She-Ra and the Princesses of Power is possibly the most LGBTQ+ friendly show I’ve ever seen. To summarize, She-Ra and the Princesses of Power is a remake of a popular 90’s He-Man spin-off. The new show has absolutely nothing to do with He-Man. Instead, the main character Adora is a soldier for the evil Horde, who finds a magic sword in the forest and becomes She-Ra. She then learns that the Horde is evil and helps unite the princesses in a rebellion against them. It is an epic tale of friendship and love. This show has the most LGBTQ+ representation I’ve seen in a show so far. In this show, nobody really has to come out or worry about acceptance because the world they live in is pretty accustomed to non-straight or cis characters.
One of the things that makes She-Ra so LGBTQ+ friendly is the diverse representation of the LGBTQ+ community. As far as I know, there are only two or three straight characters in the entire show and two of whom are married to each other. In particular, I really like how the show doesn’t make a deal out of characters who are LGBTQ+. They even made Adora, the main character, a lesbian. This character has one of the best enemies-to-lovers storylines I’ve ever seen. They also have a large variety of sexualities and gender identities, including (but not limited to) non-binary, trans (confirmed outside of the show), and polyamorous characters. Pretty much no one in the entire main group of heroes is straight. In most other cartoons that try to be LGBTQ+ inclusive, they tend to include at most two LGBTQ+ side characters, such as two same-sex parents, which is an admirable step towards inclusion. She-Ra went leaps and bounds past this mark.
Another thing that makes this show even more amazing is that it absolutely demolishes a lot of common tropes. It destroys the “token gays” trope by only having three straight characters instead of only two or three LGBTQ+ characters. The “token gays” trope is when TV shows or movies try to be diverse by adding an average of one LGBTQ+ character. Instead of burying their gays, the show kills a straight character. The “bury your gays” trope is exhibited when a show or movie most commonly kills off their LGBTQ+ characters. For example, Castiel, Charlie, and Dean, who are from the show Supernatural, are all LGBTQ+ or heavily implied as such. They all die at least once. I think Dean dies over 111 times over the course of the show. In most shows or movies with main female characters, they have at most two girls to a whole group of boys. She-Ra flips this expectation by making the main group of characters mostly female, with the exception of two male characters. In She-Ra, unlike many cartoons with female main characters, the female characters in this show have a variety of body types. Normally, when shows have female main characters, they tend to hypersexualize them and put them in skimpy clothing that makes no sense in a battle setting. In the 90’s She-Ra show, all of the female characters were oversexualized and wore clothing that would be useless when fighting. However in the new She- Ra show, the only character in a cropped top is a bisexual boy with two dads who actively hates non cropped shirts.
Adora and Catra, two of the main characters, have one of the most well written gay relationships I’ve seen on TV. All of the couples in this show are adorable together, but two of the couples that really stand out to me are Adora and Catra, and Spinnerella and Netossa. The reasons those two couples stand out to me is their relationships are remarkably well written and sweet. Adora and Catra have an amazing enemies to lovers storyline spanning 4/5 seasons. Netossa and Spinnerella are married, and from their first introduction, you can see that they are utterly in love with each other. After they are introduced into the show, they become pivotal characters in the later seasons.
She-Ra is LGBTQ+ friendly/inclusive because it represents LGBTQ+ characters in a non-stereotypical, personality-driven way. In many shows, they tend to make the only personality trait of LGBTQ+ characters the fact that they are LGBTQ+. She-Ra doesn’t do this, it instead gives LGBTQ+ characters actual personality traits that aren’t their sexualities. It also does away with all of the commonly used tropes, like “bury your gays”. The large variety of gender identities and sexualities makes the show easy to relate to for most LGBTQ+ kids and teens watching it. She-Ra includes multiple trans, lesbian and bi characters, including Adora, the main character, who is a lesbian. After taking all of the evidence into account, I now consider She-Ra and the Princesses of Power to have the best LGBTQ+ representation of any show or movie I’ve ever seen.
Editor's note: Madeleine Birke is a teenage member of PFLAG New Orleans. This is her first published article and all of the members thank her for this contribution!


Haunted house gives people a sense of horror and this concept has been used in many movies. Here are the best haunted mansion movies of all times that will scare the hell out of you.
The Freeling’s house in the Steven Spielberg’s movie Poltergeist was scary. Even though it was a new house, creepy things were happening, like the furniture is moving around, people are having hallucinations, etc. It is a very spooky movie and was quite famous.
13 Ghosts (1960)
In this movie, the haunted house was left to the Zorba family by one of their uncle. The house was fully furnished but had 12 ghosts! This movie could be viewed in 3D as well. 3D was a new concept then and audiences loved the feeling of ghosts coming over them!
The Legend of Hell House (1973)
This movie was based on Richard Matheson’s novel Hell House. In this movie, a group of psychic investigators move to a house of Belasco. Belasco was a murderer and his spirit walks around the house. The investigators set up some machines to detect ghosts and that’s when paranormal activities start.
The Changeling (1980)
John Russell, a composure who is seeking solitude to grieve the death of his daughter and wife rents a haunted house. There is a ghost of a murdered child in this house. The ghost pushes John to uncover the mystery behind her murder and take revenge.
A demon is haunting the Oswalt family. Oswalt is a crime writer who moves to this house with his family to write. A terrible crime was committed in this house and he hopes that it will help him write his next book. But things start to get scary soon.
All these movies involve a haunted house and had been very popular after their release. If you haven’t watched these yet, you should!


The Shakespeare Blog has a great post on the production of Hamlet currently going on at the Young Vic in London. For those of us who can’t travel to London to see it, we have to be content just reading about it. It sounds amazing to me. If you want to read more about it, go to this review in The Guardian.
I love the idea of this play because it points out so many interesting things about the character of Hamlet himself. I admit there are problems with it, but let’s concentrate on the good stuff: Hamlet is insane. In fact, he is imprisoned in a mental institution.
Think about that. Go through the play with that in mind. Polonius is no longer an advisor to the King. He is Hamlet’s clinical therapist. The Ghost just may be a figment of Hamlet’s imagination. Sure, he wonder about that in the play, but here, it is highlighted. The Guardian review says this:
But the acid test of any concept is whether it liberates the play and, for me, this doesn’t. It may be intellectually ingenious but its practical effect is to present the action through the prism of Hamlet’s personal anxiety.
But I am left to wonder: why is presenting the action through the prism of Hamlet’s personal anxiety a bad thing, and what exactly does it mean to “liberate” a play, anyway? The Guardian continues:
If the play is the Freudian fantasy of a confined patient, it reduces the other characters to elements in his dream…What you lose, in short, are the play’s politics and the idea that the hero’s troubles are one aspect of a turbulent society initially on a war footing.
Well, yes, I can see that, but the fact is that most of read the play as about Hamlet himself. He is the title character, after all. Our high school English teacher taught it that way. It’s not called The Fall of Denmark or Invade the Danes or something like that: it is The Tragical History of Hamlet, Prince of Denmark. Shakespeare knew what he was doing when he titled the thing, after all. Now don’t get me wrong here. I’m not saying that the play is not about “one aspect of a turbulent society initially on a war footing,” but if we concentrate on Hamlet himself, that’s okay too.
I like the idea of this production, and I hope something like it is performed closer to home, so I can go see it.
If you need more on Shakespeare’s Hamlet, see our Cheat Sheet study guide.


Hmmm, where to start? The quick and easy answer is I liked it… However (and there is always an ‘however’ as you will soon come to realise) I came out of the cinema feeling, I suppose the word is cheated. Something just didn’t sit right. Before I explore my issue(s) with the film (and in accordance with the well understood management tactic of ‘praise – criticise – praise’) I will point out its many amiable qualities.
Would he be choked up..?
The casting was very well done – Kirk, Spock and Bones were very convincing. Zachary Quinto’s Spock was very well done indeed. Sulu and Uhura didn’t quite feel right, however I am sure that they will grow on me over the next instalments (of which I’m sure there will be many*). Chekov was the least convincing of the crew/cast, all I can say is he that he sounded Russian. Scotty, played by Simon Pegg looked and sounded the part, but I have a terrible feeling they will use this character as comic relief from now on, he even has a Disney-esque buddy sidekick (who I’m sure will get up to some hilarious antics!).
The set design was fantastic, with Vulcan being my favourite (I loved the stalactite/stalagmite design with the buildings almost dripping from the stone edifices). The Enterprise was also very well done, maintaining the original identifiable shape but with a few sleek add-ons. My only concern with the Enterprise was the over use of silo storage tanks and huge ‘tubes’ for engineering, giving it a 1940’s battleship feel, it also looked cheap (shining swirling lights on the end of a stainless steel tank is, quite frankly, naff!).
Now for the nasty bit! The plot and its execution was (in the vernacular ‘piss’) poor, this I suspect was because of the underlying direction in which I believe the production team wished to push it. When using ‘time travel’ as a core plot device in a film (or any story for that matter) you have to be very careful with how you handle the ‘time-line’ or ‘time-lines’. The Star Trek franchise has made use of time travel a number of times, it being a central theme in the fourth film ‘The Voyage Home’ (the one with the whales), and in all their travels through time it has always been assumed that time is linear, i.e. you can move back and forward along this time-line but it is always the same line (no splits!). This new film changes all that…
It is the use of a split in the Star Trek history line that I feel is unneeded and unwelcome. This film drives a wedge into the Star Trek universe and splits it in two; one slice being every other film and TV episode ever made, and the other slice being this film (and all future films). It is this disregard to the ‘history’ (both past and present) of the Star Trek universe that I dislike the most. The production team is basically saying: “Forget everything that happened, we have changed it!”.
Don’t get me wrong, I understand why they have done it, it gives them a clean sheet with which they can create whole new adventures. It may even work, and its not as if I’ll be boycotting future film releases. Part of me (probably the anti-trekkie bit) agrees with their decision to do it. However I still think it was unnecessary. There is unlimited scope in the original Star Trek universe to play out future stories. With careful writing you could even build in elements from the original TV series.
Another of the plus points were the occasional nods and winks the films made. Such as the old ‘if you’re in red and heading down to the planet, you’re not coming back’… Or the long forgotten love interest, no not that one, the other one!
All in all I’d give it a 3 out of 5, and I would recommend it to others. A good effort, but could do better next time…


