The Power of Dramatic Play: Unleashing Creativity and Nurturing Social SkillsIn a world where children are constantly bombarded with screens and devices, it is crucial to provide them with an outlet that encourages imagination, creativity, and social interaction. This is where dramatic play comes into play.
By definition, dramatic play refers to the imaginary and make-believe activities that children engage in to imitate and explore the world around them. From dressing up in costumes to creating elaborate scenarios, dramatic play can take on many forms, all of which offer numerous benefits for a child’s development.
In this article, we will delve into the definition and types of dramatic play, as well as explore the various benefits it has to offer. 1.
Definition and Types of Dramatic Play:
1.1 Definition and characteristics of dramatic play:
– Symbolic play: At its core, dramatic play involves the use of symbols to represent real-life objects or events. This allows children to explore different concepts in a safe and controlled environment.
– Make-believe: By engaging in make-believe scenarios, children can imagine themselves in various roles and settings, expanding their understanding of the world. – Imitate and observe: Through dramatic play, children have the opportunity to imitate the actions and behaviors of others, fostering empathy and understanding.
– Clothes and accessories: Dressing up in costumes and using props allows children to physically transform themselves into different characters, making their play even more immersive. 1.2 Structured and unstructured dramatic play:
– Structured play: In structured dramatic play, children are guided by specific rules and settings.
Examples include organized role-plays, puppetry, and scripted scenarios. – Unstructured play: On the other hand, unstructured dramatic play offers children the freedom to create their own narratives and explore their imaginations without predefined guidelines.
Pretend play falls under this category. 2.
Benefits of Dramatic Play:
2.1 Social and emotional development:
– Creativity: Dramatic play provides an outlet for children to express their creativity, allowing them to come up with imaginative scenarios and storylines. – Make sense of the world: By exploring different roles and situations, children can make sense of complex concepts and behaviors, fostering their cognitive development.
– Express emotions: Dramatic play offers a safe space for children to express and navigate their emotions. Through play, they can experiment with different emotional responses and learn how to regulate their feelings.
– Safe context: Engaging in dramatic play allows children to experience a range of emotions within a controlled context, providing a buffer against real-life consequences. 2.2 Social skills and self-regulation:
– Negotiation: During dramatic play, children often collaborate with others, requiring them to negotiate and compromise, building essential social skills.
– Verbal commands: Children also learn to communicate their desires and intentions using language, enhancing their language skills and vocabulary. – Social confidence: Through the exploration of different roles and characters, children can develop a sense of social confidence, helping them interact more comfortably in real-life situations.
– Self-regulation: Dramatic play provides opportunities for children to practice self-regulation, as they must follow the rules of the play and take turns, fostering self-control and discipline. By now, it is clear that dramatic play is not just a fun pastime for children; it is a powerful tool for their development.
Whether engaging in structured or unstructured play, children reap countless benefits. From nurturing their creativity and imagination to fostering important social and emotional skills, dramatic play offers a holistic learning experience.
So, let us encourage our children’s imaginations to run wild, letting their inner actors and actresses take center stage in the magical world of dramatic play. 3.
Dramatic Play Examples: Unleashing Creativity and Role-Play Magic
3.1 Examples of playing house and role-playing:
One of the most common and beloved forms of dramatic play is playing house and engaging in role-playing scenarios. Children love pretending to be adults, taking on roles of parents, siblings, or even family pets.
This type of play allows them to imitate the actions and behaviors they observe in their daily lives, providing them with a deeper understanding of the world around them. In the realm of playing house, children often gravitate towards sets like toy kitchens, where they can cook, clean, and care for their play pretend home.
With miniature utensils and plastic food, they can recreate scenarios they witness in their own kitchen. This activity encourages them to learn about kitchen tools, healthy eating habits, and basic culinary skills in a fun and creative way.
Role-playing extends beyond playing house. Children use their limitless imagination to enact a wide variety of scenarios.
They might become firefighters, doctors, or teachers, fully immersing themselves in the roles they choose. This type of dramatic play allows children to explore different professions and understand the responsibilities associated with them.
By wearing specific clothes and using appropriate accessories, such as a stethoscope for a doctor or a blackboard for a teacher, children enhance their play experience and further develop their understanding of the world. 3.2 Examples of using props and toys for dramatic play:
Props and toys play a crucial role in enhancing the dramatic play experience.
They help children bring their imaginative worlds to life, adding an extra layer of excitement and engagement. Here are a few examples of props and toys that can fuel the magic of dramatic play:
– Astronaut helmets: With an astronaut helmet, children can embark on interstellar adventures, exploring the depths of the universe.
This prop allows them to envision themselves as astronauts, fostering their curiosity about space and science. – Toy fruit stand: A toy fruit stand provides children with the opportunity to set up their own pretend market.
They can take turns being the shopkeeper, learning about different fruits, and practicing basic math skills as they weigh and count their produce. – Plastic tea-set: A plastic tea-set offers children the chance to host their own tea party.
They can invite their friends, serve imaginary tea, and practice social etiquette and conversation skills in a playful and relaxed setting. – Hand puppets: Hand puppets enable children to create imaginative stories and develop their storytelling skills.
They can become the puppeteer, giving voices and personalities to their puppets, fostering creativity and language development. – Superhero costumes: Putting on superhero costumes ignites a world of action and adventure.
Children can become their favorite superheroes, engaging in heroic feats and learning about bravery, justice, and the importance of helping others. With the right props and toys, dramatic play becomes an immersive experience that keeps children captivated while fostering their imagination and creativity.
4. Self-Regulation as a Benefit of Dramatic Play:
4.1 Relationship between dramatic play and self-regulation:
Recent studies have shed light on the positive correlation between dramatic play and self-regulation skills in children.
One particular study conducted by Khomais et al. in 2019 examined the effects of dramatic play on self-regulation scores among public school preschoolers.
The study found that children who engaged in regular dramatic play at home demonstrated significantly higher self-regulation scores compared to those who did not engage in such play. Dramatic play provides an environment where children can practice self-regulation in a fun and engaging manner.
They must follow the rules of the play, take turns, and adapt their behavior to fit the context of the scenario. For example, when playing house, children need to engage in cooperative play and negotiate their roles and responsibilities.
This teaches them patience, impulse control, and the ability to delay gratification, all of which are essential components of self-regulation. 4.2 Interaction with others as a predictor of self-regulation:
Furthermore, dramatic play often involves interaction with others, which has been identified as a significant predictor of self-regulation skills.
When children engage in dramatic play with their peers, they learn to navigate social situations, communicate effectively, and resolve conflicts. These interactions promote the development of empathy, emotional regulation, and problem-solving skills.
By engaging in role-play scenarios, children also practice perspective-taking, understanding the thoughts and feelings of others, and adjusting their behavior accordingly. The combination of self-regulation skills and interaction with others during dramatic play contributes to the overall social and emotional development of children.
These skills not only benefit children in their play but also translate into real-life situations, enabling them to navigate relationships and regulate their emotions effectively. Conclusion:
Dramatic play serves as a powerful tool for children’s development, offering valuable benefits such as creativity, social skills, emotional regulation, and cognitive growth.
Whether engaging in structured play like playing house or using props and toys to fuel their imagination, children are able to explore their world in a safe and controlled environment. Furthermore, dramatic play promotes self-regulation skills, equipping children with the necessary tools to navigate social interactions and regulate their emotions effectively.
So, let us encourage and embrace the magic of dramatic play, allowing our children’s imaginations to soar as they embark on exciting journeys of creativity and self-discovery. 5.
Perspective-Taking as a Benefit of Dramatic Play: Broadening Horizons
5.1 Perspective-taking in dramatic play:
Dramatic play provides a unique opportunity for children to engage in perspective-taking, a crucial skill in understanding and empathizing with others. When children interact with other characters during dramatic play, they have the chance to step into the shoes of different individuals and consider their point of view.
This process encourages them to think beyond their own experiences and develop a deeper understanding of different perspectives. For example, when playing house, children may take turns being the parent, sibling, or even a family pet.
By assuming these roles, they can gain insights into the thoughts, emotions, and responsibilities associated with each character. This experience enables them to expand their empathy and practice considering how others might feel in certain situations.
Perspective-taking in dramatic play also extends to engaging in make-believe scenarios beyond the realm of everyday life. Children often create fantastical scenes where they become superheroes, fairies, or even mythical creatures.
In these imaginative settings, they can explore the emotions, thoughts, and motivations of characters that exist beyond their personal experiences. This fosters their ability to understand and relate to diverse perspectives, ultimately promoting empathy and social inclusion.
5.2 Applying perspective-taking in education:
The benefits of perspective-taking in dramatic play can be harnessed in educational settings as well. Teachers can integrate role-plays and dramatic play activities to create immersive learning experiences that promote perspective-taking skills.
For example, in the context of teaching about animal habitats, students can engage in a role-play where each child adopts the perspective of a different animal. This allows them to not only learn about the specific habitat but also understand the challenges and adaptations each animal must make in order to thrive.
By embodying different animals, students develop an appreciation for the complexities of nature and foster a sense of environmentalism. Additionally, social issues can be addressed through dramatic play in the classroom.
Students can participate in role-plays that require them to consider different perspectives on a specific topic, such as bullying or global citizenship. This immersive experience helps students develop a deeper understanding of the issues at hand and encourages them to think critically and empathetically about various points of view.
Through these activities, students learn to communicate effectively, negotiate, and resolve conflicts, all of which are essential skills for navigating real-life situations. By incorporating perspective-taking activities into education through dramatic play, teachers can create engaging and interactive learning environments that propel students’ understanding of others and promote their ability to think critically and compassionately.
6. Improving Executive Functions through Dramatic Play:
6.1 Definition of executive functions:
Executive functions refer to a set of cognitive processes that allow individuals to navigate and engage with their environment effectively.
These functions include skills such as inhibitory control, working memory, and cognitive flexibility, which are critical for problem-solving, self-regulation, and goal-directed behavior. The prefrontal cortex is the region of the brain responsible for executive functions.
6.2 Veraksa et al. (2019) study on the relationship between dramatic play and executive functions:
Recent research conducted by Veraksa et al.
