2018, Gabriella is a Jury member for the EDITH-prize. The Swedish Association of Film and Television Editors organizes The EDITH-prize and rewards the best Film Editors in Sweden in the category Motion Picture, Television Serie (drama) and Documentary.
Gabriella comes from a strong artistic and academic background, holding a Bachelor of Arts (hons) Film and Television from University of the Arts London and a Bachelors of Science (B.Sc.) Media and Communication Sciences, including Economics and Law, Uppsala University and Digital analytics and measurements from Berghs School of Communication.
Gabriella is a founder of Stockholm Film Creatives, organizing AW and network meetings at Södra teatern for the film- and commercial industry.


Ultimate Africa is a documentary series that goes on a wild and exhilarating journey done by Jean Du Plessis throughout Africa. In this episode, Jean ventures to Gabon West Africa where the country is looking to develope a tourism industry. There he explores wild beaches, and goes off in search of un-habituated gorillas. He also visits Kongou Falls, one of Africa’s most spectacular waterfalls, where he learns that Chinese plan to build a hydro electric dam that will completely destroy the falls.
This documentary video is on air on National Geographic Wild. The trailer of the video will be put up here soon.


Jonathan McHugh has been producing, directing and music supervising films and TV for decades. He has produced over 35 films and TV shows, music supervised over 75 films and produced many gold, platinum, Emmy and Oscar-nominated film and TV show soundtracks. McHugh has produced quality content while working at great companies like New Line Cinema/ Warner Brothers films, as well as Universal Records and Sony Records.
As a director, McHugh’s two subculture documentaries “Long Live Rock… Celebrate the Chaos” and “Cosplay Universe” are being released in 2021 by Abramorama Entertainment. McHugh is currently producing “City of Ali,” a documentary about Muhammad Ali and the relationship to his hometown. He has produced hit films like Paramount’s “Justin Bieber: Never Say Never,” “Crossroads” starring Britney Spears, as well as the highly-regarded documentary, “Janis: Little Girl Blue.” As a TV producer McHugh has produced many shows including Viacom’s “Sun Records” and Discovery’s “Battleground Earth.”
With over three decades of music industry experience, Gary Spivack currently serves as Executive Senior VP/Head of Talent at Danny Wimmer Presents as well as being President of RockHouse Presents Inc. DWP is one of the nations top full-service concert companies and an undisputed leader in rock/hard rock destination music festivals, while RockHouse Presents has established itself as one of the top talent booking concert companies specializing in the alternative and rock music genres. Gary has worked in music promotion at Elektra Records, MCA, Atlantic, Capital, and Geffen Records.
Jonathan Platt’s 25-year tenure as a creative entrepreneur in the entertainment industry is extensive. It encompasses running independent record labels, independent film production, music supervision, publishing and production, concert long form production and the acquisition of widely varied entertainment properties. Recently, Jonathan has produced the award-winning documentary, “WE ARE X” and “Man In The Camo Jacket.” Currently, Jonathan is producing "Cosplay Universe,” “Yoshiki Live at Carnegie Hall” and “On The Sly.”


Why did Hannah kill herself?
Hannah Baker, towards the end of season 1, is raped by her senior, Bryce Walker. When she approaches her school counsellor Kevin Porter, he fails to extend the help she needed. Unable to carry the load of hopelessness on her shoulders, Hannah kills herself.
What was the list in 13 Reasons Why?
Last Appearance. The List is a list Alex Standall contributed to after his breakup with Jessica Davis. He contributed to it to anger Jessica, because she didn’t want to have sex with him, by listing Hannah Baker as “Best Ass” and Jessica as “Worst Ass”, ending her and Hannah’s friendship.
Who is the killer in 13 Reasons Why?
After a season of shock twists and turns, the real killer turned out to be Alex Standall (Miles Heizer). Final trailer for 13 Reasons Why season 3.
What did Clay do to Hannah?
One student, Clay Jensen, who had been particularly fond of Hannah, takes a special interest in the tapes. Unlike his peers, however, Clay doesn’t actually do any harm to Hannah. Instead, Hannah chooses to include him in the tapes because she feels he needs to hear her side of the story.22 мая 2018 г.
Why is 13 reasons depressing?
The show does a great job showing loneliness, depression, bullying, bigoted sexual morals and jock high school culture. That’s why so many people relate. But it also manipulates depressed people into fantasizing about suicide. It doesn’t discourage self-harm.
Why did they remove Hannah Baker’s death scene?
Christine Moutier, Chief Medical Officer at the American Foundation for Suicide Prevention, we’ve decided with creator Brian Yorkey and the producers of ’13 Reasons Why’ to edit the scene in which Hannah takes her own life from Season 1.” Netflix offered no reason for the length of time it took to reach that decision.
Why did Alex kill Bryce?
The season finale provided a three-part answer to the central question of who killed Bryce when it was revealed that Zach Dempsey (Ross Butler) beat Bryce and left him for dead on a boating dock, but that it was Alex Standall (Miles Heizer) who threw him into the water, where he ultimately drowned, after Bryce …
Who actually killed Hannah Baker?
The question of how Bryce died is at the heart of 13 Reasons Why season three and we now know the answer. While the evidence mounted up with each episode looking at each character it turned out it wasn’t Clay who killed Bryce or Tony, Jess or Justin. Bryce’s killer was revealed to be Alex Standall.
What did Mr Porter do wrong?
Porter started imagining Hannah telling him that she actually told him she wanted to kill herself and uses the word rape for what Bryce did. … He revealed it was Bryce Walker who raped her. When Sonya asked him if he agrees he couldn’t have done more to help Hannah, Mr.
Did Zach kill Bryce?
Zach confessed to beating Bryce, but faced no jail time as the actual murder was pinned on Monty. However, Monty’s true alibi, a boy from Hillside he was having sex with, confronted the new girl, Ani (Grace Saif), who gave the statement to the police, that he knew Monty didn’t kill Bryce.
Did Justin kill Bryce?
Nope. Justin did not kill Bryce, but he was at the waterfront of the time of his death covertly buying drugs from a dealer named Halls.
Does Tony have a crush on clay?
Tony has a crush on Clay and we’re 100% here for #Clony. It would explain a lot, mainly why he decides to spend SO MUCH TIME looking after Clay. Sure, he needed looking after, that’s in no doubt. … But there was something in the way Tony literally stalks Clay’s every move which suggests that it went further than that.
Why did clay test positive for drugs 13 Reasons Why?
Clay is adamant that he did not take drugs. … Justin tells Clay that he lied to his parents — Clay tells him that his parents are not his: “They never trusted you, that’s why they drug tested you”. 13 Reasons Why season 4, episode 5, “House Party” sees Clay losing control.
Did Clay Kill Hannah?
On the tapes, Hannah admits that she doesn’t blame Clay for her death. She simply needs him to hear her side of the story. … Clay didn’t kill Hannah Baker, after all.27 мая 2018 г.


With a variety of Web Series, we bring to you the list of Top 10 Best English Web Series to watch. Best Web Series in English, Best Web Series, English Web Series to watch,best english web series 2020,
How many times you sat and scroll for the good movies to watch on Netflix? What are the best movies to watch on Netflix? Though, Netflix has vast storage of movies and web series. Definitely, it is somehow difficult to choose the best movies on Netflix.
What is The Conjuring 3 Release Date? The Conjuring 3 is the upcoming movie of The Conjuring Universe. The film is the 7th movie of The Conjuring Universe. Well, there is some uncertainty about The Conjuring 3 Release Date.
Marvel’s Thor-Chris Hemsworth has teamed up with Netflix’s Extraction 2020 movie. What is Extraction Netflix Release Date? On which digital platform Chris Hemsworth starrer Extraction (2020) movie is releasing? Extraction Review, Extraction Cast.
Upcoming Hollywood Movies 2020:- Which movies are released this Friday? Movie release dates, movie release schedule, Which movies coming out this weekend? Upcoming movies 2020, upcoming new movies, movie releases, what movie comes out tomorrow, movies releasing this month, movies releasing this weekend,