Warning: HUGE spoilers ahead for Candyman (2021) and Candyman (1992)
Anyone who knows me well knows how I feel about Jordan Peele; I physically cannot stop talking about what a creative genius/Renaissance Man he is. After years of forcing everyone I met to watch Get Out and Us, I was naturally thrilled when I heard that he would be working on Nia DaCosta’s sequel to the 1992 horror classic, Candyman. In fact, my excitement was such that it developed into nerves, and as I sat in the cinema waiting for the film to begin, I worried that Peele’s latest project would not live up to my expectations.
My fear was not realized. The film beautifully subverts tropes of the slasher genre, tackling contemporary US race relations while still honouring and furthering the plot of the original film. It is no wonder that DaCosta’s horror debut has earned her a place in Hollywood history as the first Black female director to debut at No.1 in the Domestic Box Office.
The film is a direct sequel to the 1992 original, and follows Anthony, the baby snatched by Candyman in the first movie, as he returns to the now gentrified Cabrini-Green. As Brianna puts it, “white people built the ghetto and then erased it when they realized they built the ghetto.” Aside from on the nose statements such as this one, the film also engages with another, less tangible, type of gentrification- the commodification of Black experience and suffering by White Liberals in the name of profit and virtue signalling. A white gallery curator tells Anthony “dig into that history of yours”, while William says “they love what we make, but not us.”
There is an observable trend in the slasher genre of Black people dying first. Da Costa and Co. turn this trope directly on its head. Here, it is the white inhabitants of the gentrified Cabrini-Green who fall victim to Candyman. If they want the cheap rent and convenient location associated with this area, they will also have to deal with its immortal killer, which seems only fair when you think about it!
Visually, one of the most interesting elements of the film is the use of shadow puppets to tell the stories of Candyman’s various reincarnations. The first time we see the puppets is when Troy is sharing the now-mythicized story of Helen Lyle. Fans of the original film will have noticed that some crucial details have been changed or misrepresented in order to villainise Helen. We can see the hand of the puppet master, or story-teller, throughout, signifying the power held by the person or organization who controls the narrative.
As Da Costa stated in an interview discussing the significance of the puppets, “the teller of the story is just as important as the story itself”. This idea is central to the plot of the film, which ends with an already defeated Anthony being shot to death by police officers. The cops then offer Brianna two alternative narratives, both of them rife with racial prejudice, in an attempt to control the story and avoid criticism, rather than discovering the truth. In a speech reminiscent of one of the original film’s most iconic scenes, Anthony, now fully transformed into Candyman, prophesizes, “they will say I shed innocent blood. You are far from innocent, but they’ll say you were. That’s all that matters.”
While the 1992 film framed Candyman as a villain in the traditional sense, Da Costa’s reimagination interrogates the very concepts of “hero and “villain”. The invitation to “say his name” takes on a whole new meaning within the context of Black Lives Matter protests, and it is difficult not to rejoice in Candyman’s revenge on the cops who shot him. We get a very distinct sense that he is avenging not only his own death but the deaths of countless others killed at the hand of racist police officers.
I could go on for pages and pages about the intricacies of this film, but on this occasion I am going to practice some self control and leave it at this. If you are in the mood for a deep dive into the many levels of meaning, I highly recommend this podcast episode by Homies of Horror.


Patricia & Avraham Ashkenazi and Alma & Howard Laderberg Virginia Festival of Jewish Film present:
A Yom Ha'atzmaut celebration!
- An outdoor drive-in movie.
- In-person Screening: $12 per person. This film contains mature themes and is not appropriate for children.
Schedule of Events:
- 6:30 pm: Parking opens
- 7:30 pm: Cars must be in place for film
- 8:00 pm: Film Start. Reservation required. Immediately following the film, enjoy a conversation with Aulcie director, Dani Menkin.
This film will also be available virtually for those who prefer to view it from the comfort of home.


"Who Cares?" is an exciting new collaboration between The Lowry Theatre, Salford Young Carers, Gorse Hill Studio and Lung Theatre Company (currently Associate Artists with the Lowry).
In their first trailer, the team behind "Who Cares" give you a sneak peek of the work that has been going in to this new piece of theatre.
The countdown has begun for the show itself, which will debut at The Lowry's Quay Theatre on 22nd November. Follow updates on the project via social media, and check out our What's Happening page for more information.


He was sharing his excitement about his all time fav superheroes, Jessica Jones and Luke Cage, coming to the life in the Jessica Jones Netflix show..
HIM:Â She is such a great character. She’s a mess with super powers, but doesn’t want to be a hero. She’s fucked up. She drinks too much, swears too much, sleeps around. She’s violent..gets into fights.. She has so many issues. She’s just all kinds of fucked up.
ME: I like her already. She sounds like my kinda people.
HIM: You’re pretty much her, without the super powers.
ME: So you’re saying I’m all kinds of fucked up?
HIM: Errr.. Â I think hear my phone ringing. (runs away)


I got some T-shirts made the other day with the Department 89 team on them. This led to a discussion on Facebook with an indie author friend about writing a series with a recurring set of characters. She said she couldn’t wrap her head around the idea of writing a series with the same characters over and over.
I, on the other hand, can do a series without breaking a sweat. In fact, it’s one of the easiest types of stories to do. Once you have your characters established, the rest is just gravy.
Look at a book series the same way as you would with a TV sitcom. You set up your cast of recurring characters. You give them their flaws, their faults, and their demons. Then put them in a situation where something is going to happen. Where the conflict and the sparks will light up.
That’s when you have your story.
For me, having to establish different characters for each book and new worlds is just too time consuming. I’d rather set up that world once, and with the exception of tweaking it along the way, just leave it the way it is.
Making a series also increases the chances of a TV show/movie contract and merchandising. Star Wars and Star Trek are classic examples of this.
Of course everybody is different. I know plenty of successful authors who do not write series and would never consider it. But if you look at a lot of very successful authors (Lee Child, Daniel Silva, Jeffery Deaver, Michael Connelly, and so on), you’ll see they established a series and ran with it.
There’s a reason why it works. Because readers want to get emotionally invested in a set of characters. They want characters to inspire them. And you don’t get that with a one-off character you only meet in one book.
It’s the secret sauce of writing, and as McDonalds will tell you, success is all in the secret sauce.


This season the Golden Globes 2018 saw Hollywood actors uniting on the red carpet to make a strong political statement—#TimesUp. Time’s Up is an initiative started by Hollywood’s most influential women, which includes actors, female agents, writers, directors and entertainment executives, to fight sexual harassment across the country. This movement came in as an answer to the #MeToo protest, which saw hundreds of women unite on digital media and denounce sexual assault and harassment. As actors sashayed on the Golden Globes 2018 red carpet wearing all black, in support of the Time's Up movement, they made an equally strong sartorial impact.
Here’s our list of the best dressed celebrities at Golden Globes 2018


I saw Charlie Wilson's War at Bear Tooth yesterday. It was really quite good, but I spent the first 80 or so minutes (of 97) wondering if the movie was trying to make me feel good about the American government's interventions in the Afghan-Soviet wars, or if it was trying to make me uncomfortable.
Much of the movie focused on the horrible plight of the Afghan refuges fleeing Soviet advances. Clearly, this made me feel for those people. The turning and triumphant point in the movie showed Soviets in helicopters talking about life and home and then being shot down by Afghans. The next few minutes of the movie highlighted the number of downed Soviet aircraft in a roll across the screen interspersed through more scenes of exploding planes.
The entire tone of the movie at this point was triumphant and jubilant. Of course I can appreciate all of the reasons people, both Americans and Afghans, had for being excited at this victory. I felt myself buying into the triumph, the excitement, the joy...the feelings of having accomplished something, of a job well done. But I couldn't stop myself from thinking about the fact that this joy meant the loss of sons, husbands and brothers to someone. I suppose it's the same double edged sword that exists in any war.
I suppose that's precisely why I find the thought of war to be reprehensible.
That fact, combined with what I now know, what we all now know, the arming and training of the Muhjahideen by the CIA has resulted to up to present day...it just left me feeling uncertain and uncomfortable. The movie felt so triumphant, but it seemed to be ignoring so much.
HOW WAS I SUPPOSED TO FEEL? And, was it working? I couldn't stop asking myself this question for the bulk of the movie.
And then came the end. Suddenly I realized that I was feeling exactly as I was supposed to, conflicted.
Gust Avrakotos (Philip Seymour Hoffman) was talking to Charlie Wilson (Tom Hanks) about the successes in Afghanistan, and offers him a warning against his enthusiasm: "A boy is given a horse on his 14th birthday. Everyone in the village says, 'Oh how wonderful.' But a Zen master who lives in the village says, 'We shall see.' The boy falls off the horse and breaks his foot. Everyone in the village says, 'Oh how awful.' The Zen master says, 'We shall see.' The village is thrown into war and all the young men have to go to war. But, because of the broken foot, the boy stays behind. Everyone says, 'Oh, how wonderful.' The Zen master says, 'We shall see.' "
Perfect. That was perfect. I have no idea if that conversation actually transpired between the real Gust Avrakotos and Charlie Wilson, but I hope it did. Even if it didn't it was the perfect final turning point in the movie. And it assured me that the confusion I was feeling was exactly what I should be feeling.
This movie was not trying to simply sell me on the glories of American interventions abroad(which, is what I was afraid of, given the current state of propaganda and jingoism in this country.) It was attempting to bring me into the multi-faceted, complex and all too frequenly grin reality that these interventions are, even in the face of triumph.
The movie ended with Charlie attempted to lobby Congress to pay for schools in Afghanistan. Charlie recognized that to do anything else would be to abandoning these people to forces with which neither they, nor we, were at all prepared to contend. But Charlie's efforts were summarily rejected. We all know what happened in the following 20 years in Afghanistan, it's become an integral part of modern American lore. Too bad more people don't recognize, in that lore, the role that the U.S. had in creating that environment...
The final moment was nothing more than Charlie Wilson's words on the screen: "These things happened. They were glorious and they changed the world... and then we fucked up the endgame. "
How true. And how tragic.