(2019) explored the relationship between dramatic play and executive functions in young children. The study involved assigning children to different play conditions, including a control condition, a dramatic play condition where children assumed the roles of heroes, sages, and villains, and a condition involving costumes and accessories.
The results showed that children in the dramatic play condition exhibited greater improvements in executive functions compared to children in the control condition. The study’s findings suggest that dramatic play offers a unique opportunity for children to exercise and enhance their executive functions.
By engaging in play that involves problem-solving, decision-making, and the flexible use of resources, children stimulate the development of the prefrontal cortex, the region responsible for executive functions. Additionally, the use of costumes and accessories during play further amplifies the cognitive engagement, as children must adapt their behavior and actions to fit the character they portray.
Dramatic play encourages children to think critically, make decisions based on the context of the play, and exhibit self-regulation as they navigate the roles and responsibilities they assume. These experiences contribute to the development of crucial executive function skills such as inhibitory control, cognitive flexibility, and working memory.
From perspective-taking to improving executive functions, the benefits of dramatic play have far-reaching implications for children’s development. By engaging in dramatic play, children expand their understanding of different perspectives, developing empathy and social inclusion.
In educational settings, perspective-taking activities through dramatic play enrich learning experiences and promote critical-thinking skills. Furthermore, dramatic play enhances executive functions, including inhibitory control, working memory, and cognitive flexibility, fostering essential cognitive processes for problem-solving and self-regulation.
As we continue to recognize the transformative power of dramatic play, let us encourage its inclusion in both home and educational settings, allowing children to flourish socially, emotionally, and cognitively. 7.
Teaching Prosocial Behaviors through Dramatic Play: Fostering Compassion and Empathy
7.1 Transfer of skills from imaginary to real-life situations:
One of the remarkable aspects of dramatic play is its ability to facilitate the transfer of skills and knowledge from imaginary scenarios to real-life situations. According to Vygotsky (2004), children’s engagement in dramatic play allows them to understand social relations, think about the perspectives of others, and explore emotional states.
These skills established through dramatic play can have a positive impact on children’s prosocial behaviors and their interactions in real-life settings. During dramatic play, children often create make-believe scenarios that involve conflict, problem-solving, and cooperation.
By assuming different roles and engaging with other characters, children have the opportunity to navigate these scenarios and develop an understanding of empathy and compassion. They learn to put themselves in the shoes of others, considering their thoughts, feelings, and motivations.
This process allows them to develop a sense of social awareness and enhance their ability to respond to others’ needs. As children transfer the skills learned in dramatic play to real-life situations, they may exhibit increased empathy and exhibit more prosocial behaviors.
For example, through engaging in role-plays that address issues such as bullying or friendship, children become more sensitive to the experiences of others and learn strategies to resolve conflicts peacefully. This transfer of skills empowers children to navigate real-life social situations with empathy and compassion, fostering positive relationships and promoting a sense of community.
7.2 Dramatic play as a teaching tool:
Dramatic play provides a valuable platform for teaching children prosocial behaviors and essential life skills. By using dramatic play as a teaching tool, educators and parents can effectively address various topics and impart important lessons.
One example of using dramatic play to teach prosocial behaviors is through addressing peer pressure and promoting healthy habits. Children can engage in role-plays that simulate scenarios where they are faced with peer pressure to engage in unhealthy behaviors.
By navigating these scenarios within the safe context of dramatic play, children develop the skills needed to respond confidently and make choices that align with their own values. For instance, a scenario where children pretend to play a game called “Crash,” where they take turns crashing into walls with toy cars, can be used to discuss the importance of wearing seatbelts and promote safe behavior.
Moreover, dramatic play can be utilized to foster empathy and promote acceptance of diversity. By creating scenarios that allow children to explore and understand different cultures, abilities, or social backgrounds, they can develop an appreciation for diversity and learn to embrace the uniqueness of others.
Through embodying characters from different backgrounds or engaging in role-plays that tackle issues of inclusion and acceptance, children can learn how to approach others with kindness, respect, and understanding. By integrating dramatic play as a teaching tool, educators and parents can create engaging and immersive learning experiences that not only captivate children’s interest but also promote prosocial behaviors and emotional intelligence.
The benefits of dramatic play extend beyond the confines of the play area, as the lessons learned can be applied to various real-life situations, nurturing a generation of compassionate and empathetic individuals. 8.
Gender Differences in Dramatic Play: Exploring Play Preferences and Companionship
8.1 Gender differences in play preferences:
It is widely recognized that children often exhibit differences in play preferences based on gender. These differences in play styles can be observed in their choices of activities, the spaces they prefer, and the nature of play interactions.
Boys often gravitate towards play that involves large spaces, physical movement, and competitive elements. They may engage in rough-and-tumble play, where they enthusiastically participate in physically active and energetic play, such as wrestling or playing sports.
This type of play allows boys to explore physical boundaries, test their strength and agility, and engage in friendly competition. On the other hand, girls tend to favor play that emphasizes cooperation, communication, and fine-motor skills.
They often engage in dramatic play scenarios that involve nurturing, caring for others, and social interaction. Girls may engage in imaginative play involving dollhouses, tea parties, or role-plays centered around caring for others, such as playing house or playing school.
It is important to note that these play preferences are influenced by a combination of societal expectations, cultural norms, and individual interests. While these general patterns exist, it is essential to recognize that play preferences are not inherently tied to gender and can vary among individuals.
8.2 Gender differences in play companions in dramatic play:
Another aspect of gender differences in dramatic play is the choice of play companions. Children may exhibit preferences for different types of play companions based on gender.
Children often engage in play involving imaginary companions. Boys may be more inclined to impersonating characters from their favorite superhero movies, reflecting the influence of media and popular culture.
Girls, on the other hand, may create imaginary companions that are more toy-based, such as talking to their dolls or stuffed animals. These toy-based companions allow girls to explore nurturing and caring roles within their play.
Additionally, boys and girls may differ in their preferences for visible or invisible companions during dramatic play. Boys may seek to engage in play that involves a larger group of visible companions, displaying a preference for playing in larger social settings.
Girls, on the other hand, may be more inclined to have invisible companions or engage in play with smaller groups, emphasizing more intimate and interpersonal interactions. It is essential to approach gender differences in dramatic play with openness and acceptance, ensuring that all children have the freedom to explore and engage in play activities that align with their individual interests and preferences.
By supporting children’s choices, educators and parents can foster a sense of inclusivity and empower children to embrace their unique play styles and companions despite societal expectations. Conclusion:
Dramatic play offers a wide array of opportunities for children to develop prosocial behaviors, compassion, and empathy.
Through the transfer of skills from imaginary to real-life situations, children can navigate social interactions and exhibit empathy and understanding. By using dramatic play as a teaching tool, educators and parents can address various topics and promote important lessons, such as peer pressure and healthy habits.
Furthermore, gender differences in dramatic play reflect diverse play preferences and choices of play companions. It is important to embrace these differences and provide children with a supportive environment to explore their individual interests without conforming to societal expectations.
In doing so, we can nurture a generation of caring, empathetic, and inclusive individuals. 9.
Conclusion and Summary of Dramatic Play’s Developmental Functions: Nurturing Growth and Learning
9.1 Importance of dramatic play in child development:
Dramatic play plays a vital role in the development of children, allowing them to make sense of the world and promoting their social and emotional growth. By engaging in make-believe scenarios and symbolically representing real-life objects and events, children are able to explore different concepts and expand their understanding of the world around them.
This imaginative play fosters creativity, encouraging children to come up with innovative scenarios and storylines. Moreover, dramatic play serves as a platform for social and emotional development.
Through role-playing and interaction with others, children learn to empathize, understand different perspectives, and express their emotions in a safe and controlled environment. By imitating the actions and behaviors of others, children develop empathy and observational skills, fostering their ability to understand and relate to the experiences of others.
Dramatic play provides a context where children can experiment with various social roles, allowing them to practice different social scenarios and develop important social skills. Whether engaging in structured or unstructured play, children learn to negotiate, resolve conflicts, and communicate effectively.
This enhances their ability to interact with others, fostering social confidence and healthy relationships. 9.2 Use of dramatic play in teaching and learning:
Dramatic play is not limited to its benefits in child development.
It is an effective tool for teaching and learning, allowing children to acquire important life skills and knowledge in an engaging and memorable way. By integrating dramatic play into teaching, educators can effectively impart valuable lessons and help children develop good habits.
One of the ways dramatic play can be used in teaching is by creating scenarios that model positive social situations. For example, teachers can set up a pretend restaurant where children take turns being the customer and the server, practicing polite manners, and respectful communication.
By engaging in such role-plays, children not only learn about social etiquette but also gain practical experience in real-life situations. Dramatic play also offers the opportunity for children to learn from the lessons and experiences of adults.
For instance, children can pretend to be doctors or dentists, using toy medical equipment and engaging in role-plays that simulate healthcare scenarios. This allows them to understand the importance of healthcare practices and develop an appreciation for the work of medical professionals.
By utilizing dramatic play in teaching, children are actively involved in their learning, making connections between the play context and real-life situations. Furthermore, dramatic play allows children to explore and experiment with different perspectives, enabling them to learn about social issues and develop critical thinking skills.
For example, children can engage in a role-play where they become historical figures, experiencing and learning about the challenges and triumphs of different time periods. This immersive experience enhances their understanding of history and fosters their ability to think critically and empathetically.
In conclusion, dramatic play holds great significance in child development and education. Its ability to foster creativity, promote social and emotional development, and provide a context for learning makes it a powerful tool for growth and learning.
By embracing dramatic play and incorporating it into various aspects of children’s lives, we can empower them to explore their imagination, develop empathy and social skills, and acquire knowledge and life skills in an engaging and memorable way. Let us continue to recognize and celebrate the transformative power of dramatic play in nurturing the holistic development of children.