This article is about movie trailers and their effect on how people view movies. It was written for an online publication.
There are a number of reasons to go see a movie this year. Some of the best ones are coming out! But aren’t they always? Isn’t there always an amazing tentpole that we’ve been “gripping our seats” just waiting for? Countless trailers spread out over six months or even a year telling us each and every plot point. Some of them even spill the beans on big twists AND endings. But we still go because we are told they’re the next big thing.
But what if they’re not? (And they’re usually not). We still go. We still hold up the Michael Bay’s of the world as geniuses. Does that mean their movies aren’t fun or that they don’t make us slurp our diet cokes and chow down on our extra-large buckets of popcorn with free refills? Of course not. Movies are meant to be fun. But does that mean I want to know it all? Take a guess.
In this era of need-to-know and immediate gratification, we need to decide what we want. When a movie is ninety minutes and there are six trailers at roughly three-and-a-half minutes long, that means that we are being spoiled of the “best” twenty-one minutes or roughly twenty-three percent. That is, in my opinion, insane.
Now here’s the thing. I’ll play devil’s advocate for a moment. Trailers are fun. They are a three-minute rollercoaster that will make you laugh and cry depending on the movie. A green screen appears with the MPA logo, the music swells, and the lead actor looks off into the middle-distance, smoldering. A train flies over a cliff, an old man gives sage advice over a black screen. We all tear up and applaud.
But now we need to watch a ninety-minute version of that trailer. Sometimes it lives up to the hype, other times we want to rip our hair out because it's way too long. People lament that the trailer gave away too much or that the movie itself should have been twenty minutes shorter. Exactly the amount of time the trailers took up.
The fact is, we need movie trailers to give us an idea of what we’re going in to watch. They are the back covers to the movie posters. The problem is when we judge the movie by it’s covers. Then the story is diluted.
All I’m saying is that these mini-movies need to be what they used to be: previews. They need to give us an entree into the movie but just that. Some of the most effective movie trailers are the ones that show text, some voiceover, and the glory shot of the hero.
There’s nothing wrong with hype, but let me have my movie unspoiled. I want my previews, not a condensed version of the entire movie.


I Can Only Imagine is a must see movie that was released in March. You can still see it in some theaters, or watch for its release on DVD or Netflix. The following is from a review on the Plugged-In website produced by Focus on the Family. I will let the review tell the story, but do keep in mind Plugged-In for excellent movie reviews from a Christian perspective. The web address is:
Every song tells a story. But sometimes the story behind a given song is more dramatic than the song itself.
That’s the case with “I Can Only Imagine,” the 2001 MercyMe song that surged seemingly out of nowhere to become the biggest-selling Christian single of all time.
But “I Can Only Imagine” didn’t come from nowhere. And even though that band’s frontman, Bart Millard, scribbled out the tear-jerking tune about being with Jesus in heaven in just a few minutes one emotion-filled night, its inspiration was a lifetime in the making.
A painful lifetime.
It’s 1985 when we first meet young Bart Millard as he works in his grandmother’s yard, rides his bike through town, and makes a Star Wars-inspired helmet out of cardboard. Bart seems a carefree, imaginative kid. A nice kid.
Bart’s mother loves her son’s naturally whimsical nature: “You’re a dreamer, Bart. That’s good.”
His father, Arthur? Not so much: “I’m gonna teach you something, Bart. Dreams don’t pay the bills. Nothing good comes from it. All it does is keep you from all this,” he says, waving his hands around at their rural home in Greenville, Texas, “from knowing what’s real.” And with that, he picks up Bart’s helmet, takes it out to the garbage barrel that’s already burning with trash, and tosses it into the flames as tears stream quietly down Bart’s cheeks.
Arthur’s reality isn’t just informed by the rolling Texas hills. It’s distorted by his own broken dreams of being a professional football player. Those disappointments shattered his soul, and he has no time for the dreams of others. Now he spends his days as a mechanic, his nights verbally and physically working out his bitterness on his wife, Adele, and poor little Bart.
Soon Adele ships Bart off to church camp, where he meets a young girl named Shannon who’s quite taken with him. When Bart returns home after a spiritually transformative week, however, his mother has gone. Abandoned him to a father who growls more than he speaks, one who’s more prone to hit than hug. “Mom left,” his dad says simply. “Just you and me now.”
And so it is. It’s a sad fate for a boy, a tender dreamer being raised by a man whose dreams are dead.
But Bart strives mightily to earn his crusty father’s approval anyway, notably by playing football in high school. But when a terrible tackle breaks both of Bart’s legs, the teen’s sole path to pleasing his father smacks into a dead end. In the hospital, he asks his father about his injuries: “What’d they say?”
“They said you can’t play,” Arthur responds coldly.
“For how long?”
“Well, that’s disappointing,” Bart says.
“Yeah, it is,” his dad says, and walks out of the hospital room.
In the weeks and months that follow, though, Bart makes a surprising discovery—one that he hides from his father: He can sing. That undeniable talent eventually leads him to pursue a career in music, following his heart, following his dream.
But in the back of his mind, his father’s voice echoes like a poisonous curse: “Dreams don’t pay the bills,” it whispers. And when Bart, now the lead singer of a band called MercyMe, hits a crisis point, he knows he has to return home and confront unfinished business with his father.
The man he discovers there is not the one he expected to find. In fact, he’s become someone Bart never could have imagined…
Much of Bart’s journey is closely intertwined with his faith—sometimes growing, other times receding. But his hard-but-redemptive story is one that many who’ve struggled through painful family dysfunction will likely identify with.
Arthur truly is a broken shell of a man. And for much of this story, the only perspective we see of him is how that soul-sapping disillusionment with life eats away at him and makes him an ill-tempered, angry bully.
That’s not good, obviously. But the film does realistically depict the consequences of that emotional brokenness, namely his wife’s abandonment and Bart’s deep personal wounds. Bart spends much of the film coming to terms to with how badly his father hurt him. But, with the encouragement of the band’s manager, a Nashville insider named Brickell, Bart decides to return home to try to mend his relationship with his aging father.
Things aren’t easy when Bart gets back, on many levels. But he finds Arthur a changed man, and he’s forced to decide whether he can really forgive his dad for the lifetime of pain that he’s inflicted upon his son. Near the end of his life, Arthur offers Bart a remarkable blessing, saying, “I told you not to follow your dreams, but that’s only because mine never came true.” Then he tells his son that he’s been saving money and has a life insurance policy that should sustain Bart while he pursues his musical career. “And I want you to have that so you can pay attention to your singing. And you’ll get a check every month. So you can chase your dream. And I want you to catch it. Don’t you ever look back. You promise?”
Elsewhere in the film, various characters respond to Bart with patience and grace, even when he’s acting like a self-centered hothead. These include his on-again, off-again, on-again girlfriend, Shannon; his surly-but-wise manager, Brickell; and his surprisingly patient band members, who repeatedly go out of their way to try to help their high-maintenance lead singer get what he needs to heal.
As for Bart, he definitely has some character shortcomings. But he’s also determined and idealistic—even amid his deeply hidden hurts—and he’s willing to receive others’ correction, even when it’s an affront to his pride… (continued…)