The outdated notion that modern man is more civilised than so called primitive tribes should have died with the end of colonialism and imperialism in this world.
But this fallacy continues to thrive in the modern mind and Tamil movie director Vijay emulating the mind set of Edgar Rice Burroughs’ Tarzan tale – is also guilty of this – the way his latest movie Vanamagan is plotted.
Vijay should not have attempted to churn out a comedy from this movie with Jayam Ravi cast as the stereotypical character of Jara, a tribal from the Andaman islands off the Indian subcontinent.
Portraying Jara as a wild man brought out of the jungle and into the city, is an overused cliche and intrinsically unethical.
Just to draw laughs Jara nicknamed Vaasi by his `keeper’, heiress Kavya played by Sayyeshaa acts a brute damaging property and generally behaving like an ignorant savage bewildered by all things modern. (Although in flashbacks it is shown that Jara and his tribe had exposure to modern society in the form of tourists, contractors and policemen complete with vehicles and machines.)
Jayam Ravi has taken the character to heart giving an excellent performance as a Tarzan-like hero although one would wonder how he could be lured into such a politically incorrect portrayal of tribals.
Of course the director tries to exhibit the innocence, remarkable strength, physical prowess and environmental friendly qualities of Jara in several instances as reflective of the tribal communities’ general positive characteristics.
Like his helping to reunite a couple separated by their inability for personal interaction due to over indulgence with the smartphones, saving an injured tiger and protecting Kavya from her guardian, Rajashekar (Prakash Raj), her late father’s friend and his son, Vicky played by Varun.
The theme of the movie plot is noble: the fight against encroachment and destruction of the natural world by greedy industrialists.
And it is high time Tamil movie goers are educated about environmental awareness, the ravage of mother earth by greedy corporations and one’s duty to protect the natural world.
The movie would have been a great hit if Vijay had taken care to develop his plot more creatively instead of borrowing from pre-conceived Western movie notions and cliches.
One of the most disappointing scenes in the movie for me, is the scene of the CGI tiger showing its gratitude to Jara by mauling to death a sizeable team of army and police personnel who had ambushed Jara and his now lover Kavya.
At the end of the movie, a list of endangered tribals all over the world are highlighted for the audience as a public service by the movie makers.
Review by R. Sittamparam


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The 20-year-old William Shakespeare is going through a creative crisis: the deadline for his play is just around the corner but he has no inspiration. But he finds his muse – Viola, who passionately loves theatre and Shakespeare’s creative work. Nothing, not even the English law of that time prohibiting women from acting on stage, or a highborn suitor can stop Viola from going on stage. Backstage intrigues and bartering with marriage proposals, the royal court and the pubs all pulsate in the background while Shakespeare, inspired by the forbidden love affairs of youth, sets down in writing a play that has by now become perhaps the world’s most famous love story, Romeo and Juliet.
The spicy flavour of the Elizabethan era, historical facts and characters, and plenty of references to Shakespeare’s works are in the play. Almost nothing is known about Shakespeare’s (1564–1616) own actual life story during this period (1585–1592), but that only means that the mental picture of the story of the birth of his immortal work can be all the more spirited.
Shakespeare Lives – this year is the year of Shakespeare, since 400 years have passed since his death. Karmo Nigula, who plays Will the beginner playwright, is in his first season as an Estonian Drama Theatre actor, and Viola, who in this play becomes the prototype for Juliet, is played, sung and danced by Piret Krumm. Shakespeare in Love brings the director Georg Malvius and the art director Ellen Cairns back to the Estonian Drama Theatre. Their last joint production here was The Little Shop of Horrors in 2000. Malvius’s first stage production at the Drama Theatre was The Kiss of the Spiderwoman (1996) with Jüri Krjukov and Ain Lutsepp in the leading roles. Lee Hall’s play is based on the screenplay by Marc Norman and Tom Stoppard for the film of the same name (1998).
The first production of this play was in the West End, Disney Theatrical Productions & Sonia Friedman Productions, director Declan Donnellan, art director Nick Ormerod, composer Paddy Cuneen.
Premiere: 27 November 2016 in the Big Stage.
Director Georg Malvius
Art Director Ellen Cairns
Lighting Designer Palle Palme
Composer Rasmus Puur
Choreographer Maiken Schmidt (Tallinn City Theatre)
Stage Fight Choreographers Indrek Sammul and Rein Oja
Translated by Anu Lamp
Cast: Will Shakespeare – Karmo Nigula, in other roles Piret Krumm, Mait Malmsten, Ülle Kaljuste, Indrek Sammul, Christopher Rajaveer, Kristo Viiding (guest), Tiit Sukk, Robert Annus, Liisa Saaremäel, Andrus Vaarik (Tallinn City Theatre), Maria Klenskaja, Marta Laan, Markus Luik, Taavi Teplenkov, Guido Kangur, Hendrik Toompere jr, Jüri Tiidus, Lauri Liiv (guest), Veljo Reinik (guest). Musicians: Tiit Kikas, Peeter Klaas, Villu Vihermäe, Anto Õnnis.
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Celebrate Pride Month with a Great LGBTQ+ Children’s Book!
Jun 16, 2022 by The Editors of Fabled Films Press
We believe that some of the best children’s stories are ones of inclusivity, community, and being yourself. We’ve picked out some excellent reads that highlight the experiences of the LGBTQ+ community—all written by LGBTQ+-identifying authors! This Pride Month, do more than celebrate—read!
Pride Puppy! by Robin Stevenson (she/her), illustrated by Julie McLaughlin (she/her)
Here comes the Pride parade! This beautifully illustrated rhyming alphabet book allows readers to follow a runaway puppy through the diverse, vibrant setting of a Pride parade. (Ages 4-6)
Melissa by Alex Gino (they/them)
Originally published as George, Melissa follows a transgender fourth-grade girl struggling to keep her identity a secret. When she finds out that the class play is going to be Charlotte’s Web, Melissa concocts a plan—not only to land her dream role as Charlotte in the play, but to let everyone know who she really is. (Ages 8-12)
Different Kinds of Fruit by Kyle Lukoff (he/him)
Join sixth-grader Annabelle as her newfound friendship with non-binary student Bailey sets her on a journey of self-discovery. As Annabelle navigates identity, privilege, and inclusivity, she finds herself on a path of reflection and growth. (Ages 8-12)
The Year Shakespeare Ruined My Life by Dani Jansen (she/her)
This YA story follows high schooler Alison Green, a girl determined to become valedictorian who quickly finds herself overwhelmed when she volunteers to put on her school’s production of Shakespeare’s A Midsummer Night’s Dream. Not only must Alison struggle to balance the newfound chaos in her life, but she must also come to terms with her own identity within her friendships, family, and sexuality. (Ages 12-18)
Not only do our picks make great reads for Pride Month, but they can be enjoyed all year round!


All this week, the writers of Christ and Pop Culture unveil their 25 most loved things of 2013.
Previous #10: Pope Francis
#9: Orange is the New Black (Netflix)
Just one season in, Orange is the New Black is gathering huge momentum and ringing endorsements. Based on the memoir of Piper Kerman and set in a women’s prison in New York state, it revolves around Kerman (Taylor Schilling), an upper-middle class woman serving a 15-month sentence for transporting drug money for her former lover and drug dealer Alex (Laura Prepon). Though it has come under criticism for its less than completely accurate portrayal of prison life, it makes up for it with its impressive and diverse female cast, and the depth and believability of its characters. Its women are never caricatures, and their diverse personal histories are treated with respect.
Kerman’s efforts to survive in prison make for an absorbing (if not completely original) clash between upper-middle class mores and the seedy power-grabbing of the underworld. How the series continues to develop that clash, and whether it can resist the temptation to abandon those themes and devolve into a prison soap opera, are questions that will define it’s impact.
Orange is the New Black’s treatment of gender, class, and race has caught the attention and admiration of critics, and it has the quality of writing and acting to justify its early momentum.


Okay, so last night I saw Wonder Woman (my 12-year-old son’s choice for his birthday). It was fantastic, but something happened during it that I didn’t expect. I mean, maybe I should have? But I didn’t.
There comes a point in the movie a little ways in during which she rises — both to the occasion and literally into the shot on the screen — and I got chills. Tears pressed into my eyes and stayed. I just…it really hit me that I was seeing the origin story of a female superhero in a way I had never seen before.
I watched the Wonder Woman television show as a kid. But the rest of my life was watching/reading about male superheroes. Yes, there have been some films about strong women, and there have been great women in those male-centric superhero stories, but she genuinely was the star of the show here. It was HER story. She was always on screen. Even when she was quiet, people were turned to her, following her lead, putting their faith in her. She carried this movie. Diana Diana Diana, in her very own 2 hour, 21 minute feature film.
Anyway, it hit me that I was seeing something for the first time. I’ve watched all the guys’ and their male enemies’ origin stories play out in one way or another over the years, but this one was unapologetically Her Story.
And I felt it.
The little girl who was familiar with the tangible ache of a lack of representation, a lack of enough people agreeing that a woman’s hero story could be just as interesting and valuable as a man’s, was now a grown woman watching her daughter and son have their norm shifted from what hers was at their age to something so much better.
And I felt so truly, fully grateful for it.
ME IN MY RED WONDER WOMAN UNDEROOS, WHICH MY MOM DID NOT KNOW I WORE UNDER A WHITE SHIRT ON SCHOOL PICTURE DAY. 1980, AGE 4 1/2.
As for the movie, itself? It was kick-ass awesomeness. Full of action with the perfect amount of humor, darkness, and heart. It shows that kindness can fuel strength in a way not much else can. Go see it right now. Not sure whether to take this kids? This is a great guide to help you decide.
And a little more food for thought: A woman (Patty Jenkins) directed this movie, which currently has a 93% score on Rotten Tomatoes, making it one of the highest-rated superhero movies of all time. That, combined with an opening weekend of $101.4M (cha-CHING!), could possibly kick open more doors for female directors on big-budget films, and female-centric movies, period, which sounds pretty wonderful to me.
(I should note that Catwoman was technically an origin story in theory, but it was missing so many things. When I watched it, I didn’t get the same feelings I got with Wonder Woman. It felt more like something gratuitous by men for the pleasure of other men, rather than a genuine character film. So even though it’s about a woman, it wasn’t for her or the females who may have seen her as a hero, and the focus wasn’t on her origin at all, really. Making it — in my book, at least — not really count as a pure origin story film. Now, in comparison to WW, I think we all can see that they could have done so much better by her if they really tried. Let’s hope that from now on they do.)
Kim Bongiorno is an author, full time freelance writer, and the blogger behind Let Me Start By Saying. You can find her on Facebook and Twitter, hire her to write for you or speak at your event, or buy her cotton candy because that stuff is delicious.