Director: Neil Burger
Writers: Leslie Dixon (screenplay), Alan Glynn (novel)
Stars: Bradley Cooper, Anna Friel and Abbie Cornish
Review: I’m the sort of film watcher who thinks merit can be measured by explosion frequency. I’m not the discerning viewer after high brow story lines, superb acting and thought provoking direction. I like fast, I like stylish, I like genre.
So to all appearances Limitless should satisfy my tastes as a film watcher fairly easily.
I wouldn’t say it didn’t, but I wouldn’t say it did either.
Limitless starts well, with a slightly dishevelled guy (Bradley Cooper) precariously balanced on a balcony ledge of a penthouse suit, while someone tries to break the door down. Before we find out if he steps off and plummets to his death we wind back some months before to where this all started – when a hopeless writer, significantly more dishevelled than he is in the future, bumps into an old school friend who offers him a drug that allows him access to 100% of his brain. Feeling he couldn’t be in a worse situation than he is right now – girlfriend left him, deadline for pages looming and nothing written, house a mess – our protagonist Eddie takes the drug and with his heightened intelligence starts to see things going his way for a change. He gets his pages written, tidies his house, bangs his landlord’s irritating wife after sweet talking her with advice about college papers.
But of course, drugs wear off, and most of the rest of the film is Eddie trying to stay ahead of those who would take his stash from him, while trying to advance himself as quickly as possible and make a quick fortune.
While the film is great to look at – the trippy sections of drug fuelled indulgence are stylishly done, there is some brilliant make up (Anna Friel’s brief appearance being a particularly good show) and the acting is reasonable – and in all fairness, I was really enjoying it until the final section, the finale that occurred once we were back with Eddie on the edge of his penthouse balcony left a lot to be desired.
It’s not that there wasn’t a resolution, or even that the resolution was particularly unbelievable. It was just… wrong. Morally wrong. (Warning: Slight spoilers ahead.)
The overall message of Limitless seemed to be: take loads of drugs, get everything you ever wanted. It was edgy, and saw Eddie doing terrible things – taking him as far down as to shoot a criminal and drink his blood for the drug in it. But at the end everything was fine – better, in fact, than it had ever been – and rock bottom, drinking human blood Eddie was on his way to being senator.
I guess I wanted a little more consequence. If the final exchange between Robert DeNiro’s character and Eddie had gone a little more DeNiro’s way, then I think it would have been better. But as it stands, Limitless just seems to suggest that you can do whatever the hell you want, and still be en route to presidency, just as long as you’re smart and pretty enough.
A flick that does its best to be fast, fun and footloose, and succeeds, but with a questionable morality that left me feeling a little jarred by the ending.