Mom Blogging Goes Hollywood
I’ve always liked Uma Thurman, but when she emerged as the central muse in the twisted world of Quentin Tarantino she stole my heart once and for all. Mrs. Marsellus Wallace in Pulp Fiction? Swoon.
When I heard Uma was starring as a mom blogger in her next film, it was hard to shake the image of her as The Bride in the Kill Bill flicks — kick ass yellow jumpsuit, bloody sword, fiercely beautiful and totally lethal. Then I remembered that it was the ferocious drive to reclaim her lost daughter that drove her through the second film — so in addition to being a real-life mother, Uma knows how to play motherhood and then some.
Motherhood was written and directed by Katherine Dieckmann, who I got to spend some time with this afternoon on a conference call with a handful of other NYC-area bloggers. Couple of things you might want to know about Katherine and Motherhood:
The movie was made almost entirely by women. That rocks.
Katherine drew from her own life in creating it; in fact, the film was shot in the building where she lives. She said she awoke each morning to the sound of the crew setting up, got her kids fed and off to school, and went to work. Downstairs. Which also rocks.
Katherine’s kids loved the craft services. Anyone who’s been on a TV or film set knows what this is. It’s food, and lots of it. The kids called it “crafty” and apparently got obsessed with it because Katherine is not a “big snack giver.”
One of the reasons Katherine was inspired to make the movie is that she couldn’t find any authentic representations of motherhood on the big screen. She cites Baby Boom (Diane Keaton as J.C. Wiatt, amazing) as one of the last movies to treat motherhood as the complex juggling act it really is. (That was 22 years ago, by the way.)
I can’t wait to see this movie. I love Uma playing disheveled. She’s incredibly endearing, and with Minnie Driver as her BFF and Anthony Edwards as her hub, what’s not to love. I also love movies shot on location in this city. I can’t help but wonder if Motherhood won’t be just a little bit of a love letter to the West Village, since it’s where Katherine makes her home.
Finally, I love that blogging — mom blogging, specifically — is in the spotlight with nary a mention of FTC guidlines or brand shilling controversies. Maybe this film will put the focus back on what’s been true about mom bloggers from the beginning: they tell it like it is about motherhood. Authentically, unfiltered, with some of the most beautiful writing on the internet. They are raw, passionate, angry, joyful, supportive, frantic, serene, hilarious, loving. Some times all at once. I am not surprised — and eternally grateful — that it’s a woman bringing this glorious cacaphony to the silver screen.
Motherhood opens in select markets October 23rd. Get more info here.
[Disclosure: There are no material connections between the makers of Motherhood and me. All they did was invite me to participate in a conference call. I realize I’ve just set a dangerous precedent as a cheap date. What I really want but am too shy to request is to go on a playdate with Uma, Katherine and their kids. I might even remember to bring my kid. Katherine says it’s okay to drink wine during playdates, provided the children are not put in harm’s way. So clearly we were meant to be best friends.]


| Ausitn Film Festival Screenplay & Teleplay Competition|
1801 Salina Street
Austin, TX 78701
|Contact: ||Matt Dy, Screenplay & Teleplay Competition Director|
|Description: ||Screenplay Competition: |
May 15th – Early Deadline ($40)
June 1st – Late Deadline ($50)
June 1st – Final Deadline ($30)
Screenplay categories: Drama (Historical, Western, Drama, Family, Romance, Horror, Thriller, etc.) and/or Comedy (Dark, Satirical, Slapstick, and more).
There are also TWO additional categories: Latitude Productions Award (Adult-themed, character-driven story with a production budget under 10 million dollars) and the Dark Hero Studios Sci-Fi Award (fantasy, horror, science fiction, etc). To be considered for these additional awards you must have your screenplay entered in either the Drama or Comedy Category.
Teleplay categories: Sitcom Spec, One-Hour Spec, Sitcom Pilot, and One-Hour Pilot. The Teleplay Competition is open to any spec scripts for currently airing programs AND original pilot scripts
**As an added bonus, we will be providing our Readers Notes to all screenplays and teleplays that reach the Second Round (top 10%) or higher in the competition at no extra charge!
|Objective: ||The Austin Film Festival Screenplay and Teleplay Competition recognizes the work of the writer, opens doors, and creates a networking system for new writers to further their career within the industry. Industry professionals recognize the Austin Film Festival as a widely respected and popular writing competition, with representatives from agencies and production companies participating in the judging process. Semifinalist and finalist scripts are judged by production company representatives, who have in the past included representatives from The Donners’ Company, Village Roadshow Pictures, Saturn Films, Whitelight Entertainment, Fortis Films, Liveplanet, Protozoa Pictures, Nickelodeon Movies, Focus Features, Fox Broadcasting, Pixar, and WB.|
|Entry Fee: ||$30-$50|
|Type: || Screenplay, TV Scripts|
|Originates From: ||United States|
|Sponsored By: |
|Start Date: ||1/1/2011|
|Submission Deadlines: ||6/1/2012|
|Winners Announced: ||October 20, 2012|
|Year of Origin: ||1994|
|Prizes and Awards: ||http://www.austinfilmfestival.com/new/awards|


|Z100 Jingle Ball Wrap Up 2006|
Jonathan wraps up Z100s Jingle Ball... Features appearances by All-American Rejects, Natasha Beddingfield, the cast of RENT and Viva La Bam's Don Vito!
|All-American Rejects Magic|
Nick from the All-American Rejects hanging out with Jonathan from Real Magic TV. Nick talks about tattoos, muppets and being a morning person! Live performance clip of the hit song Move Along.
|American Pie Magic with Kevin (Thomas Ian Nicholas)|
Thomas Ian Nicholas (Kevin from the American Pie movies) participates in some American Pie style magic backstage in New York. Thomas is best known for his acting role as 'Kevin' on the hit movies American Pie, American Pie 2, American Wedding and the most recent, American Reunion.
|Thomas Ian Nicholas: My Generation (Live Acoustic)|
Thomas Ian Nicholas (actor, American Pie, American Pie 2, American Wedding, American Reunion, Rookie of the Year, and many more) performs a live acoustic version of his original song 'My Generation' from the 'American Wedding' soundtrack.
|Thomas Ian Nicholas: You Don't Know (Live Acoustic)|
Thomas Ian Nicholas (actor, American Pie, American Pie 2, American Wedding, American Reunion, Rookie of the Year, and many more) performs a live acoustic version of his original song 'You Don't Know' off his album 'Without Warning'.
|Adam Miller: Parker|
This song is entitled 'Parker' and composed by Adam Miller. It's written for a guitar he could only dream about and finally got to play, it's designed and built by American luthier, Ken Parker. In Adam's new release he plays a guitar built by American luthier Jeff Traugott.


I have just finished watching Bela Tarr‘s Satantango. An extraordinary experience, I never thought a film could merit being seven-and-a-half hours long. But it does. It needs this space to breathe, to be able to look at the minute textures of life.
I’m going to write two posts about Satantango. In the next one, I’ll look at its merits. In this one, however, I’m going to look at the one thing that hurt the film: the treatment of the cat.
On the internet you’ll find a dialogue about the cat going back years. Here’s the short and curlies: in section “Those Coming Unstitched” a young girl, Estike, fights with and then poisons her cat before carrying its corpe around in remorse. The section is shocking and uncomfortable to watch.
It was probably a mistake but a little while ago, I suggested my girlfriend read Murakami’s Kafka on the Shore. Apparently I blotted out the cat torture throughout the novel, else I might not have recommended it. I felt a bit bad: it’s a great novel, but those sections are very hard to read.
Now, that’s a book. Satantango is a movie. And a real cat was involved. Although careful camera angles are used during the fight scene and sound effects dubbed on to make it sound more real, it’s clear that the cat isn’t having a good time at all. Bela Tarr has said not only that there was a vet on the set at all times, but also that after filming he took the cat as his own pet.
If you read the discussion online it falls into people distressed by the treatment of the cat and people who gloss over it. One blog describes it as one of the movie’s “superficial issues that obfuscate a pure experience of the film.” I disagree.
It’s so horrifyingly realistic that, as you watch, you try to figure out how they did it. Was the cat tranquilised? Is one of them a model? Knowing how far Tarr goes in the name of realism (he’d get his cast drunk for the drunk scenes, for instance), you worry at times that he may have killed the cat.
I’m going to take Tarr at his word: that the cat was fine. But I’m still troubled. And that’s the problem. Elsewhere I was drawn into the movie and surrounded by it. Here, however, I was taken out of the moment. Ed Howard at Only the Cinema puts it well:
Such moments in a fiction film always shatter the illusion of a story being acted out. It’s too real, and too cruel, forcing one to think not about the cruelty of this girl, whose feelings of impotence lead her to assert her power over a defenseless animal, but the cruelty of the filmmakers who demanded that the scene be shot in this way, that these things should be done to a real, defenseless living thing.
“Those Coming Unstitched” is possibly the most important section of Satantango: it plays out the events of the movie in miniature, it acts as the catalyst for events in the second half. The way it was filmed, however, does little except distract from and undermine Satantango’s power.