Bernier/Eliades Gallery is pleased to present the first solo show of the award-winning filmmaker Kahlil Joseph.
Kahlil Joseph has worked with some of the most influential artists in music, including Beyonce, Kendrick Lamar, Seu Jorge, Shabazz Palaces & FKA twigs. One of several collaborations with Shabazz, Black Up, was included in the Ruffnecks exhibit at the ICA and was also selected by Kevin Jerome Everson for his screening, Through the Lens of the Blues Aesthetic, at the Whitney Museum of Art in 2013.
Joseph’s body of work falls somewhere between music videos and short films. Though they are definitely works of art, they’re usually watched on a laptop on Vimeo and on museum walls.
His works are gorgeous but unsettling, meant to reflect the underlying instability that threatens to erupt any day or moment. His camera gracefully travels through ordinary life scenes, erupted by scenes of violence and then there are moments of magical realism. Like MOCA’s chief curator Helen Molesworth said for Kahlil’s work m.A.A.d: “I encourage you to let that piece wash over you. I watched it three times in a row and when it was done I felt like I needed to swim to the surface to come up for air.”
In his first solo show at Bernier/Eliades, the artist will present three films:
m.A.A.d., a collaboration with musician Kendrick Lamar, which evolved from a short film into a two-screen video installation in 2014. It is a lush portrait of contemporary Compton, California. The camera sinuously glides through a predominantly African American neighborhoods capturing quotidian scenes hovering between the real and dreamlike. The dual screen installation was originally exhibited during The Underground Museum’s group show, The Oracle. It was then acquired by the Museum of Contemporary Art in Los Angeles, during their 2015 season, for an exhibit entitled, Double Conscience, which was Joseph’s first solo major museum show. In June 2016, the Bernier/Eliades Gallery exhibited m.A.A.d. at Art Basel Unlimited.
Nooksie & Janet, this two screen film installation was originally filmed in Grasyon, Oklahoma in 2012 as part of a London based commission the artist received. The core of this work is not based on a rodeo at all but rather on the spirit of woman named Janet who passed away only months before filming, and on her husband and life partner, Nooksie who founded the rodeo in the early 1970’s. This version of the work is the first time it has ever exhibited. The film’s music is composed by Flying Lotus.
Until the Quiet Comes, an arresting, visually sensuous portrait of life in one of LA's most well known housing apartment complex, Nickerson Gardens. It is a beautifully shot, evocative short film which received widespread critical acclaim and won the Grand Jury Prize for Short Films at Sundance Film Festival 2013 and Video of the Year at the UKMVA’s in 2013. The film was also included in Kara Walker’s celebrated exhibit, Ruffneck Constructivists, at the Institute of Contemporary Art in Philadelphia in 2014. The film’s music is composed by Flying Lotus.
Born and raised in Seattle in 1981, Joseph migrated to Los Angeles in 1999 to attend Loyola Marymount University, where he studied television production. After university, Joseph embarked on a tutelage under accomplished directors, cinematographers and artists, including Malik Sayeed and Arthur Jafa.
He has participated in several group and solo exhibitions and film festivals: 2015 Toronto International Film Festival, World Premiere, Toronto, Canada. Marfa Film Festival, Marfa, Texas. Double Conscience (solo show) Museum of Contemporary Art, MOCA, Los Angeles. Music Video Festival, São Paulo, Brazil. 2014 The Oracle (group show) The Underground Museum in Los Angeles, CA, curated by Noah Davis.
Founded in Athens in 1977, the BERNIER/ELIADES Gallery has always been at the forefront of contemporary art in Greece. Jean Bernier and Marina Eliades have introduced a number of artistic movements such as Art Povera, Minimalism, Land Art and Conceptual Art to the Greek public, focusing also on young American and European artists. In April 2016 they opened a new space in Brussels.
Gallery is open Tuesday- Friday, 10:30-18:30. Saturday, 12:00-16:00.
More information: Bernier-Eliades


Agnese Rutkēviča, born in 1988, also known by her pen name Anna Foma, is a Latvian poet, prose author, and playwright. Agnese Rutkēviča has studied Thetatre at the Culture Academy of Latvia, as well as drama and directing at the Ludwik Solski Academy for the Dramatic Arts Kraków, Poland. Rutkēviča has participated at the poetry and prose writing workshops at the Literary Academy, organized by the Latvian Writers' Union. As an actress, she has also performed in various theatre plays, participated in international drama forums. Her story Melnais uzvalks [The Black Suit] earned her the main prize at the Prose Readings Festival 2011. Her first book of poems Jaunā Vāgnera klusēšana [The Silence of Young Wagner] was published in 2013 by Mansards.
Vietām cilvēki [People in Places]. Riga: Jāņa Rozes apgāds, 2020.
Jaunā Vāgnera klusēšana [The Silence of Young Wagner]. Riga: Mansards, 2013.
About Poeple in Places // Online magazine Satori, 2020 [LV]
Laligaba nomination for The Silence of Young Wagner // Laligaba.lv, 2013 [LV]
Conversation with Agnese Rutkēviča // Diena.lv, 2014 [LV]
Audio conversation with Agnese Rutkēviča // Latvijas Sabiedriskie Mediji, 2014 [LV]
Story about a blue tank // Online magazine Satori, 2012 [LV]
Anna Foma, poems // Jaunā Gaita No. 267, 2011 [LV]
Agnese Rutkēviča, writer's profile, articles for Diena // Diena.lv [LV]Reviews
Katrīna Kuduma, Vāgners un daudzi citi, review of The Silence of Young Wagner // Jaunā Gaita No. 272, 2013 [LV]
Artis Ostups, Kas šeit notiek?, review of The Silence of Young Wagner // Diena.lv, 2012 [LV]
Silvija Radzobe, review of the play "My Poor Father" // Online magazine Satori, 2013 [LV]
2013, nominated for the Annual Latvian Literature Award for best debut, for The Silence of Young Wagner
2011, Prose Readings Festival, main prize for story The Black Suit


First Assistant Editor/ Editor (online content)
The Tunnel is a gripping new thriller from the makers of Broadchurch, set against the backdrop of Europe in crisis.
When a prominent French politician is found dead on the border between the UK and France, detectives Karl Roebuck (Games of Thrones Stephen Dillane) and Elise Wassermann (Harry Potter’s Clemence Poesy) are sent to investigate on behalf of their respective countries. The case takes a surreal turn when a shocking discovery is made at the crime scene, forcing the French and British police into an uneasy partnership.
Kudos/ Canal+/ Sky Atlantic/ 2014


Saturday, November 29, 2008
Boasting the names of Jenna Jameson and Robert Englund, Zombie Strippers looked like it could legitimately be a good time. It almost was. Englund was a ham as usual, I can’t get enough of him and Jenna was Jenna, hot and naked and then she turned into a zombie. She was still hot but by the end of the movie, not so much. It started off really bad, the Z-Squad; terrible. Then we get to the strip club, and things start looking up, in more ways than one. There’s a whole lot of dancing and overacting and catty strippers, than catty strippers turn into catty zombie strippers. The movie then gets really boring and just plain weird, Zombie Strippers can spin around the poll at amazing speeds and shoot eight balls out of their change purses, I did not find any of that to be as fun as it sounds. Aside from Englund the acting is piss poor, with the exception of Jeannette Sousa who plays a stripper so well you’d think she really was one. I can’t recommend this. If you’re really into Zombies, then maybe, if you’re into strippers, you could get away with watching the first half of the movie than walk away. This was disappointing…but not as disappointing as Automaton Transfusion.
Hmmm. Yeah, what to say about this one…well, I’ve seen worse, certainly seen better. I made it to the end and for what…for some asshole to cut the film short and slap a “to be continued…” at the end? Man, I hated that. It was bad enough that the movie had a terrible filter over the whole thing, adding grain and pushing the color levels way out of bounds. It seemed like they tried to compensate for a lack of lighting and said “oh, we’ll just fix that in post” good job. The gore was done pretty well. The story had as many holes as a slice of Swiss cheese and I don’t like Swiss, which helped to make the cast seem worse than they were. Honestly, they weren’t that bad, they were B-grade, but not bad. The characters were okay, they were believable, did plenty of stupid shit, like driving into the woods to avoid running over a few zombies, they didn’t even have to hit them; they could’ve just driven around them! Horseshit! My head hurts just thinking about it and my eyes are all fucked up from the stupid filter. Does no one learn? KEEP IT SIMPLE. Don’t bite off more than you can chew. I wish I watched a better movie, don’t make the same mistake, don’t waste you’re time on this nonsense.
Friday, November 28, 2008
The Shield aired from 2002-2008 on the FX Network (at least for The United States). The show was controversial from its onset and I’d like to say that I believe it was till the end. Though not every episode was great, and some seasons were better than others, as a whole the series was nothing short of spectacular and it saddens me to see it go. The last two seasons were perhaps the best of the series and the finale actually left me speechless, so as sad as I am to see the show go, at least it ended with the same flare and style and integrity that fans and I have to come to know and love. If you’ve never seen the show, you’ve missed out. Here’s a link to FX’s site for the show: http://www.fxnetworks.com/shows/originals/the_shield/#Nav/Home or you can click the title of this post which is linked for you.
Monday, November 24, 2008
Possibly the “buzziest” horror movie of the year, The Strangers was a box office Grand Slam. The films initial trailer was disturbing and intriguing, though I wanted to see this in the theatre, I held off till it hit DVD. I let the buzz die down and went in with a tiny bit of expectation. I was not disappointed. It was a calculated character piece that carefully and slowly stepped toward its inevitable conclusion. For the most part, the characters James Hoyt and Kristen McKay (played by Scott Speedman and Liv Tyler, respectively) do not make any stupid choices; they rarely fall into the usual stereotypes, which is what makes this movie much more moving than films of the same ilk. The scares and horror of the film are delivered using tension, timing, and sound instead of cheap cuts and quick editing and loud noises. The Strangers uses subtleties often missing in much of modern cinema fare, like character development, symbolism, and conventional filmmaking. This is how to make a horror movie; it’s almost a textbook for aspiring filmmakers. While I loved the movie it was nothing new, or original, which is fine, I wasn’t looking for that, I was looking for a scare and it gave me one. I was looking for creepy cold-hearted villains and this had three of them.
Tuesday, November 18, 2008
Following directly after the events of the first film, Feast 2 follows the monsters to a nearby town where havoc and hilarity ensue. Survivors of the first film and town locals must band together to survive until an armored convoy can rescue them. My complaints are few, one of them being the creature designs, which was a gripe I had with the first flick and the films ending which might not be so bad once the third installment comes out. Complaints aside, this movie is just good gory fun, biker chicks, midget wrestlers, baby throwing, monster sex and mayhem. It feels like a Troma movie with a big budget, part Class of Nuke’em High part Pumpkinhead but fully entertaining.
Tuesday, November 11, 2008
Monday, November 10, 2008
Friday, November 7, 2008
Wednesday, November 5, 2008
Written by Kevin VanHook; Art and cover by Tom Mandrake and lettered by yours truly. I fought to get this book and I get excited with each issue I work on. I'm currently lettering issue five and only have one more to go until the series is finished. The creative and editorial team on this book have been nothing but a pleasure, Tom, who is an amazing artist is just perfect for this kind of book, check out more of his work here: http://www.tommandrake.com Kevin has scripted a very fun story for genre fans and Lovecraft fans to enjoy and hopefully sink their teeth into. Harvey Richards and Michael Siglain know how to bring it all to a focus and have given me the freedom to create a look for the lettering truly unique to this book. You can check out a preview of the book here: http://www.dccomics.com/dcu/comics/?cm=10328 or by clicking the title link.


|Genre||Action, Comedy, Drama||Actor||Beom-su Lee, Hyeon-yeong, Ji-ho Oh, Qi Shu|
|Director||Jin-gyu Cho||Country||China, South Korea|
6.4 /10 from 1000 users
|Release||28 Dec 2006||Duration|
When Aryong, the daughter of a triad boss from Hong Kong is accused of killing the boss of a competing triad, she is goes into hiding in Korea. Upon arriving, she is guided by a nimble but loyal Gi-chul and his motley crew, who are assigned to protect her until her return.