If you don’t know yet, Kanye is going to release their G.O.O.D. Music Album this summer. He has already made some big moves by releasing two singles from the upcoming album, “Mercy” & “I Don’t Like.” So with the addition of the two singles, he is planning to release a short film to go with the album entitled Cruel Summer and from what I’ve heard its also is the title of the album. The film is going to be revealed at the Cannes Film Festival in France on the 23rd and will be available to the public two days later. So if you get the chance check it out.


Keanu Reeves Moving Ahead With MAN OF TAI CHI
August 28, 2011 -
The Matrix actor has been talking about “Man of Tai Chi” for a while now as a potential
directing and starring vehicle. The martial arts film would also star Tiger
Chen—one of the stunt men on “The Matrix” sequels—with Reeves as the villain in
the contemporary-set film that he boasted earlier this year would not hold back
on the fisticuffs. “There’re 18 fights. We’ve timed it out. It’s about 40
minutes of fighting,” he told MTV. “I want to make a good, solid kung fu movie.
Good story, good plot — but let’s get some good kung fu going!” Now it appears
it might be closer to happening.
The Wrap reports that China Film Group and
Village Roadshow Pictures are negotiating to finance the film which will be in
both English and Mandarin.
Both make perfect sense as Village Roadshow were backers of
The Matrix films and with the
film being partially in Mandarin it is exactly the sort of high profile, star
driven, but still China-friendly project that the mainland Chinese industry is
lusting to get in to on a co-production basis.