JOURNAL: Journal of Sociology
AUTHORS: Heather Worth, Alison Reid & Karen McMillan
SUMMARY: This paper is based on interviews with 20 New Zealand men – representing 11 gay couples – who discussed issues of monogamy, trust and sexual behaviour negotiations in their relationships. Overall, they had conventional notions of relationships, romantic love and monogamy that prompted decisions to discard condoms for anal sex as proof of their love for each other. They simultaneously believed that monogamy was not sustainable. Generally, the relationships were marked by ‘infidelity’ anxieties and a reluctance to disclose sexual encounters outside the relationship and to discuss or negotiate their possibility.
CULTURAL REFERENCE: The Wizard of Oz is a 1939 American musical fantasy film produced by Metro-Goldwyn-Mayer. Notable for its use of Technicolor, fantasy storytelling, musical score and unusual characters, over the years it has become one of the best known of all films and part of American popular culture. It also featured in cinema what may be for the time the most elaborate use of character make-ups and special effects.
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Harry Potter has come to Broadway. But The Boy Who Lived is a boy no longer: He's 37 years old and going through a magical midlife crisis in J.K. Rowling and Jack Thorne's outstanding play, “Harry Potter and the Cursed Child,” which opened Sunday night. And Broadway's never seen anything quite like it. This family... ...read more
Olympian McKayla Maroney says former doctor Larry Nassar says she first spoke out about his sexual abuse of her in 2011.
In January, the former USA Gymnastic physician was sentenced to 40...


Celebrate Black Birders Week (May 30 through June 5) with us through a free online screening of The Falconer, a documentary following Master Falconer Rodney Stotts as he strives to build a bird sanctuary and provide nature access to his stressed community in Washington D.C. It’s a story of second chances: for injured birds of prey, for an abandoned plot of land, for a group of teenagers who dropped out of high school, and for Rodney himself.
We’re co-sponsoring this Zoom “watch party” on Friday, June 4, at 5 p.m. with Nature in the the City and Outdoor Afro. There will be a Q&A discussion after the film. For details, registration, and a film trailer, see:
Black Birders Week was created in 2020 by BlackAFinSTEM in response to the Central Park birdwatching harassment incident and police brutality against Black Americans. It spotlights Black birders and focuses on joy experienced in the natural world, as well as the work to be done to combat racism and promote inclusivity in racism. View the week’s national events here. Then join us for the film and discussion on Friday!


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Over the weekend, I went and saw the movie Hustlers, starring JLo, Constance Wu, Keke Palmer, Lili Reinhart, and a lot more. There are spoilers in this post, just in case you haven’t seen it yet.
First of all…can we just talk about JLo/Ramona’s opening scene. If you haven’t seen it, the movie starts off with Constance Wu, playing Destiny, working at the strip club. She’s walking around, catching any guy who may seem interested, and we get to see the other strippers who work there. We see a couple big names like Mette Towley, who plays Justice, and Miss Cardi B, as Diamond. But when, JLo/Ramona, comes on stage, we know who the HBIC is.
Can we just keep in mind JLo is 50?! I saw an interview she did before the movie premiered and she said she was basically wearing dental floss…she was right. But, she looked damn good! Did I go to the gym the next day inspired by this one scene? Yes, yes I did. It took a lot of hard, physical work to learn how to do those pole moves, but she did it. Props to the queen!
I have many, many favorite scenes from this movie. One that sticks out, is JLo sitting on the roof, fur coat on, and tells newbie girl Destiny, “Get in my fur”. It’s such a boss scene, yet so empowering to see. They start talking about the future and Ramona ends up agreeing to help Destiny with her moves. Destiny is just trying to make ends meet and support her grandma. Two strippers, one veteran, one newbie, just bonding over what they want in the future and no ill will towards each other. It was just authentic.
We’ve all seen strippers or club dancers in movies, but this one being directed by Lorene Scafaria, a female director, really gave it a different and real view. She’s able to portray the bonds and the reasons as to why these women resort to the methods they use to make money.
One scene that stuck out to me, was when Destiny was desperate for money. She has a child and her grandma to support, her boyfriend, played by G-Eazy, just leaves them alone to fend for themselves, after he told her he would take care of them.
After trying to get a retail job, Destiny goes back to the strip club. But its been years, the 2008 recession has drastically changed things, and now there are lots of young, pretty, European girls. It’s not as easy to make money now. The scene that stuck out to me was when a guy offered her $300 for a handjob or blowjob, and after taking some of his coke (I think), she did it and passed out. Turned out he only left $60. We already know how disgusting that business is, yes, it’s glamorized a lot, but it’s a dirty business. The things people have to do for money, plus ending up getting shorted or hurt…the movie shows both sides of that industry.
JLo is definitely the best person to be Ramona, the ring leader. The scene with Destiny, convincing her to join her in drugging men and running up their credit cards is definitely Oscar-worthy. One line she said was, ” You see what they did to this country? These guys stole from everybody. Hard working people lost everything. And not one of these douche-bags went to jail”. She was talking about the men who worked on Wall Street, and most of them are strip club clienteles. I mean…when you say it out loud…it does make sense. People love judging women, especially strippers and others in the sex industry…but who’s keeping that industry alive?
There are so many thought-provoking scenes, I can’t cover them all in this little post. But the movie also has many comedic reliefs. Lili Reinhart, as Annabelle, was a chronic stress vomiter. Even to the end, she’s getting handcuffed and barfs right there, so good. I wasn’t sure what her character would be like, because I’ve only seen her as goody-goody Betty Cooper, but she’s also a very good stripper-scammer. It’s all about versatility folks.
Keke Palmer, playing Mercedes, is also great comic relief. She has her fiance, Dragon, who’s in jail as her motivation for stripping. But, when she starts making money, instead of getting a lawyer, she upgrades her ring…I mean..same. The scene where she doesn’t want to take the naked, knocked out man, into the hospital, and literally runs away in her denim bathing suit is one of the funniest scenes I’ve ever seen.
Overall, I love this movie, the overall plot, the characters, everything about it! In case you didn’t know, this is actually based on a true story. You can check it out here!
“You have people tossing money and people doing the dance” – Ramona Vega Hustlers
I have to watch this it looks like such a fun movie! 🙂
LikeLiked by 1 person
Girl yes! Tell me what you think afterwards! I walked out that movie feeling like a boss 😂
LikeLiked by 1 person
I will as soon as I watch it! 🙂
LikeLiked by 1 person


Feature film historical drama based on real events
Aboard a steamship sailing across the Atlantic Ocean in 1874,
widower John Andrews delights the restless minds of his two children
with a tale of courage, hope, war, and true love that begins with the
end of the world.
90 minute Feature Film shot on location in Canada, Australia and Scotland
Post-produced in Sydney, Australia.
Film Editor and Producer:
ghost town cricket
One day each year, regional stockmen, far flung locals and grey nomads gather to play a game of cricket in the most unusual, abandoned town setting in the Australian Outback.
This is their story.
TV Pilot shot on location in Farina, South Australia
Post-produced in Sydney.
Written & Directed by
Bin Li, Henry Richardson
Director of Photography


Gustavo Gomez was born in Texas, but raised in Mexico. He played the role of Marco on The Walking Dead. He starred in Snapchat's Denton's Death Date (2019) and Stage 13 (Warner Brothers) La Qunceañera (2018) . He has also guest starred on Apple + critically acclaimed show Little America (2020), Acapulco (2022), The Rookie (2022), 911 (2021), Superstore (2020), You're The Worst (2019), Animal Kingdom (2017), NBC's Chicago PD (2018) and appeared on ABC's American Crime (2016). His debut in film came from the feature All She Can; which premiered at the Sundance Film Festival in 2011. Since then, he has been seen in other films like The Starling (2021), Yellow Rose (2020), Triple Frontier (2019), Amanda & Jack Go Glamping (2017), and Bachelor Lions (2018). His latest film, The Fall will premiere later this year.