SPEAKEASY WITH PAUL F. TOMPKINS: MICHAEL SHEEN
What a pleasure it was to chat with the amazing actor Michael Sheen, O.B.E.
It’s always fun with this guy.
VARIETOPIA WITH PAUL F. TOMPKINS
March 29, 2014
Paul invites actor Michael Sheen to the Varietopia stage to pitch him a dynamite new film idea.
Next show: Friday, June 13th


Film and Music Streaming
There's a new wave of sites offering film rental and film streaming. It's easy to order Blu-ray and DVD rental online, and even easier to stream it over the internet straight to your TV, appliance, Blu-ray/DVD player or PC. It's important to have things on the TV that you actually want to watch. Free services such as BBC's iPlayer, itvPlayer, 4oD and Demand5 could be much of what you want to watch (new TVs and appliances increasingly feature iPlayer and one or more of the others). Subscribing to a film rental or streaming site can provide quick and easy access to films on demand and can replace actually buying films on Blu-Ray and DVD.
Many sites stream films, some of these offer a subscription service (NetFlix and Lovefilm) whereas others offer a rental model (Acetrax, and Lovefilm too). Lovefilm and Blockbuster offer subscriptions that post you Blu-rays/DVDs, which is very useful to cheaply get reasonably recent films with excellent picture quality. Postal subscriptions can be as good as a 2-day turnaround - you send your Blu-ray, it arrives and a new Blu-ray is posted out the next day for delivery 2 days after you sent it. Subscriptions with blu-rays can offer
The cost of a renting a film tends to depend upon how recently it was released. Films that were recently at the cinema are generally only available on a pay-per view basis. Slightly less recent films start to be available on Blu-ray or DVD, and older films can be available on subscription streaming.
to help make the decision, I'd suggest making a list of 10 films you really want to see and seeing whether you can borrow them on Blu-ray, stream them or whether you have to rent them.
uk-dvd-rental-guide.com/ - ratings and prices for various rental services.