I have always been drawn to this community of women. I think being born part of a military family, I've been bred and raised to be a military wife.
Like the movie "We were soldiers" with Mel Gibson; I loved the movie, but I was especially drawn to the women, the wives, in the movie. And the TV show, "The Unit", another show that portrays the life of military spouses. Now, season 2 of "Army Wives" on Lifetime has started. I've just been sucked in.
I know it's a movie. And I know it's dramatized, but I feel a connection to them and the emotions.
A friend, Marissa, has always identified with the Amish. She loves to read about them, see the movies and even longs to be one. But she knows she never will be. And self-admittedly, she wouldn't do well Amish. I guess it's not unusual to connect with something you aren't...
I just feel like something is almost missing by not being a military wife. I know Matt's in the reserves, but it's not the same. Maybe that's why I've always pushed him so hard to go active duty.
In time...maybe I will instead.


A tense, edge-of-your-seat thriller from Mike Bartlett, creator of smash hit Doctor Foster, Trauma centres on two fathers, Dan (John Simm) and Jon (Adrian Lester), whose very different lives collide when Dan’s teenage son tragically dies under the care of trauma consultant Jon in a Central London hospital.
Devastated and heartbroken, Dan, a working class father struggling to make ends meet, believes Jon is responsible for his son’s death and, as he strives for justice, Dan begins to unpick the fabric of Jon’s distinctly contrasting life as a high-achieving surgeon with a beautiful home and family. Trauma is an intricate, fast-paced thriller that explores what happens when the very institutions established to protect us let us down. Trauma also stars Rowena King, is directed by Mark Evans and produced by Catherine Oldfield.
We have three DVD boxsets to give away!


This companion to the once "considered lost" 1927 Louise Brooks' film, Now We’re in the Air, tells the story of the film’s making, its reception, and its discovery by film preservationist Robert Byrne. Also considered is the surprising impact this otherwise little known film has had on Brooks’ life and career. With two rare fictionalizations of the movie story, more than 75 little seen images, detailed credits, trivia, and a foreword by Robert Byrne, the scholar who found the film in Prague, the Czech Republic.
On December 3, 2017, the curiously named Monsieur Chelaine (a personage not known to me) gave the book it's first amazon review, calling my book "The absolute final word on the film from the world's foremost expert on Louise Brooks. Thoroughly researched and expertly written, oh, and did I mention lavishly illustrated? If you love silent film and if you love Louise Brooks (and who doesn't) you really should pick up a copy for your library."
And that's not all. Earlier, a fine fellow named Paul Joyce posted this tweet praising the book. ithankyou Paul.
Now We're in the Air is chock-full of images, including a number that even the most devoted Louise Brooks fan will not have seen, including this rare photo of Brooks' name in lights above a Prague theater in 1929, around the same time that Now We're in the Air was showing in the Czech capitol! (Why Brooks' name was in lights is explained in the book.)
I had a lot of fun writing and compiling this 130 page book. I wanted to thank all those who helped, and did so in my acknowledgements, which I shaped into an airplane.


Hannibal, who was a soldier, had only one eye after getting a disease while attacking Rome.
The longest acceptance speech in the history of the Oscars was by Greer Garson in 1942. She received an Oscar for Best Actress for the movie Mrs. Miniver, and her speech was five minutes and 30 seconds long.
Paul Revere rode on a horse that belonged to Deacon Larkin.
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Movie candy is an essential part of the theater experience, as everybody knows.Movie candy is a treat because the boxes are big, substantial, and full enough to last well into the film, and full enough to share, which is equally sweet.
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Jun 03, 2021· Among the most perplexing of all cinema treats is movie theater candy. Served in iconic jumbo boxes like at a concession stand and somehow so much more appealing than drug store varieties, movie theater candy sells for over a 104 percent markup. That means the same $2 box of M&Ms at Walgreens will cost you more than $4.25 at movie night.
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Movie Theater Box Candy. Other than popcorn nothing goes more with a movie than candy. We have everyone's favorite movie theater candy. These theater size candy boxes are sure to keep snacking all the way to the end of the movie.
Choose from a variety of candy snacks. JuJu Fruits; Good & Fruity; JuJubes;Assorted Gummi Fish; Lemon Heads Jolly Ranchers Gummies; Sour. 1275493633. Write a Review. Review Summary. Theater Size / Movie Size Candy Of All Kinds $1.50. 5.0. 1 Reviews. 5.
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Gabriel E. Guzman
Click on a founder to read their bio
Among Thieves (2015)
Like the old saying goes, there is no honor among thieves. In a world of deception a priest, a babe, a girl scout and two brothers are caught in a game of cat and mouse. But where there is deceit, beware the mouse. Who is who in this toxic tale of lust, revenge and greed. "Among Thieves" is a story about five thieves whose paths cross more than once that you’ll have to watch it twice.
To protect and serve is what our noble officers in blue fight for everyday, but who protects us from Officer Jackson and Officer Lowe? PIGS is a satirical story about the freedoms and trust we offer to our policemen as a society when they could very well be the ones we need most protection from.
80 Proof (2016)
Johnny Snub Nose, a slick and smooth cat whose suit alone can earn him a dinner date with Marilyn Monroe, finds himself reflecting on the past while sitting in a bar with a couple made men in the Bocelli Crime Family.
Nitrate Films Entertainment manifests vision into reality through the use of Cinema, Art, and Sound. We strive to create superior stories that entertain, enlighten and enrich the human condition.
JESUS ANTONIO JIMENEZWriter / Director
Born and Raised in San Diego, California.
There's great excitement that I find in being able to create and manifest dreams into moving images, all while working with spectacular talent from all over the world. With each film comes a new journey - a journey fueled by love and passion for our craft.
Jesus Jimenez has been writing since childhood and holds a BA in Film and Cinema Arts with a minor in Screenwriting and Directing in Theatre Arts.
MARCUS ALEXANDEREditor / Colorist
Marcus is an award winning editor who brings a different take to the world of editing with his extensive knowledge of different editing techniques and specializes in Horror and Thriller style film making.
He has worked with various production companies and continuously takes on new innovative projects to expand his knowledge of all forms of post production, spending countless hours practicing and perfecting his craft.