The Banff Mountain Film Festival, a program of The Banff Center, is the largest and one of the most prestigious mountain festivals in the world. Hot on the heels of the festival held every fall in Banff, Alberta, the Banff Mountain Film Festival World Tour hits the road. With stops planned in about 390 communities and 35 countries across the globe, this year’s tour features a collection of the most inspiring action and adventure films from the festival. From approximately 300 films entered into the annual festival, award winning films and audience favorites are among the films chosen to travel the globe.
March 3, 2017 @ 5:00 pm – 10:00 pm
$20 general admission | $75 private reception from 5pm to 6:30 (includes advanced seating, 2 drink tickets, dinner and dessert)


The Dark Knight Rises
The Dark Knight Rises was a good movie. Seeing as it’s a Batman movie, it’s fine for the story to be a little far-fetched as long as it’s told well within the confines of the Batman world. The uncertainties and genuine surprises were well played. It had just enough references to current issues to make the story more potent, but not so much to be preachy or look like it’s trying to be more profound than it really was. I did think the prison dynamic that developed under a demagogic warlord was well done and I was reminded of Escape from New York.
I really liked Bane as a villain and I thought Catwoman was cool. And yes, even anarchists can like a movie where cops are good guys (though the Gotham police force is not portrayed as unambiguously good).
No, The Dark Knight Rises wasn’t as fun as The Avengers, but that’s a Joss Whedon project we’re talking about. Comparing the two films shows how the superhero genre can be told differently. The Avengers was a larger-than-life epic with comedy and cheese sprinkled tastefully throughout. The Dark Knight Rises was dark and gritty but kind of uplifting in it’s own way.
And as for the movie theater shooting in Aurora… this is why it shouldn’t be considered weird for a responsible person to carry a handgun to a movie theater. As we try to understand the root causes of such violence we should keep in mind that these kinds of crimes are rare and there are many more gun owners than there are murderers. Giving more power to people in government is not a real solution; building communities with a culture of respect for individual life and liberty is. It is not infrequent for police to shoot people under questionable or unacceptable circumstances and it is even more common for them to harass and victimize people. Police in Denver, which neighbors Aurora, even got t-shirts commemorating how they “BEAT the crowds.” The more that police are viewed as special protectors standing above the rest of us, the more they will adopt authoritarian mindsets, and the worse police violence will get.
I hope the families of the Aurora shooting victims are given space to mourn and I’m dismayed that this would need to be added to the discussion of the film.


Sundays on USA Network (10-11 p.m. ET); Series Premiere: Dec. 29
Sarge Will Mosley, "Dare Me"
Zach Roerig stars in USA Network’s DARE ME as Sarge Will Mosley, the head Marine recruiter stationed in Sutton Grove High School. Although strikingly handsome and intriguingly remote, he’s a haunted man, hiding secrets and a complicated personal history.
Roerig recently had a recurring role on “The Gifted,” was featured in the independent film “The Last Full Measure” and played recurring role in the pilot, “Behind Enemy Lines.” Last year, Roerig played a large supporting role in the “The Year of Spectacular Men” and can also be seen in the film “Rings.” Previous credits i...


part of my OT anthro series; Luke Skywalker, Jedi (Grand) Master.
it's been a long while since I CGed in cel style, since I got my tablet, so it was refreshing to use the good ol' mouse, paintbucket and lasso tools.
Luke Skywalker (19 BBY—) was the son of Anakin Skywalker and Padmé Amidala, and the older twin brother of Leia Organa Solo. He was a Jedi Master and hero of the Rebel Alliance in the Galactic Civil War. A celebrated pilot and leader, Skywalker was most famous for destroying the first Death Star and prompting Darth Vader to kill Emperor Palpatine, which led to the eventual downfall of the Galactic Empire.
He was the greatest hero of the Rebel Alliance, and later became an influential, widely known member of the New Republic and a prominent Jedi Master. Skywalker turned away from the life of a soldier to establish the Jedi Praxeum to train a new Jedi Order to serve as guardians and peacekeepers in the Republic. Later in his life he also married fellow Jedi Mara Jade, with whom he had a son, Ben Skywalker.
full view please!
pencilled, inked, scanned, lineart cleaned up in Illustrator CS2, CGed in PSCS2
Star Wars OT/EU anthros
Captain Skywalker [link]
Han Solo [link]
Kyp Durron [link]
Exar Kun [link]


Jesus then came into Galilee announcing the good news from God. All the preliminaries have been taken care of, and the rule of God is now accessible to everyone. Review your plans for living and base your life on this remarkable new opportunity. Dallas Willard's paraphrase of Mark 1:15.
Friday, December 28, 2012
Mandy and I saw Les Miserables last night. So, so good! Anne Hathaway should win an Oscar for her portrayal of Fantine. "I Dreamed a Dream" was about as moving and gut-wrenching as anything I've ever seen. Go see it, whether are a fan of Broadway or not.


The Breckenridge Film Festival begins Thursday 9/18 and runs through Sunday 9/21. Since its opening event in 1981, the Breckenridge Film Festival has celebrated the art of filmmaking. Each year a unique and varied array of independent films, premieres, receptions, educational programs and retrospectives honouring featured guests takes place high in the Colorado Rockies.
One of the oldest film festivals in the country, the Breckenridge Film Festival is private, non-profit organization governed by a volunteer board of directors. Funding for the Festival comes from local public and private grants, sponsorships, fundraising events, individual contributions, in-kind assistance, and revenue from tickets and merchandise. More than 150 individual volunteers, local theatres and other venues are involved in this annual event. Educational outreach programs, children’s films, celebrity guests, independent filmmaker forums and other events celebrating the art of film, contribute to the Festival’s diverse program.
This year the film festival will open with “It’s not you, it’s me” directed by Nathan Ives. It will feature a wide variety of films such as “Bffs,” “Dragon Day,” “Roralma,” “The Frontier,” “Ten Cent Pistol,” “Scarred Lands & Wounded Lives- The
Environmental Footprint of War” culminating with the Rocky Mountain Premier of “Higher” featuring Jeremy Jones. Films will be shown throughout town at locations including Town Hall, The Backstage Theater, Village Ten Mile Room, Colorado Mountain College, Fuqua and the Riverwalk Center. For a complete line up and tickets, visit www.breckfilmfest.com


Leaf has worked extensively on highly acclaimed television series’ from CSI: MIAMI TO SOUTHLAND. He has acted along side some of Hollywood’s most respected actors such as Gary Sinise on CSI: NY and Jon Lithgow on DEXTER.
One of his favorite roles was playing a narcotics detective, who is partners with the brilliant Willem Dafoe in the feature film BAD COUNTRY. In his most recent works, he can be seen on ORANGE IS THE NEW BLACK, BLUE BLOODS, QUANTICO, and THE BLACKLIST: REDEMPTION. He also has been busy writing and directing multiple projects. From the single camera comedy pilot, THE ALLEY, in which he co-wrote and directed. Then to writing & directing 7 episodes of the comedy, LEAF & PEELE.
When he is not working on tv & film, you can find Leaf writing, directing, and acting in sketch comedy shows on stage in New York City & Los Angeles.
And he loves almond mylk!!!


TICKETS NOW ON SALE
The Production Company begins their 2019 season with the David Bowie and Enda Walsh musical, Lazarus.
Lazarus was the final project of David Bowie. First staged in New York in late 2015, Lazarus has enjoyed sell out seasons in New York and London. This will be the Australian premiere of the ground-breaking musical.
Featuring 18 David Bowie songs including Changes, Heroes and Absolute Beginners, Lazarus is inspired by the novel The Man Who Fell to Earth by Walter Tevis – and the movie which also starred David Bowie. The story focuses on Thomas Newton, an alien, as he remains on earth, unable to die. We follow him during the course of a few days where the arrival of another lost soul might finally set him free.
The “Brilliant” (The Age) Chris Ryan, whose performance as Monty Navarro in A Gentleman’s Guide to Love & Murder wowed Melbourne last year, takes on the lead role of Newton. Iconic singer iOTA also joins the cast in the role of Valentine. The distinguished creative team is headed by Director Michael Kantor and Musical Director Jethro Woodward.
You can read more about the Lazarus cast and creative team HERE.
Sat 18 May at 2pm (Preview) and 7.30pm
Sun 19 May at 3.00pm
Wed 22 May at 1.00pm and 7.30pm
Thur 23 May at 7.30pm
Fri 24 May at 7.30pm
Sat 25 May at 2.00pm and 7.30pm
Sun 26 May at 3pm
Wed 29 May at 1pm and 7.30pm
Thu 30 May at 1pm and 7.30pm
Fri 31 May at 7.30pm
Sat 1 June at 2pm and 7.30pm
Sun 2 June at 3pm
Tue 4 June at 6.30pm
Wed 5 June at 1pm and 7.30pm
Thu 6 June at 7.30pm
Fri 7 June at 7.30pm
Sat 8 June at 2pm and 7.30pm
Sun 9 June at 3pm
*plus $8.50 Arts Centre Melbourne service charge
ARTS CENTRE MELBOURNE
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Presented by The Production Company in association with Mene Mene Theatre.
By Arrangement with Robert Fox and Jones/Tintoretto Entertainment