- September 5, 2021
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by Sep 5, 2021 | Film Ahead | 0 comments
Film Ahead is a weekly column highlighting special events and repertory programming for the discerning Camberville filmgoer. It also includes capsule reviews of films that are not feature reviewed.
The Brattle Theatre rolls on this week with its “Tales of the Muppet Diaspora” program, with “The Muppets Take Manhattan” (1984) on Sunday and “Follow That Bird” (1985) on Monday. On Wednesday the Brattle screens the best of the “Star Wars” triple trilogy – and one of its darker chapters – “The Empire Strikes Back” (1980), while Thursday brings one of the weaker entries, “The Return of the Jedi” (1983), in which the furball Ewoks prove as goofy and distracting as the overly loquacious and obnoxious Jar Jar Binks did in “The Phantom Menace” (1999). Come Friday, in conjunction with the Roxbury International Film Festival, the Brattle runs the area premiere of the Nigerian tale “Eyimofe” (“This Is My Desire”) about two strangers making a human connection: Mofe (Jude Akuwudike), an electrician dealing with the fallout of a family tragedy, and Rosa (Temiloluwa Ami-Williams), a hairdresser supporting her pregnant teenage sister. For tickets and information, visit the Brattle’s website.
In theaters and streaming
Covid lockdown films are now a thing. So far we’ve had Anne Hathaway and Chiwetel Ejiofor in “Locked Down” and James McAvoy and Sharon Horgan in “Together” (let’s not forget “Borat Subsequent Moviefilm”), and now this moving anthology from seven directors around the world, whose pandemic vignettes shine through in varying tones. All artfully done, they resonate partly because we’ve all been there. The most wholly affecting is the opener “Life,” by Iranian filmmaker Jafar Panahi, under government house arrest in Tehran, where his camera quietly observes the doings of a pet iguana and a pair of nesting pigeons on a ledge. Then there’s the visit from his 90-year-old mom, who comes to the door in full-on PPE regalia, sanitizing everything in sight before sitting down for a meal. Another nonfictional account comes from Laura Poitras, Oscar winner for the Edward Snowden documentary “Citzenfour” (2014), who through Zoom joins an investigation of an Israeli technology firm specializing in cyberweapons, with some unsettling eye openers about who’s watching and what they can do to you. Also notable is “Dig Up My Darling” from David Lowery (“Ghost Story” and the recent “Green Knight”) in which an unnamed woman (Catherine Machovsky) living out of a car and following instructions from found letters tries to make amends for the past. Many of the other chapters have themes of families in turmoil and transition, especially Anthony Chen’s “The Break Away” – with action filmed in China, yet directed from London over Zoom – and Malik Vitthal’s “Little Measures,” about a father trying to reconnect with his three children scattered in foster homes. From Chile, there’s director Dominga Sotomayor’s “Sín Titulo, 2020” (translation: “No Title, 2020”); the concluding chapter is “Night Colonies” from Thai director Apichatpong Weerasethakul (“Uncle Boonmee Who Can Recall His Past Lives”), something of a “Microcosmos”-esque look at insects. At Landmark Kendall Square Cinema, 355 Binney St., Kendall Square.
An energetic but unnecessarily complex thriller about an alcoholic social worker named Parker (Shea Whigham) who takes on the case of a young girl (Taegen Burns) whose mom, Dahlia, (Olivia Munn) drinks a bit herself and can’t get her kid to school. Parker’s a bit too invested in the case – obsessed, you might say. Things get complicated when Parker loses his job but keeps making visits and Dahlia’s hubby Mike (Zach Avery) gets out of the slammer and executes a murderous drug dealer takedown for a shadowy figure known as Duke (Frank Grillo). The initially quiet psycho-drama jumps deep into the “King of New York” (1990) wannabe realm, but without the killer cast to carry it. Whigham has his moments, but looking so much like Grillo, with the same coif, goatee and stature, it made me wonder for a few go-rounds if Parker was not a double agent of sorts. On Amazon Prime.
Here in director Safy Nebbou’s grim, fateful movie adapted from a novel by Camille Laurens, the ethereal Juliette Binoche (“The Truth,” “The English Patient”) takes on the role of Claire, a complicated 50-something literary professor who plugs a false persona into the Internet to suss out a younger lover (Guillaume Gouix) who’s suddenly gone aloof on her. Her catfish target is her lover’s roommate, Alex (François Civil). What ensues is a complicated love triangle with hidden agendas, deepened by the insertion of Claire’s therapist (Nicole Garcia) into the mix. Nebbou’s nonlinear narrative keeps the viewer off balance with subtly played twist and turns. It’s a film deeply rooted in Claire’s POV, and I can’t imagine another actress as able to carry it off as Binoche, with her long, emotive face, deep soulful eyes and sensual comportment. The film has many raw, explicit scenes to which Binoche applies the same convincing gravitas she did in “Damage” (1992) and “High Life” (2018). Nebbou is wise to keep his focus and camera relentlessly on Claire, as much of the rest of story is so underdeveloped. At Landmark Kendall Square Cinema, 355 Binney St., Kendall Square.
A lo-fi series of vignettes in the mode of “Creepshow” (1982) that’ll tickle the genre bone of those with a yen for the horror-cum-comedy schtick. The four chapters (three about filmmaking), narrated by a devilish bum (Jeff Briggs) include “The Agent,” about an alcoholic screenplay agent who gets trapped inside a script handed to him; “The Entertainer,” in which a dead loved one resides in a coffee table; “The Cameraman,” about a wannabe documentary filmmaker whose reluctant subject turns on him; and “It’s My House,” in which a commodities broker dupes an elderly couple out of their life savings and there’s eerie retribution to pay. It’s all done tongue-in-cheek and gets a big push from Briggs’ merry court jester of doom. On Amazon Prime.
With the ominous 20th anniversary of the 9/11 terrorist attacks, Netflix drops this intriguing footnote starring Michael Keaton as Brockton attorney Kenneth Feinberg, the attorney tasked by Congress to head the 9/11 Victim Compensation Fund. Sounds simple, but as the title implies, different lives have different worths; $14 million for a CEO, $300,000 for a janitorial worker. You can only imagine some of the outrage: “My son was boots on the ground as a first responder – he’s not worth as much as a guy pushing a pencil in an office?” Much of the opposition to Feinberg’s algorithm gets voiced in the form of Stanley Tucci’s widower and community organizer, Charles Wolf. The actors imbue their characters with nuanced compassion and humanity in a moving story that captures the grief and outrage of the families of those who perished on that tragic day. Keaton dons a Bahston accent convincingly, as he did as a Boston Globe editor in “Spotlight” (2015). On Netflix.
Tom Meek is a writer living in Cambridge. His reviews, essays, short stories and articles have appeared in WBUR’s The ARTery, The Boston Phoenix, The Boston Globe, The Rumpus, The Charleston City Paper and SLAB literary journal. Tom is also a member of the Boston Society of Film Critics and rides his bike everywhere.
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Full musical soundtrack CDs available on request. Please contact us for our promotion packages.
Transforming a haunting tale of human greed and fickleness into a romantic and enthralling musical thriller, VBW’s outstanding adaptation of Friedrich Dürrenmatt’s timeless literary classic THE VISIT will guarantee one of the most exciting and unique musical experiences ever to be enjoyed.
The bankrupt Swiss town of Güllen is looking forward to an extraordinary event: Claire Zachanassian, a tremendously wealthy multibillionaire and the richest woman in the world, will soon be paying a visit to the ailing city where she used to live as a young girl many years ago. Preparing to welcome the city’s most renowned citizen, the residents are counting on imminent relief from their financial straits, having heard a great deal about Claire Zachanassian’s generous charitable activities. Everyone’s hopes are placed on Alfred Ill, a local shopkeeper intent on using his former relationship to Claire Zachanassian to the town’s benefit, counting on the fact that once, in his youth, he used to be a friend and lover of the fabled billionaire. Yet events take an unexpected turn upon Claire Zachanassian’s arrival: driven by old feelings of revenge towards Alfred, she holds out the prospect of a donation of two billion euros only under the condition that he be brought to justice – and that he die for the crimes he once committed.
With THE VIST, VBW brings a piece of world literature as an opulent musical thriller to the stage. Producing, of all plays, this particular tragicomedy as a musical has proved to be an exciting task for the entire creative team, especially since Friedrich Dürrenmatt’s acrid satire on human greed and fickleness as well as the dark and contradictory aspects of love has lost none of its relevance. On the contrary, it has gained even more actuality since its stage debut in 1956. Building upon the original play’s acrid moral core message and drawing striking parallels to present-day socio-political issues such as the recent global financial crisis and spectacular current banking scandals, VBW’s writing team Christian Struppeck (book), Wolfgang Hofer (lyrics), Moritz Schneider (music) and Michael Reed (music, arrangements and orchestrations) have transformed Friedrich Dürrenmatt’s surprisingly timeless tale of love’s twisted ways into a poignant yet romantic and sensuous modern musical thriller that has rightfully earned enthusiastic critical and public acclaim right from the onset.
Focussing not only on Dürrenmatt’s disillusioned view of humanity but most of all on the underlying romantic context between the two main protagonists and their dark and twisted love story, THE VISIT raises a wealth of uncomfortable underlying issues. With its tagline “two billion euros – how far would you go?” THE VISIT poses a powerful question: can money buy justice? Are moral codes just fragile values, all too easily prone to be corrupted by power and wealth? And can vigilante justice ever be justified?
Merging an ever-relevant story about love, betrayal and revenge with a sumptuous score full of symphonic drama and power, offering vivid, fast-paced staging and witty, poignant dialog, featuring spectacular stage design and magnificent costumes, this high profile musical version of a timeless literary classic will guarantee one of the most exciting and unique musical experiences ever to be enjoyed – a thrilling, cinematic masterpiece for the live stage!
Success Story & Production Notes
Converting Friedrich Dürrenmatt’s pessimistic social satire into a dark and twisted love story, VBW’s writing team has created a powerfully updated version of this timeless classic as a romantic and enthralling musical thriller.
Today considered one of the keystones of 20th-century German-language literature, Friedrich Dürrenmatt’s THE VISIT has inspired numerous adaptations for the stage as well as for the TV and movie screen. Led by VBW’s Artistic Director Christian Struppeck, an internationally renowned team set out to create a groundbreaking and powerfully updated version of this timeless classic as a romantic and enthralling musical thriller. It had its world premiere to much critical acclaim in 2013 at the Thun Festival in Switzerland. 2014 then saw the world opening of the grand theater version at the Ronacher in Vienna, Austria. The first non-German production of THE VISIT took place in Japan (Tokyo and Tour) in 2015 and 2016 (Tokyo, en suite).
The team of authors Christian Struppeck, Wolfgang Hofer, Moritz Schneider and Michael Reed, who have already scored great success with the major Swiss musical production DÄLLEBACH KARI – THE MUSICAL (productions in Thun, Zurich and Bern; awards, among others, Best New Theater Production, Golden Spotlight, Best New Swiss Musical and Best World Premiere at the Glory Awards), attended to Friedrich Dürrenmatt’s masterpiece with uncompromising dedication, transforming the grim and dire play into a gripping, modern musical production, which is captivating due to its emotional melodies and electrifying, trenchant lyrics.
With the renowned opera director of the Salzburger Landestheater from 2011 – 2017 Andreas Gergen in charge of production and with choreography created by Simon Eichenberger, THE VISIT presents musical stars Pia Douwes and Uwe Kröger in the leading roles – in their first joint appearance in a major Vienna musical production since the legendary success of ELISABETH by VBW.
"A grandiose premiere - Claire is highly welcome to visit again."
"What Dürrenmatt called a 'comedy of the financial boom' is as relevant as ever. There is some evidence that fans of Elisabeth and Rebecca will also love this opulent musical thriller dealing with the heartbreak of a humanized goddess of vengeance."
“THE VISIT is completely designed as a bombastic musical. The revolving stage moves flexibly between different locations, changing increasingly from the drab gray of the decaying Güllen to color and neon light when the villagers get ready to redecorate their place on credit. Also in musical terms, Michael Reed and Moritz Schneider rely on a grandiose musical gesture with hit potential: dashing choir pieces, bass that will shake the auditorium’s abdomen and a sometimes cinematic impression when scenes fade musically into one another are quite reminiscent of ELISABETH.”
"The color consistency of Peter J. Davison, Uta Loher and Conny Lüders is fabulous."
Credits & key facts
- World premiere:
Open Air Production: Switzerland, Thun, 2013
Theater Production: Ronacher, Vienna, 2014
- Original Producer of the Open Air Production:
Heimatland Verlag und Thunerseespiele
- Original Producer of the Stage Production:
Vereinigte Bühnen Wien
- Stage Rights:
VBW International GmbH in cooperation with Heimatland Verlag and Thunerseespiele
Diogenes Verlag, Zürich
- Book & Creative Development:
Moritz Schneider & Michael Reed
- Arrangements & Musical Supervisor:
Michael Reed, Roy Moore & Martin Gellner
- Based on the play:
Der Besuch der alten Dame (The Visit) by Friedrich Dürrenmatt
- Set Design:
Peter J. Davison
- Costume Design:
Uta Loher & Conny Lüders
- Lighting Design:
- Sound Design:
- Musical Director:
- Visitors worldwide:
- Shows worldwide:
Austria, Germany, Japan, Netherlands, Switzerland
- Language versions:
Dutch/Flemish, German, Japanese
A fabled multibillionaire, considered to be the richest woman in the world. She once had a love affair with Alfred Ill, who impregnated her but then successfully disputed the paternity in court. She left her hometown a broken, impoverished woman, but thanks to numerous marriages to rich men, she went on to become a billionaire. After decades away from her hometown, she returns to exact revenge on Alfred Ill.
A general store owner and destitute citizen of Güllen. He is highly regarded in the town. However, his past is now catching up with him. He impregnated Claire, but managed to escape the responsibility of fatherhood by bribing witnesses. Due to the psychological pressure to which he is now subjected, he becomes suspicious and aggressive towards his fellow citizens and his reactions grow increasingly panicked. He begins to reflect on his past, recognizes his wrongdoing and ultimately accepts his destiny.
Klaus Brandstetter, Teacher
The school teacher of the town and a member of the town council. Represents morality and humanistic foundations to the end. He abhors Claire’s immoral proposal and is appalled by the behaviour of the citizens of Güllen in response.
The kind, understanding wife of Alfred Ill. Runs the store alongside him, having brought it into their marriage. She supports him through his difficult times, is always there for him and is virtually the sole person to believe in him.
Matthias Richter, Mayor
He initially stands behind Alfred Ill and refuses to allow any harm to come to him. The opinions of the residents and the prospect of attaining such a fortune eventually erode his moral beliefs. He ultimately distances himself from Ill.
Gerhard Lang, Policeman
The local policeman and a member of the town council. He is an old friend of Ill who initially supports him unconditionally, but begins to distance himself more and more by hiding behind the law and asserting that he is unable to protect him.
Johannes Reitenberg, Priest
Not only a clergyman but also a member of the town council, he, too, is initially against the offer and the perfidious conditions set by Claire, but becomes more and more ambivalent as the plot unfolds and allows himself to be blinded by the potential, impending wealth that may befall his church.
Toby, Roby and Loby
Former gangsters who are now in the service of Claire as her bodyguards, secretaries and assistants. Somewhat strange, quasi frightening as well as charming and attractive figures.
Julia and Niklas Ill
The daughter and son of Alfred and Mathilde Ill initially seem harmless and honest, but later turn out to be just as disingenuous and calculating as the other inhabitants of Güllen.
As a young girl, Claire is self-confident, beautiful, artless and open-minded. She experiences her first, great love with Alfred. When she becomes pregnant unintentionally, Alfred leaves her. She must leave her hometown, injured and labelled as a whore. The hatred and vengeance of Claire Zachanassian has its roots in the story of “young Claire.”
An attractive young man from a good home. He is impressed by Claire’s personality and fortitude. He does not stay with his great love when Claire becomes pregnant by him. He allows himself to be influenced by society and shows weak character.
“The World is mine!”
The citizens of the little town of Güllen gather at the railway station in preparation for the arrival of a former resident, the billionairess Claire Zachanassian. They have high hopes that her visit will persuade her to rescue her old home town from its dire financial straits. She makes a suitably grand entrance, arriving too early and by helicopter, accompanied by three bodyguards and a black panther. Alfred Ill, a shopkeeper who runs a general store, has the task of persuading Claire to make Güllen a generous donation by reminding her of the love they shared many years earlier.
Shortly afterwards, Alfred runs into Claire at the edge of the woods and they revive the memories of their past. Claire promises him to support Güllen. At a reception for Claire the citizens gossip excitedly as they wait for her to appear. Claire offers them two billion, in return for Alfred’s death. In a burst of moral outrage, her offer is categorically rejected.
Alfred’s wife, Mathilde, stands by her husband and promises that she will always be there for him. The mayor consults the town councillors. They agree that, although the money would be a huge blessing, the price is too high and the subject should be dropped. However, the citizens of Güllen begin to run up enormous debts, splurging on material goods.
A shadow of the past
Meanwhile, in her hotel suite, Claire is engaged in international business affairs, when Alfred bursts in. They talk about the terrible accident that killed their unborn child and left Alfred believing Claire was dead. Alfred apologizes, but Claire demands justice for the suffering she endured. Claire’s offer begins to have an impact and Alfred feels increasingly under threat. He turns to the policeman, Gerhard Lang, for help and protection, asking him to arrest Claire because, given his fellow citizens’ mounting debts, his death will soon be the only way to pay them. The policeman denies that Claire’s offer was ever intended seriously and reminisces about old times and his lifelong friendship with Alfred.
Suddenly a report reaches them that Claire’s black panther has escaped. A hunt is organized but Alfred suspects that he is the actual prey. In desperation, he turns to the mayor, Matthias Richter, but finds no help there, either. On the contrary, he discovers that the mayor is planning to build a new town hall. Alfred, in terror, flees to the priest, Johannes Reitenberg, for refuge and support. The priest advises him to pray and to concentrate on his spiritual salvation, but we learn that he, too, has been unable to resist the temptations of consumerism.
Finally, the panther is tracked down and shot. The people mourn the noble animal’s death in a song, which Alfred takes for a funeral dirge sung for him. He seizes a gun and goes in search of Claire. He finds her in the woods and is resolved to kill her. Claire, who wears a prosthetic leg due to the former accident, loses her balance and falls over. As she lies helpless on the ground, she screams at Alfred to shoot her. They struggle with each other, but the fight turns into a passionate kiss. Claire recalls how they first met and the overwhelming love they felt for each other. Even so, she cannot escape the shadows of the past.
A futile escape attempt
Alfred Ill is unable to bear the pressure and decides to leave Güllen. The whole town is waiting for him at the station, ostensibly to wish him a safe journey. No one actively prevents him from leaving, but he is convinced he will be held back or shoved to the ground the moment he tries to board the train. The train–the last one this week–eventually leaves without him.
Claire’s three bodyguards, Roby, Toby and Loby, are bored to tears by smalltown life and reminisce about the good times they have had. To avoid having to accept Claire’s immoral offer, the mayor and the teacher make her a proposal. They suggest she buy and reopen the town’s defunct factories. Claire rejects the proposal with the shocking disclosure that the factories already belong to her. All their pleas for humanity fall on deaf ears. Customers in Ill’s shop report that journalists are in town asking questions. The teacher has a breakdown and prophesizes in a drunken state that evil will triumph.
The little girl Lena says she still believes in goodness; the important thing is not to give up. The town, anxious to preserve its reputation and the illusion of virtue, is determined not to let the press find out about Claire’s promised billions and the condition attached. The reporters’ questions are met by a united front praising Güllen as a temple of morality. Alfred, in particular, is ordered to hold his tongue and demonstrate his loyalty to the town. Alfred capitulates and accepts his guilt.
A fatal verdict
The mayor informs Alfred that the town is holding a special assembly to determine his guilt, since under the statute of limitations his crime was committed too long ago to be tried in court. If he is found guilty, he will have to pay for his actions. The town is unanimous that this is purely a question of justice and has nothing whatever to do with the promised billions they will receive if he dies. Alfred agrees to appear before the assembly and to accept the verdict whichever way it falls. The policeman suggests suicide as a convenient alternative but Alfred refuses to take the burden of decision from the citizens’ shoulders. He has overcome his fear and feels free at last. Alfred’s family has run up debts, too. His daughter is having tennis lessons and his son has bought a sports car. And both children think he is exaggerating. All they want is a bit of fun.
After years of marriage, Alfred finally confesses to his wife that he never loved her and only married her for her money. Mathilde’s world falls apart. Her grief turns to fury and she expresses the hope that Alfred will get the punishment he deserves. Alfred and Claire meet once again at the edge of the woods and talk of their shared past, which neither has been able to escape. Alfred admits to Claire that she is the only one he has ever loved. He repents of his actions and admits that he was a coward. Together they evoke their past feelings, because love cannot die. But the tender mood cannot last. Claire has been too deeply hurt to simply forgive him.
The town assembly sits in judgment on Alfred Ill, emphasizing that they are concerned purely with justice. Their task is to determine Alfred’s guilt and thereby to uphold morality in Güllen. The verdict is unanimous: guilty as charged. Claire bursts in to find Alfred lying lifeless on the floor. Having issued, as promised, a check over two billion euros to the city, she kneels beside him in a wave of grief while the citizens of Güllen rejoice that their town has been saved.