Exam Board: OCR
In the first year of the course candidates explore two contrasting practitioners which they apply to a text. From this, students write a 3,000 word academic report, write a portfolio and devise an original piece of theatre which is performed to an audience. In the second year of the course students will explore a range of texts and then prepare a performance for an external examiner. This will consist of one group performance and either a monologue or a duologue. Alongside this, the students will prepare a document which outlines their intentions.
As part of the course students will also sit a written examination. For this we will explore three texts which are prescribed by the exam board. The students will look at this through both practical and written exploration. We will then apply this understanding in preparation for the final year examinations. Students will also be taken to see a piece of theatre, they will then write a theatre review in their exam. This will reflect their developed knowledge of how to create quality productions.
40% exam, 60% coursework
General Sixth Form admission requirements and grades 5 or above in GCSE English and Drama.
Drama develops a huge range of skills in students including confidence in written and oral communication, team work, problem solving, memory and recall, empathy and physical strength and control. Drama can lead to courses and careers in Theatre, Media, Journalism, Social work, Psychology and many others.


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Part of the “Interactive Theatre as a tool for Social Change" co-funded by the European Union within the framework of the regional programme Med Culture, ASHTAR Theatre is glad to present "The Gaza Monologues".
On the 22 of May "The New Gaza Monologues" performed at ASHTAR Theatre in Ramallah at and on the 16th of the same month in The National Center for Culture and Art.
The play with its new production, presents the monologues which were written in 2010, along with some new monologues that were written in 2014; it focuses on the monologue as a text, and on physical pictures.
These monologues were written by ASHTAR Theatre students in #Gaza in 2010, after the 2008-2009 Israeli aggression on the Gaza Strip; the new monologues were written by the same students after the 2014, Israeli aggression.
The monologues were sent out to the world in October 2010, to tell the stories of these students, since then, the siege and aggression have continued and nothing changed, this production comes in continuation of the efforts to deliver this message.
Directed and Choreographed by Mohammad Eid and performed by Rana Burqan, Yasmin Shalaldeh, Majdi Nazzal and Khalil Albattran
Technician: Mohammad Ali


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Before requesting to have your film reviewed, please make sure to read the Film Submission FAQ in the Submission Info section and then contact the editor to request the review and get the shipping address.
Please contact us after the 1st of next month to send in your review requests.
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The Toronto International Film and Video Awards (TIFVA) is a Toronto-based not-for-profit awards ceremony/film festival committed to the support and promotion of independent artists in the film industry.
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roguecinema.com :: View topic - PR: SBD Spanking Out a Dark New Fetish Web-Series
Joined: Jun 05, 2004 Posts: 645 Location: Boise, Idaho
Posted: Thu Sep 22, 2011 1:00 pm Post subject: PR: SBD Spanking Out a Dark New Fetish Web-Series
Los Angeles, CA (Sept. 15, 2011)
LOS ANGELES, Local Los Angeles web-series, “Safe Word,” spanking it’s way into production.
The twisted new web-series, “Safe Word,” will commence production late September 2011. The taboo laden story stars Ryan Kiser (Potpourri, I’m Not Jesus Mommy), Rachel Grubb (Bloodstruck, Cut) and Anne Westcott (Monday Morning, Third Party ‘0. The cast also includes the talented Devanny Pinn (Pirahnna, Vivid), Scott McClure (The Joker Blogs), and Tyrel Ventura, son of Minnesota Governor Jesse Ventura and Producer of the hit truTV series, Conspiracy Theory.
Determined to work together again, Brooke Lemke, Ryan Kiser, and Rachel Grubb began discussing potential projects. Rachel had a very compelling story that she had been working up into a feature film. After discussion, the group determined that this “little tongue in cheek” gem was something that definitely translated into a compelling episodic mini series for the web. The group forged into production right away. Brooke Lemke gets the nod as director. “I am very excited to take the Director’s chair again,” she says. “I am anxious to work with such a talented cast and bring my vision of this interesting story to life.” The project will be produced under Brooke and Rachel’s label SILENT-BUT-DEADLY PRODUCTIONS with Ryan producing on the series as well. Silent-But-Deadly Productions achieved much success and recognition as an independent production company in Minneapolis whose goal is to provide strong roles for women in front of and behind the camera. SAFE WORD will be it's first Los Angeles based production.
The story itself Rachel describes as, “a dark and revealing story about a man, Logan, with a secret, and the lengths he will go to come to terms with it.” Logan will be played by Ryan Kiser. When asked about the role Ryan said, “ It’s more than just a guy who has a weird fetish. It’s a complex role wrapped into a very different type of story. It‘s going to be challenging.” Rachel, in addition to being the writer, also plays one of the lead female antagonists, Miranda, in the story.
The series is almost entirely being funded by the generous contributions of the cast and crew. Additional funding for elements of principal photography and post production are being sought. Contributions can be made at the indigo site:
The series, currently comprised of twelve episodes, is slated for an early 2012 internet release. There are also tentative plans to turn the story into a short film for later release.
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Festival Tweetakt is an annual arts festival in Utrecht for everyone, with theater, music and art by (inter)national creators.
A search for vulnerability - does it lead to honesty?
In De keer dat iemand iets probeert, Patsy Kroonenberg researches the vulnerability of the stage actor in hopes of finding honesty in the theatre. Responding to a series of prompts, three actors attempt to be honest. They keep trying, in spite of the stage they are on, the lights they are under, and the audience’s gaze they are facing. They are in search of that single moment when you’re at a party and you hear your favourite song, or when your telephone rings and it’s bad news, or that moment when the boy you’re in love with walks into the room. It’s those moments, this vulnerability, the type of honesty we are looking for.
The honest attempt, trying to find honesty, perhaps finding it. Watching the moment when someone makes an attempt.
Patsy Kroonenberg is a student at the HKU acting school. She performed in MAMMA by Alexandra Broeder for NTjong (Tweetakt 2018). During this edition, Patsy is also performing in #SCHIJN, the show Sanne Vogel is creating with the third-years from HKU acting school for Tweetakt.
Concept and directed by: Patsy Kroonenberg
Performance: Dagmar Ketelaers, Quiah Shilue en Sweder de Sitter
Guidance: Stephanie Louwrier
|9 april||18.45 - 19.45|
Locatie: Theater Kikker, Kleine zaal