I’m not usually one for shows as bloody as Daredevil. Actually, this is the only show I watch that is so violent and gruesome. The first season was good but there were some parts of the story line that had me wavering. Two points actually: the episode where we learn why Matt Murdock put on the mask and Fisk’s background. It was stomach churning and horrifying. But everyone I knew said that season two was so good, and I was only a few episodes away from finishing the first season. So I did it. I finished it and I was hooked.
There are 13 episodes in season 2. Each episode is an hour long. It took me about a week to get through the entire thing and I am completely confident in saying that season 2 was even better than the first. Season 2 is just as gory as the first. Watching Daredevil getting beat up is… it made me cringe because as graphic as the show is, it doesn’t glorify the violence.
In fact, this show (while I certainly wouldn’t mind if the gore was turned down a bit) confronts you with the ugly reality that there are people in this world that will do some of these things. It makes you ask the question: what am I doing to make the world a better place?
One of the fundamental struggles our hero has though, is not allowing himself to get caught up in the fight to the point where he’s killing everyone. He actively chooses to restrain himself. He struggles with the reality that he has to go so far already to help the innocent, but he also struggles with the question: is he going far enough?
The latter question is posed by Punisher, who doesn’t even blink an eye when he kills someone because these people aren’t innocent. They have already hurt and killed people, and they’re planning on doing more of it. He has no qualms, but Daredevil points out that even though they’ve done bad things that they’re still people. Daredevil’s response is a conflicted one. It’s not one he gives easily because he understands that these men hurt people, but the one thing I really appreciate is how Daredevil holds onto his belief that human lives matter. Many of his decisions aren’t made easily. No. Actually, none of them are. Each one takes a toll on him. He struggles with the repercussions of each one of them. He values human life. He believes that it is not his decision to decide who lives and dies.
Everything and everyone is at risk in season 2, just as much as they were in the first season. The end left me wanting for more and I’m disappointed that we probably aren’t going to get a third season until next year.


Warning: this article contains spoilers for Doctor Who: Time Lord Victorious #2.
David Tennant’s Tenth Doctor and Jodie Whittaker’s Thirteenth Doctor have just had an unexpected team-up in Doctor Who‘s transmedia “Time Lord Victorious” event. “Time Lord Victorious” is gradually morphing into one of the biggest events in the history of Doctor Who. It involves everything from Big Finish audios to novels, from comic books to an Escape Room, and it features multiple incarnations of the Doctor, not all of whom are on the same side.
David Tennant’s Tenth Doctor stands at the center of the story, with Paul McGann’s Eighth Doctor and Christopher Eccleston’s Ninth Doctor in opposition to him. Sadly, the BBC TV series can’t be part of “Time Lord Victorious,” due to restrictions imposed by the BBC Charter. Fans had therefore assumed the Thirteenth Doctor would unfortunately be excluded from the far-reaching event – making it even more exciting that she makes an unexpected but pivotal appearance in this week’s Doctor Who: Time Lord Victorious #2.
Click the button below to start this article in quick view.
The Time Lord Victorious miniseries sees the Tenth Doctor learn history itself is in flux, and he’s forced into an unlikely alliance with the Daleks. It’s not the first time the Doctor has been forced into an alliance with his age-old enemies, but no such agreement can last long. While the Doctor may feel that “the enemy of my enemy is my friend,” it’s not long before he’s on the run from the Daleks, who are eager to grasp the opportunity to exterminate him. Fortunately, he receives some unexpected help in the form of his own future self.
It’s actually the second time the Tenth and Thirteenth Doctors have crossed paths, but since that adventure involved a temporal paradox, the Tenth Doctor has been forced to forget the entire thing. As a result, the meet-and-greet goes through pretty much the same motions as last time, much to the Thirteenth Doctor’s irritation. “Most annoying thing about paradoxes,” the Tenth Doctor acknowledges, “besides the impending reality collapse. They make conversations so repetitive.“
And so another Doctor has made her unexpected debut in the story of “Time Lord Victorious,” a welcome reminder that everything taking place is part of the Doctor’s personal timeline and will be considered canon by future projects involving the character. As the most recent incarnation of the regenerating hero, the Thirteenth Doctor will be able to see it all; the mistakes her past selves made, the conflict between them, and the good intentions that led them to walk the road to Hell. This really is a delightful surprise in the biggest Doctor Who story to date.
Doctor Who: Time Lord Victorious #2 by Jody Houser, Roberta Ingranata, and Enrica Eren Angiolini is available now.
More: Doctor Who’s Time Lord Victorious Explained: Story, Era & Connections
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About The Author


Welcome to my site.
I am a native of Southern California, raised in Topanga Canyon, and later settled in Venice Beach.
I have had a life-long passion for photography and the cinema, which led me to study Visual Arts at the University of California, in San Diego.
Since then, I have been traveling the world, working in the motion picture industry on feature films, episodic television, commercials, music videos, etc., and raising two extraordinary human beings into adulthood - the Sun & Moon to me.
This site represents my view of the things I've seen along the way.
visit my film & television credits at


Sing a Sad Song
Personally, I love the gut-wrenching type. I love it when I invest a lot of emotional capital into a character who fails, actually fails. It doesn't happen often in literature. Ken Bruen's Jack Taylor comes to mind.
Don't get me wrong. A happy end can be a good thing too. Hollywood loves that end, no? But always?
Also, don't get me wrong, I've written novels that end Hollywood style. But when my heroes fall, they fall hard.
This type of story has its own emotional life. Why is it that people liked being scared, but don't like being saddened?
Or am I mistaken?


y most recent composition project was completed in December of 2017, when I organised an event with film-maker Shwetal Patel and artist Ninon Ardisson.
The evening was centred around a silent film by Shwetal Patel, and involved a performance of a saxophone duet which I had written. The piece establishes an assertive lyricism, which constantly flirts with dissonant harmonies. There is an undercurrent of shifting chromaticism that is thrown off kilter by dominating melodic phrases that hark back to the instrument’s classical origins. This was inadvertently influenced by over-listening to Paul Hindemith’s works for saxophone- particularly his Sonata for 4 Horns.
The saxophones capture a pallid, melancholic quality in the opening frames of the film, and this melody is then unpacked to form a warped, lilting waltz, which comically recurs as the protagonist entertains and intrigues in his drunken stupor.
The score traces the sequence of events in Patel’s short film, emerging from its sombre theme into a carnivalesque nightmare as the the narrative gathers momentum.
I have included the score in this, along with this video link to watch the full film, and listen to the music. I hope you all enjoy my music which gives life to this great film.