Pan's Labyrinth or in Spanish El Laberinto del Fauno is a dark fantasy movie released for the public in 2006. This movie became very famous world wide and won many awards. The movie is in Mexican Spanish language and was written and directed by a Mexican film maker Guillermo del Toro.
Our guest lecturer Dr. Deveny took us into the depth of this movie understanding even the smallest details that connect the real world with the fantasy or fairy tale world.
Pan's Labyrinth interweaves the real world with a fantasy world with the center a labyrinth and a mysterious foun creature. The movie takes place in Spain some years after the civil war during the Francoist period in 1944.The main character is a little girl Ofelia she meet several magical creatures who lead her though the labyrinth garden. Ofelia is a princes from another world who has come to this world by accident and she has to accomplish some tasks in order to go back to her magical world. Ofelia's step father Capitain Vidal is one of the most negative figure during the movie , he hunts Spanish Maquis who fights against the Fascist reign in the region. Ofelia's mother is a nice lady who gets sick during her pregnancy and dies after she gives birth to Ofelia's brother.
In this movie they are many dark side and a mix of the real world with the fantasy world which makes you confused which one is to follow. There are ,many indication connected to Ofelias fantasy that are connected to fairy tales. In order for Ofelia to go back to her real world where she is a princes she has to follow some tasks given by the faun. The faun in many situation you don't know if she should trust it or not.Ofelia undertakes some very dangerous tasks first she has three magic stones that she has to make a huge frog eat it in order for the frog to throw up a magic key. This episode takes place inside an old tree with many insect around but Ofelia is strong and not frightened by them.
She is supposed to complete all the tasks by the third day of the full moon. She also has a half moon as a birth mark in her left shoulder that will be crucial when she opens the little box at the monsters house. The number three same as in fairy tales is very present in this movie. The worst part and the most horrible one form me was when Ofelia has to go to this place and she should not eat anything from the table there is a monster with his eyes in the plates. Ofelia complete her task but after she could not resist to the food and ate a small grape . As soon as she ate the monster woke up put his eyes into his palms and went toward to eat Ofelia. The faun had given to her three little protectors while two where eaten by the monster .She survives this horrible task but the sequences were not as very pleased to watch.
In the end Ofelia dyes and she goes to her magic world where she ruled and became a blessed princes. In the real world she died the fascist were overthrown her step father was killed by the Spanish Maquis and her little brother was left in the hands of the good Maquis people.
This movie become very famous and won many awards as i previously mentioned by still i found it very dark and many of the scenes were very violent to watch. I would say this movie looked more as an horror than fantasy. Despite it the interaction between fantasy and the real world was a greta mixed. I would see it as a kind of escaping from the harsh environment of the war Ofelia goes into this fantasy world where she is a princes and every thing is beaitful and calm. The end of the move looks like the great world were she would be this princes is the after world when she dies so we have some kind of religious descripiton through the tale as well. Over all i would say i liked the move but i would not considered to be one movie to be seen for entertainment, to violent for my taste. The spanish language was great as it gave to the movie more magical effect i loved that . This absolutely not a movie for children but a fairy tale for gown up and you have to see it many times in order to understand many under themes that this dark fantasy movie holds.


Common Ground, is published by Playscripts, Inc. and has received hundreds of performances in the US and abroad. Selections from this play are published in the Smith and Krause anthologies The Best Scenes of 2005 and The Best Female Monologues of 2005. A selection of this play is also included in Actor’s Choice: Monologues for Teens.
Face Forward: Growing up in Nazi Germany was commissioned by the Institute for Jewish Christian Understanding and is now published by Playscripts, Inc. You can find a monologue from this play anthologized in Actor’s Choice: Monologues for Teens 2.
(Photos by Ken Ek, Larry Levanti, Charlie Ritzo, and Brendon Votipka.)
In the Spring of 2015, Brendon worked with director David Ledoux and student artists to adapt Shakespeare’s The Tempest for McCarter Theatre Center’s Education Program in Princeton, New Jersey. Brendon is currently in development on another play for younger performers called “The Lost Bavarian Folk Tales of Franz Xaver Von Schönwerth.”
Brendon is a member of The Dramatists Guild of America, and served as Young Ambassador for the New Jersey Region from 2014-2016.
I invite you to read several of my plays on the new play exchange, now including
Nathan’s Secret Girlfriend: A Christmas Play (work-shopped at Larry Singer Studios with Snapped Productions in January 2016, staged at Mason Gross School of the Arts with Director Jamie Richards in December 2011).


Tom Keiter, Executive Producer
With fifteen years experience as department head for the film and video program at Penn State, Tom Keiter has brought a wealth of production knowledge and experience to the Liquid Assets project. His many accomplishments include awards from the American Film Institute, International Film and Video Festival, the Council for Advancement and Support of Education, and the Academy of Television Arts and Sciences (Emmys).
Stephanie Ayanian, Producer/Director
Stephanie Ayanian is a senior producer/director for Penn State Public Broadcasting and has served as the Liquid Assets lead producer. Her work as an independent producer led to a 2005 Superfest Best of Festival award and a 2006 Black Maria Film Festival Second Place award. Ayanian also was chosen to create the 2006 Philadelphia International Film Festival opening trailer.
Mark Cooper, Director/Writer
Mark Cooper received his bachelor’s degree with honors in film and video from Penn State. He has produced several projects for Penn State Public Broadcasting, including an hour-long documentary on domestic violence in the workplace.
Ryan Witt, Director of Photography/Associate Producer/Assistant Editor
With prior experience as a cinematographer, Ryan Witt works for WPSU as a videographer/editor and currently is the director of photography for the Liquid Assets broadcast. He holds a degree in marketing from Kent State University, and earned his master’s degree in film and television from the Savannah College of Art and Design.
Greg Feinberg, Editor
As an independent editor, Greg Feinberg brings eleven years of award-winning experience to the Liquid Assets roster. With a bachelor’s degree in film from the University of the Arts, Feinberg has edited for clients in higher education, health care, and business/nonprofit organizations. In the past five years, his documentary work also has aired nationally on PBS and the Food Network. Three years after editing the Mid-Atlantic Emmy award-winning Grange Fair: An American Tradition, Feinberg is excited to be working on another significant collaboration with the Penn State Public Broadcasting team.
Catie Siodmak, Associate Producer
Catie Siodmak is working as the archivist for Liquid Assets. Since graduating from Penn State with her bachelor’s degree in film and video, she has produced documentaries for WNED-TV in Buffalo, New York.
Mindy McMahon, Associate Producer
Mindy McMahon served as an associate producer for the Liquid Assets initiative. Her current role at Penn State Public Broadcasting is lead producer for Creative Services. McMahon has been producing client-driven media projects for more than ten years. She has garnered such awards as the Telly and Communicator. She received a bachelor’s degree from Carlow College and a master’s degree from Duquesne University.
Joe Myers, Consultant
Joe Myers is a lead producer/director at Penn State Public Broadcasting. He has received Mid-Atlantic Emmy best documentary honors for his A Road to Independence and Grange Fair: An American Tradition, now in national distribution with PBS.
Josh Dasal, Consultant
Josh Dasal is an Emmy® award-winning producer-director-screenwriter. His credits include producer-writer on The Mars Underground (Best Documentary, HDFest 2006) for Discovery Channel; producer-director of the PBS short doc, Cook Like a Chef (Mid-Atlantic Emmy, 2009); and executive producer of Easter Sunday, starring Jennifer Jason Leigh.
Chris Younken, Location Audio
Chris Younken is an audio engineer and sound recordist for live, studio and television productions at Penn State Public Broadcasting. He also is an accomplished musician.
Lara Gallagher, Associate Producer
EwingCole DMG, Animators
EwingCole DMG (Digital Media Group) provides creative media solutions such as environment modeling and animation, interactive 3D simulations, motion graphics and video direction and production.
Melanie Doebler, D.Ed., Project Director
Melanie Doebler has more than twenty-five years of experience working in program planning, development, and evaluation in a variety of academic and field settings. Formerly she was the director of a family health care agency that served rural women and their families. She currently works as an organizational development consultant for organizations needing strategic planning, organizational assessments, and program evaluation. As the director of public engagement for Penn State Public Broadcasting, Doebler is the project director for Liquid Assets.
Elaine Brzycki, Project Manager and Funding Relations
Elaine Brzycki has more than twenty years of experience in higher educational administration, with a focus on communications, fine arts, engineering, and education. Brzycki oversees the community outreach initiative and facilitates relationships with the Outreach Partners. As manager of the station’s grants and contract relations, she works with corporations, foundations, and organizations interested in funding the documentary and community outreach.
:: Elisabeth Workman Brandt
:: Elisabeth Clark
:: Spencer Lewis
:: Linda Mahoney
:: Sonya Renee Miller
:: Lynn Melander Moore
:: Keston Pierre
:: Susanna Ritti
:: Diane Voit