We all have favorite movies. Sure, I do too.
I’m a fan of a great Western. Which means I adore the Sergio Leone spaghetti Westerns starring my boy Clint. My fave of the trilogy (A Fistful of Dollars, For A few Dollars More, The Good, The Bad and The Ugly) is The G, The B and The U. Plot, characters, suspense, action scenes, those wide panoramas mixed with the tension-filled closeups make for superb entertainment.
But there’s an additional, special reason why I have a unique fondness for The G, The B and The U. You see it goes back to my time with Rachel.
One winter’s evening we decided to stay “in” at her apartment mid-town. A good movie on TV with decadent snacks seemed like the perfect way to spend a Saturday night. Not having a TV in her bedroom, Rachel suggested we lie on her pull out couch and get cozy for the flick. Done, I say!
After opening up the couch, we quickly got naked and under the covers as the movie began. Not long into it, Rachel, lying in my arms, looked up at me with her sleepy brown eyes.
“You just watch the movie. Don’t pay attention to what I’m doing. I’m just gonna play and have some fun,” she declared.
“Umm, ok” I answered.
Without a further word she wiggled down and slipped my still soft cock into her mouth. She stroked. She licked. She looked up at me smiling. I was having trouble concentrating on Eli Wallach at the end of a rope. Rachel smiled some more as she could feel the results between her lips from her ministrations. I rapidly got hard.
“Mmmm I just love feeling you get hard in my mouth,” she cooed.
“Uh-huh” I gasped.
Not long after I exploded in her mouth. Rachel had an uncanny way of knowing how to get me to cum from her blow jobs in a matter of minutes.
She’d do it 3 more times before the movie credits rolled.
Thinking about my favorite films reminds me of so many good things.
I think I’m going to have to tell you more about Rachel.


I set myself a challenge to get out of my place and to see a movie a day. I am a Dendy Cinemas member and buy my tickets online.
On Monday I went and watched Toy Story 4 (rated G) in cinema 5. My ticket was $7.50. I also treated myself to a medium popcorn. I spent countless hours picking popcorn out of my teeth. Seats are allocated but there’s not much choice when in a wheelchair so I chose back row in the Centre. I was concerned that I’d forgotten what happened in the previous films but there was enough recap and it flows without needing to have seen the previous three. It was a bit scary and I was concerned as to what was going to happen. I also felt sad and happy as the story progressed. An overall good film for all ages. The ending wasn’t what I expected. I predict Disney Pixar will make a Toy Story 5.
On Tuesday I went and saw Pets 2 (rated PG) in cinema 2. My ticket was $1. I was the only one in the cinema. It was amusing to see a staff member walk in at the conclusion of the movie to clean. There was nothing to clean as I didn’t buy popcorn. I also giggled in the film. There are a few different storylines going on. An overall good film for all ages.
On Wednesday I watched Men in Black: International (rated M) in cinema 9. My ticket was $15.50. The cinema was shared with others, estimating around 15 in total. I also treated myself to a medium popcorn. I’d never seen a Men in Black film. It was action packed. I giggled especially when a Agent M wanted to get into the drivers side but got in the wrong side as she was in the UK not the USA. There were a few nods to feminism including a few strong female characters. An overall good film for those into action.
On Thursday I watched Yesterday (rated M) in cinema 2. My ticket was $15.50. I also had a medium popcorn. I share the cinema with others. The movie was disappointing. It was weird and slow. It wasn’t funny. It was also more focused on Ed Sherran than The Beatles. It’s something I may have watched on Netflix while doing other things.
I quite enjoyed watching a movie a day. I look forward to seeing more movies.