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Featured image courtesy of Joan Marcus
As of late it seems like we’ve been constantly bombarded with news of Broadway musicals closing. Just this August, King Kong, Be More Chill, Pretty Woman, The Cher Show, and The Prom are all closing. This doesn’t even count the Broadway play What The Constitution Means To Me (also closing in August), the My Fair Lady revival (closed in early July), and long-running shows Beautiful: The Carole King Musical and Waitress (both of which will close within the next five months).
Basically, there’s a lot of theatres that are going to become vacant very soon. While a few of these theatres already have their next tenants lined up (King Kong‘s Broadway Theatre will become home to West Side Story this December and Waitress‘s Brooks Atkinson Theatre will welcome Six next February), there will be several empty Broadway venues in the coming months. The shows below are ones that I believe are overdue for their return to Broadway.
American Idiot (April 2010 – April 2011)
We’re now two and a half years into the Trump Administration and it seems like every day brings news that’s more terrifying and exhausting than the day before. As a result, I think now is the absolute perfect time for a revival of Green Day’s jukebox musical. While it was timely when it premiered nine years ago, I think it’s even more so in 2019 considering the corrupt way our nation treats people.
Dreamgirls (December 1981 – August 1985, June – November 1987, September 24, 2001)
I adore this musical. It was the very first one I ever fell in love with, thanks to the 2006 movie adaptation. Unfortunately, it closed its Tony-winning original Broadway production more than 30 years ago, and the only subsequent New York productions were a five month-long Broadway revival in 1987 and a one-night-only (pun unintended) 2001 Broadway concert just two weeks after 9/11. It’s about time that we bring the recent West End production to Broadway.
Funny Girl (March 1964 – July 1967)
Having closed in 1967, I simply don’t know why Funny Girl has avoided getting a Broadway revival. It had a West End revival in 2016 and even a subsequent UK Tour, so why has it has failed to return to America in any capacity whatsoever? It’s long past due that we bring this production back to the States. Several new generations of Broadway fans (younger baby boomers all the way through to Gen Z) have yet to be introduced to the original stage material. It hasn’t even gotten a national tour since 1996, and that closed after only a month. Come on.
Hairspray (August 2002 – July 2009)
After Dreamgirls, the next musical I fell in love with (also courtesy of its movie adaptation) was Hairspray. I’ll confidently go on the record and say that its 2007 movie is one of the best movies ever made, not just one of the best movie musicals ever made. Its themes of acceptance in the face of bigotry, confidence, and body positivity aren’t represented as often as they should in the media, and rarely does it happen all within the same musical. In 2019 rage-filled America that seems to hate anyone who looks or behaves differently, bringing this back to Broadway would incredibly meaningful to so many marginalized people.
In The Heights (March 2008 – January 2011)
With Hamilton as popular as it is, the In The Heights movie coming out next June, and the perpetual hatred that right-wing Americans (including our president) have for immigrants, I don’t think there could be a better time for Lin Manuel-Miranda’s In The Heights to make a Broadway comeback. The story it tells about Hispanic-American immigrants is one of the most significant ones Broadway could possibly tell in this country at this moment, along with some of the other shows on this list. In addition, I would hope that it would bring further attention to the crisis at the border and perhaps cause people to reconsider their stances on immigrants – the people that represent the best of what this country should stand for.
Next to Normal (April 2008 – January 2011)
In the age of media that (often unhealthily) discusses mental health with such creations as the Netflix original series 13 Reasons Why and Broadway hit Dear Evan Hansen, I am beyond baffled that Next to Normal hasn’t made a return Broadway engagement or even a national tour. While it would’ve been especially perfect to have a revival in 2019 for its 10th anniversary, I can only pray that Broadway producers have something in the works. While I’ve gone out of my way to see several community productions of Next to Normal, I would do just about anything to see a professional production of this monumental Pulitzer Prize-winning musical.
The Wiz (January 1975 – January 1979, May – June 1984)
Once again, here’s a show that hasn’t been revived in more than 30 years. Now that Wicked (another interpretation of The Wizard of Oz) is making millions every week and has standby Brittney Johnson starring as the first black Glinda in the show’s history, I really want to see The Wiz to make a comeback. It had a resurgence a few years ago as one of NBC’s annual live musicals, but it’s beyond overdue for a long-running Broadway revival. After all, its singular revival only ran for a mere 13 performances after previews. There’s no doubt in my mind that this musical deserves more than that.
What other musicals deserve Broadway revivals? Comment below!


Oatman Redux: Hell on Wheels
If tattooed Eva on “Hell on Wheels” seems to have stolen Olive Oatman’s chin tattoo, it’s because she’s based on her, as the HOW blog explains (with a quote from The Blue Tattoo). Eva’s Oatman has been tweaked: she’s a prostitute, which Oatman never was; she’s blunt and outspoken, which Oatman never was; and in 1865 when the show is unfolding, Oatman was a national celebrity, newly married to a wealthy Michigan cattle rancher and living in Texas during what she called the happiest period of her life. Eva’s the latest of more than a dozen tributes Oatman has inspired in art, film, theater, fiction, t.v. and music over the last 150 years, from Elmore Leonard’s “Tonto Woman” to Phantom of the Black Hills’ “Olive Oatman,” a song that, come to think of it, would work beautifully on Hell on Wheels. What’s AMC waiting for?


Naman Shukla is our video editor. With three years of visual and graphics editing experience he truly knows how to bring life to all our content.
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Sachin Sharma takes care of Video Editing (OR is the Chief Video Editor). He weaves magic in putting together visuals for a narrative. Adept in most editing softwares, Sachin has sound technical knowledge of his craft. He has varied experience working with different broadcasters.
Pankaj Shukla looks after Graphics & Designing. He is responsible for the look and feel of every production at Banyan Infomedia. Through his GFX skills, he elevates every narrative into an eye catching yet informative piece.
Pushpendra Chauhan takes care of Production and Graphics. With his excellent management skills, he delivers productions on time, every time. Having worked with news channels, he understands deadlines and sticks to them.


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Batavia Performing Arts Studio presented a tale as old as time, Beauty and the Beast, on February 3-5, 2023, at the Butler Succop Theater.
Based on the smash hit 1991 Disney animated feature and dating back to a late 18th-century classic French fairy tale, Beauty and the Beast tells the story of Belle, a beautiful and intelligent young woman who feels out of place in her provincial French village. When her father is imprisoned in a mysterious castle, Belle’s attempt to rescue him leads to her capture by the Beast, a grisly and fearsome monster who was long ago trapped in his gruesome form by an enchantress. The only way for the Beast to become human once again is if he learns to love and be loved in return. There is a time limit, too: once a magical rose loses all of its petals, all hope will be lost, and he will stay a Beast forever. The Beast’s enchanted household–populated by such beloved characters as Mrs. Potts, Lumiere, Cogsworth, and Chip–watch anxiously as Belle and the Beast grow to understand and befriend one another. Their feelings grow ever deeper as the clock ticks and petals continue to fall off the enchanted rose–will they confess their love for one another before it is too late?