4 edition of The Windsor Shakespeare found in the catalog.
The Windsor Shakespeare
|Statement||edited by Henry N. Hudson ; illustrated from the paintings of great artists. Vol.17, Macbeth ; Othello.|
|Contributions||Hudson, Henry N.|
|The Physical Object|
|Pagination||(4), 128, 137p., p. of plates ;|
|Number of Pages||137|
Buy a cheap copy of Sir John Falstaff and the Merry Wives of book by William Shakespeare. Like every other play in the Cambridge School Shakespeare series, The Merry Wives of Windsor has been specially prepared to help all students in schools and Free shipping over $/5(5). THE WINDSOR SHAKESPEARE. In 20 Volumes. by Hudson, H (ed) and a great selection of related books, art and collectibles available now at
Shakespeare’s plays include a few “quack” doctors, humorous phonies with little medical training, or dubious methods of healing. These include French doctor Caius from The Merry Wives of Windsor and the exorcist Dr. Pinch from The Comedy of Errors. The Merry Wives of Windsor The Works of William Shakespeare [Cambridge Edition] [9 vols.] Language: English: LoC Class: PR: Language and Literatures: English literature: Subject: Comedies Subject: Falstaff, John, Sir (Fictitious character) -- Drama Subject: Married women -- Drama Subject: Windsor (Berkshire, England) -- Drama Category: Text.
Shakespeare’s “merry wives” are Mistress Ford and Mistress Page of the town of Windsor. The two play practical jokes on Mistress Ford’s jealous husband and a visiting knight, Sir John Falstaff. Merry wives, jealous husbands, and predatory knights were common in a kind of play called “citizen comedy” or “city comedy.” In such plays, courtiers, gentlemen, or knights use social /5(10). Read The Merry Wives of Windsor online by William Shakespeare at , the free online library full of thousands of classic books. Now you can read The Merry Wives of Windsor free from the comfort of your computer or mobile phone and enjoy other many other free books by William Shakespeare. ReadCentral has helped thousands of people read books online without the need for .
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A managers view of ISO 9000 quality system registration
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Shakespeare created Falstaff and he can use him however he sees fit. To me it seems a minor quibble, and I am not sure I understand the passion it engenders in some people. Take "The Merry Wives of Windsor" for what it is, a lighthearted farce, meant as a diversion for its viewers, and leave all the academic baggage at home.
You will be glad /5(45). About the Author. William Shakespeare is the world's greatest ever playwright. Born inhe split his time between Stratford-upon-Avon and London, where he worked as a playwright, poet and actor. In he married Anne Hathaway.
Shakespeare died in at the age of fifty-two, leaving three children—Susanna, Hamnet and Judith. The rest is silence/5(18). The book (Folger Shakespeare mass market paper) is small and thick and difficult to hold open. The annotations on the left side do not correspond well with the lines on the right and the reader is required to turn the page and back again to find the annotation or whether it exists, and then losing their place in /5(13).
The Merry Wives of Windsor stands out among Shakespeare's plays as the only one centered on middle- class people, as opposed to royalty and the ruling classes.
Much like A Midsummer's Night's Dream, the final scene focuses on an encounter between the human players and the faerie realm/5. Merry Wives of Windsor [Shakespeare, William] on *FREE* shipping on qualifying offers. Merry Wives of Windsor. COVID Resources. Reliable information about the coronavirus (COVID) is available from the World Health Organization (current situation, international travel).Numerous and frequently-updated resource results are available from this ’s WebJunction has pulled together information and resources to assist library staff as they consider how to handle coronavirus.
London - William Heinemann, Book. Very Good. Hardcover. A beautifully illustrated edition of Shakespeare's theatrical comedy, The Merry Wives of Windsor. Adorned with over thirty tipped-in coloured illustrations and several vignettes.
Key themes of Merry Wives include love and marriage, jealousy and revenge, social class and wealth. THE COMPLETE WORKS OF WILLIAM SHAKESPEARE - VOLUME III - HENRY IV (PART ONE), HENRY IV (PART TWO), THE MERRY WIVES OF WINDSOR, by Bevington, David (Edited By) Shakespeare, William.
Bantam Books, Paperback. Good. Disclaimer:A copy that has been read, but remains in clean condition. All pages are intact, and the cover is intact.
The spine may show signs. In The Merry Wives of Windsor, Shakespeare’s “merry wives” are Mistress Ford and Mistress Page of the town of Windsor. The two play practical jokes on Mistress Ford’s jealous husband and a visiting knight, Sir John Falstaff. DETAILS.
A complete set of the Windsor Shakespeare, containing all the works of arguably the most famous playwright and poet in history. Including his plays, poems and sonnets.
With numerous plates to each volume, illustrated from the paintings of great artists. The Works of William Shakespeare / complete in seven Volumes (ONLY) Vol VII: Pericles - The Tempest - The two Gentlemen of Verona - The Merry Wives of Windsor - Poems: Venus and Adonis, Lucrece, Sonnets, A Lover s Complaint, The Passionate Pilgrim - Tie Life of William Shakespeare - Glossary (Collection of British Authors / Tauchnitz Edition vol.
46) by Shakespeare, William: and a great. THE WINDSOR SHAKESPEARE by Henry Hudson and a great selection of related books, art and collectibles available now at The Windsor Shakespeare by Henry Hudson - AbeBooks Passion for books.
: THE WINDSOR SHAKESPEARE. In 20 Volumes.: 1st ed., approx; pgs, illust; orig. gilt red cloth, x mm, Vgood cond.
A charming edition of. The Merry Wives of Windsor. 'Jonathan Bate is a passionate advocate of Shakespeare and his introductions are full of striking and convincing observations footnotes at the bottom of each page gloss unfamiliar items of vocabulary, paraphrase tricky meanings and uncover bawdy puns.
Shakespeare, William, Title: The Merry Wives of Windsor Note: There is an improved edition of this title, eBook # Language: English: LoC Class: PR: Language and Literatures: English literature: Subject: Comedies Subject: Falstaff, John, Sir (Fictitious character) -- Drama Subject: Married women -- Drama Subject: Windsor.
Windsor Castle is a novel by William Harrison Ainsworth serially published in It is a historical romance with gothic elements that depicts Henry VIII's pursuit of Anne wined with the story are the actions of Herne the Hunter, a legendary ghost that haunts Windsor woods.
Merry Wives of Windsor by William Shakespeare "The Merry Wives of Windsor is a comedy by William Shakespeare, first published inthough probably written several years earlier.
It features the fat knight Sir John Falstaff, and is Shakespeare's only play to deal exclusively with contemporary English middle-class life/5(8). This book includes a general introduction to Shakespeare's life and the Elizabethan theatre, a separate introduction to Merry Wives of Windsor, a chronology, suggestions for further reading, an essay discussing performance options on both stage and screen, and a : Shakespeare, William, Title: The Merry Wives of Windsor Note: World Library Note: There is an improved edition of this title, eBook # Language: English: LoC Class: PR: Language and Literatures: English literature: Subject: Comedies Subject: Falstaff, John, Sir (Fictitious character) -- Drama Subject: Married women -- Drama Subject.
The Merry Wives of Windsor (Arden Shakespeare) by William Shakespeare and a great selection of related books, art and collectibles available now at. William Shakespeare (Ap (baptism)–d. Ap ) was an English poet and playwright and is considered a key member of the English literature canon.
Shakespeare's work includes sonnets and 38 plays; while his earlier plays were comedies and histories, his later work focused on tragedy (e.g.The Merry Wives of Windsor is a popular book by William Shakespeare.
Read The Merry Wives of Windsor, free online version of the book by William Shakespeare, on William Shakespeare's The Merry Wives of Windsor consists of 7 parts for ease of reading.
Choose the part of The Merry Wives of Windsor which you want to read from the table of contents to get started.The Windsor Shakespeare, Vol. XVIII. Product Details. Category: books SKU: CJD Title: The Windsor Shakespeare, Vol. XVIII Author: Henry N. Hudson Book Seller Rating: % positive.


Even though the season ended with a series on deployment, I just couldn’t resist an opportunity to interview two key people from the upcoming movie INDIVISIBLE, out in theaters October 26th, 2018.
Bonus Episode: Sarah Drew talks Grey’s, Marriage, and her upcoming movie INDIVISIBLE
Sarah Drew, often known from her character April Kepner on ABC’s hit medical drama “Grey’s Anatomy”. Listen in to my premiere interview with actor, Emmy nominated director, and producer Sarah Drew as she talks about life after Grey’s Anatomy, marriage, and her newest movie Indivisible that hits theaters Oct 26th. Indivisible is based on real life Army Chaplain Couple Darren & Heather Turner.
Bonus Episode: Heather Turner
Watch (or listen) NOW to my special interview with Heather Turner about the upcoming movie Indivisible that tells the story of her marriage to a US Army Chaplain, Darren. Heather and Darren vulnerably share their story of how deployment and reintegration almost cost them their marriage and how they found restoration and hope.
INDIVISIBLE stars Sarah Drew , Justin Bruening, and Jason George from Grey’s Anatomy and opens in theaters Oct 26th, 2018.