Here are the acting performances which I appreciated most this year. I don’t limit the number of performances on my list, rank them against each other, or subdivide them by gender, leading or supporting roles. I list these actors grouped by films alphabetically.
At Eternity’s Gate
Mr. Dafoe plays Vincent van Gogh brilliantly, and director Julian Schnabel keeps the camera fixed on his face through all his emotions, to great effect. There is also a fine supporting cast, each of which do not have a great amount of screen time, but are used well – Oscar Issac as Paul Gauguin and Rupert Friend as Theo Van Gogh are especially noteworthy.
Tim Blake Nelson
The Ballad of Buster Scruggs
The opening chapter of the film features Mr. Nelson as the titular character, a singing cowboy with a Coen twist, and the film couldn’t have a better launch. As with most Coen films, it is stocked with great performances, but Nelson coming out of the gate so strongly stood out for me.
A deeply moving story of a son’s struggle with addiction and his father’s attempt to cope, based on the paired memoirs of Nic and David Scheff. Chalamet is startlingly fantastic as the drug ravaged Nic, bringing depth and nuanced emotion to the portrayal. This actor is far beyond most anyone in his generation. Steve Carell is also good in his restrained depiction of David.
Mr. Malek owns the lead role so much it’s eerie, and he has a nice cast around him, even though the film is formulaic and cliché. If you are new to Malek, please check out his TV series Mr. Robot.
Ms. Melander is hidden beneath prosthetics which make her appear troll-like, but her acting ability shines powerfully through and there is never a sense of caricature. That she crafted such a real character despite the challenges is praiseworthy.
Richard E. Grant & Melissa McCarthy
Can You Ever Forgive Me?
Both performances are note perfect and worthy of their Oscar Nominations. I especially liked Mr. Grant’s work here in crafting a character which is pretty much a loser but does it with such pizazz that it’s great to watch. His scenes brightened the film.
Joanna Kulig & Tomasz Not
Both actors deliver as the lead characters, a hot and cold couple with far more than romantic issues to deal with as artists in Cold War Poland. Ms. Kulig is especially powerful and luminescent.
Jonah Hill & Joaquin Phoenix
Don’t Worry, He Won’t Get Far on Foot
Cast against type, Mr. Hill is quietly strong in a supporting role as the 12-step sponsor for Joaquin Phoenix’s addicted lead character. It took me several minutes to realize it was in fact Hill, a testament to how different he looks and acts compared to previous roles. Mr. Phoenix is strong, as always, and his performance here and in You Were Never Really Here makes for an especially noteworthy year.
Ms. Fisher carries the film appearing in virtually every scene, and her work makes the film hum. A performance which reminded me of other great embodiments of the teenage experience, like Abigail Breslin in Little Miss Sunshine, Ellen Page in Juno, and Saoirse Ronan in Lady Bird.
Olivia Colman, Rachel Weisz & Emma Stone
The three lead performances are absolutely great, worthy of their respective Oscar noms, and Ms. Colman as Queen Anne tops them all. She plays ridiculous to sublime with equal grace. Masterful work.
Mr. Hawke’s performance is at the center of the film and reflects the conflicting, confusing and disturbing state of the character and theme. Whew! Listen to the Podcast
Ms. Collette excels in her role in this disturbing horror film, always keeping us guessing as to the authenticity of her character’s reality.
Kathryn Hahn & Paul Giamatti
Mr. Giamatti and Ms. Hahn are the leads in this fantastic cast which also includes fine performances from John Carroll Lynch, Molly Shannon and Kayli Carter. This is an uncompromisingly authentic depiction of a marriage at the center of the agonizing mess of trying to become pregnant, and these two performances couldn’t be more real.
A Private War
Ms. Pike gives a great performance as war correspondent Marie Colvin in a film from which I was left wanting. The film might be overlooked, but I can’t do the same for Pike. And yes, she is a badass in that eye patch.
Don’t let the fact that Mr. Jandreau’s performance is due more to his real life as a rodeo cowboy rather than an actor fool you. His work is perfect for the film and goes beyond just being himself. Director Chloé Zhao cast some of Landreau’s family, friends and fellow cowboys, and it all works really well. Read the Full Post
Ms. Aparicio gives the signature performance in one of the finest films of the year. Nominated for a Lead Oscar, along with costar Marina de Tavira for her supporting work, Ms. Aparicio is the first indigenous person to achieve that nomination, and being first should take nothing away from her powerful work.
Sakura Andô & Lily Franky
Ms. Andô as the ‘mother’ and Mr. Franky as the ‘father’ are my two favorite performances in a film for which the entire acting ensemble playing the family should receive praise. Just an exquisite subtlety in the work that I will not soon forget.
Bradley Cooper & Lady Gaga
A Star Is Born
Mr. Cooper’s acting is really brilliant and evidence of his impressive range. His drink and drug torn musician could have been played as cliché, but there is real depth and humanity to the portrayal. Gaga is also very good, but suffers a bit from the weaker writing of her character.
Another incredible performance by Ms. Theron as she dives deep into her character’s struggle with motherhood, marriage, self worth and reality. I’m pretty sure there is no role Theron can’t play, and do it really well.
Spanning the life of Dick Cheney from young man to his retirement was no small task, and doing it so faithfully that I forgot Mr. Bale was behind the prosthetics is impressive. Bale’s is the definitive performance in a handful of noteworthy ones, especially Amy Adams as Lynne Cheney, Steve Carell as Donald Rumsfeld and Sam Rockwell as President George W. Bush.
Another outstanding Lead Oscar nominated performance from Ms. Close as the woman behind the man having reached her tipping point. Jonathan Pryce is also very good, but this is her film.
Ms. Mulligan’s portrayal of a woman’s growing dissatisfaction with her life and the stumbling steps she takes toward fulfillment is at the heart of this family drama that also has great performances from Jake Gyllenhaal, Ed Oxenbould and Bill Camp. Co-writers Paul Dano and Zoe Kazan have crafted complex characters in real situations, and Mulligan makes her Jeanette an authentic character. Read the Full Post
You Were Never Really Here
Another chilling character for Mr. Phoenix who brings his vast skills and sensibilities to the role. He crafts a man who is difficult to embrace and whose actions are horrifying, yet couched within the complexity of a multi-dimensional person who has a good side. Is there anyone who plays brokenness as effectively as Phoenix?
Here are other worthy performances that just missed making my list:
Michael B. Jordan in Black Panther
The ensemble in A Bread Factory, Parts One & Two
Ben Foster & Thomasin McKenzie in Leave No Trace
Regina King in If Beale Street Could Talk
The ensemble in The Death of Stalin
Rachel Wise & Rachel McAdams In Disobedience
Geoffrey Rush & Armie Hammer in Final Portrait
Emily Blunt in A Quiet Place
Regina Hall in Support the Girls
Olivia Cooke & Anya Taylor-Joy in Thoroughbreds


Short answer: Yes.
In the spirit of reminiscing on old posts while planning content for the upcoming year, here's a post I love, resurrected from an old blogspot account, written during my days as a graduate student at UIUC in 2011. Steve Martin is a Swiss Army knife of an artist, inspiring as an actor, comedian, musician and… Continue reading Steve Martin and An Object of Beauty
Even in disbelief you take a leap of faith. So says Ray Nelson, the fictional atheist-confidant of Lee Strobel in the movie, The Case for Christ. I finally watched this movie when I had a few hours to myself. As far as movies go, I thought the film was entertaining. The acting was a little… Continue reading Flipping the script: The Case for Christ movie
To kick off a new lecture topic, my squirrely Dustin Hoffman-esque Religion and the Arts professor once declared, “Art is a vehicle for the numinous.” Anyone else think that phrase is oddly profound? Numinous is defined as “having a strong religious or spiritual quality, indicating the presence of a divinity.” So what my professor advocated… Continue reading The rumour going round the shop


1.The Black Stallion.
This classic, epic film follow a shipwrecked man and a wild stallion that he befriends and eventually races when the two are rescued.
Based on a child’s novel of the same name, most of the scenes were filmed using a champion Arabian named Cass Ole.
A story about a cowboy distance rider racing his mustang against purebred Arabian horses.
Although there has been some controversy about how factual the finer points of the plot are, the film is nevertheless a classic Hollywood action film about a man who has a real bond with his horse.
3. War Horse.
Directed by Steven Spielberg and adapted from a novel, War Horse follows the story of a young man who finds, tames and befriends a horse until they are unwillingly parted. The story then follows the horse as it travels through the war, meeting and leaving an impression on everyone it meets.
The film is long, though, at 2 and a half hours, so that’s something to keep in mind before your commit yourself. The story was also told through a stage play that was well received.
This film centres on the actual racehorse named Seasbiscuit, an undersized thoroughbred that was never expected to have any success in racing.
The story captured the heart of the world during the Great Depression, when stories of underdog success were something the people needed. Decades later, the story remains inspiring, and has become one of the most famous equestrian films ever created.
5. The Horse Whisperer
Directed by and starring the ultimate Hollywood star Robert Redford, this is another timeless classic.
Redford plays the part of a horse trainer with an uncanny ability to understand horses. He is called in to help a teenager (played by Scarlett Johansson) and her horse get back to riding fitness after they suffer a tragic accident.
An animated film starring Matt Damon as a wild mustang, the story is all about a horse that cannot be contained. Although defying the human’s attempts to break him, Spirit is still willing to develop a close friendship with the humans he cares about most.
7. The Silver Brumby.
Filmed in Victoria, Australia and starring Russel Crowe, the film tells the story of Australia’s wild brumbies. When released overseas, the film was renamed The Silver Stallion, as it was believed international audiences wouldn’t recognise the term ‘brumby.’
8. Wild Hearts Can’t Be Broken.
A film unlike any other on the list, the story follows a woman who rider diving horses; horse that run up large platforms and jump off them into water. Diving horses were a popular attraction in the 1930s.
The film is based on a memoir by the rider depicted in the film. She lost her eyesight after a riding injury, but continued to ride while blind.
A Disney film about the life and experiences of the thoroughbred racehorse Secretariat. The film’s cast is largely made up of unknown actors and actresses, but the film was very successful on its release.
Based on the classic children’s novel My Friend Flicka, the story had been transformed into a film in 1943, and also into a 39 episode television series in the fifties.
The story has always resonated with young readers and viewers and is one of the original, classic equestrian stories.
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Shed Extensions: Everything You Need To Know
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If you’ve already invested in a shed, the best way to expand is often to add an extension. This is a great, cost-effective way of scaling up your operations while staying within a budget.
View below shed extensions of some of our past projects.
Steel Sheds: Safety Structures
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We are dedicated to detailed, reliable, and perfectly engineered structures.
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