Thought to be gone forever from Gotham City, Batman is goaded into a return by Bane. The villain is bent on the destruction of everything both Batman and Bruce Wayne hold dear. Bane will not be satisfied until he has physically, emotionally, and mentally destroyed the Dark Knight he believes is responsible for his own pain and suffering.
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Jun. 5. 2020 4:33 PM Judging from what we've seen up until now, director Christopher Nolan's most current motion picture, Tenet, won't be lacking in spectacle, namely for how it includes the time control into the story. As such, one would not be faulted for Tenet Film Cast categorizing Tenet as a sci-fi film, but Nolan designed it to fit more comfortably within the spy category.
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This dispute will involve something worse than nuclear annihilation, and among the antagonists, if not the main one, a Russian national who's able to interact with the future. The cast consists of John David Washington, Robert Pattinson, Elizabeth Debicki, Kenneth Branagh, Michael Caine, Dimple Kapadia, Aaron Taylor-Johnson and Martin Donovan. tenet film actors.
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In the meantime, have a look at what other films are expected to come out later this year with our 2020 release schedule, Tenet Film Corona or browse our guide listing all the movies that have been postponed over the last numerous months. Adam Holmes Connoisseur of Marvel, DC, Star Wars, John Wick, MonsterVerse and Medical professional Who lore.
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Robert Pattinson and John David Washington in Chris Nolan's 'Tenet' Warner Bros. If Warner Bros - tenet film warner bros. was definitely, 104% sure that Chris Nolan's Tenet was going to open on July 17 as scheduled, they would have mentioned as much at the conclusion of the film's 2nd trailer when that preview debuted online (and throughout Fortnite) on May 21.
The pandemic is still around and the nationwide #blacklivesmatter demonstrations, justified as they might be, have actually included another wrinkle to Warner Bros.' big decision. With 41 days to go (consisting of Thursday sneak peeks), if Tenet gets postponed, where might it be moved? The main line from NATO and the rest is that motion picture theaters will start resuming in mid-to-late June, with Tenet Film Instagram hopes of being totally up-and-running a week or 2 before the July 17 start date.
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Unfortunately, that's probably an enforcement problem, as we've currently seen unruly customers dedicate attack and/or battery against workers when asked to wear a face mask in an offered store, restaurant or service. Even if you don't have to wear a mask does not imply you can't use a mask. However presuming Tenet moves, there are a couple of most likely release dates that come to mind.
Yes, the Gal Gadot/Chris Pine superhero sequel was supposed to open last night, three years to the weekend after Marvel Lady, however it was moved to August 14. That's a month after Tenet, which means there won't be any problems with the two "partially shot with IMAX video cameras" WB flicks contesting IMAX screens.
If Tenet relocations however Mulan doesn't, Tenet loses a valuable selling point. It stands to reason that if Tenet doesn't open on July 17, then Disney will move Mulan from its July 24 release date and Paramount will do likewise with The SpongeBob Motion Picture: Sponge On The Run which was moved from May 22 to August 7.
There have been rumblings about Mulan ending up on Disney+, but A) let's see how lots of folks see Artemis Fowl when it debuts on Disney+ next weekend and B) doing so would indicate Disney compromising anywhere from $550 million to $1 billion in possible global grosses for a prospective Disney+ customer boost. tenet film about.
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In this situation, I 'd wager that Marvel Lady 1984 will then open on October 2 or (with The Witches moving off its October 9 release date) October 9, 2020. Yes, Paramount has slated Michael B. Jordan's Without Regret for October 2, which took place after Sony moved Venom: Let There Be Carnage from October 2, 2020 to June 25, 2021 (taking the location of The Batman, now scheduled for October 1, 2021).


The Ember Players is one of Surrey`s leading amateur theatre groups. We stage two productions a year, always aiming to provide variety for our audiences and fresh challenges for our casts and crews. Since our inception in 1949, Ember Players have notched up over 200 shows ranging from Pinter to panto, Shaffer to Shakespeare, “Amadeus” to “`Allo `Allo!” There have been musicals, one-act play festivals, historical and contemporary drama and many, many comedies. We currently stage our productions at the Cecil Hepworth Theatre in Walton on Thames and for our more intimate offerings at The Ember Sports Club in Esher.
It takes all sorts to make a show – and you don`t have to be a Tony award-winning actor. Of course we`re always delighted to welcome new performers – but contributions are equally valuable backstage, front of house – or supporting our productions in other ways. Perhaps you`re considering learning a new skill – or extending an existing one. How do set or costume design appeal? What about scenery construction, prop-making, make-up, lighting or sound? Maybe there`s a play you`re bursting to direct (we`d give you lots of help and support).
The Ember Players is part of the Ember Sports Club. Our clubhouse has a subsidised bar, ample rehearsal space and storage areas for props and costumes. The sports club also has tennis, bowls and croquet sections. We offer a varied social programme which includes barbecues, play readings, theatre trips, quiz nights, local walks and the occasional murder mystery evening. Our summer barbecue took place indoors this year – but who cares about the weather if you`re having fun? If you`d like to discover a new `you` and make new friends as part of a committed, creative team, then we`d love to hear from you.


While some celebrities move on to bigger and bigger projects and never leave the limelight, some simply fizzle out and fade into obscurity. Be it family, or plain inadequacy concerning their acting chops, these once burgeoning Hollywood leading ladies are now a thing of the past. Let’s see their reasons for doing so!
With classic hits under her belt such as ‘Sleepless in Seattle’, ‘You’ve Got Mail’, ‘When Harry Met Sally’, Meg Ryan was a favorite for the casting directors in the 80’s and 90’s. But her success only lasted so long after her messy divorce from actor Dennis Quaid, which hurt her reputation, accompanied by some extreme plastic surgery.
Bynes rose to prominence as a child actor on Nickelodeon shows ‘All That’ and ‘The Amanda Show’. But her fall from grace was swift, thanks to her erratic behavior, trouble with the law, and dramatic change in her physical appearance mid-2000’s. She hasn’t been seen on TV since, with claims that she’s focusing on a fashion career.
Lauryn became a household name with her role in the much-beloved film ‘Sister Act 2: Back In Habit’. The audience was captivated by her powerful voice and she soon followed it up with the release of her critically acclaimed album ‘The Miseducation of Lauryn Hill.’ But then, Lauryn left public life almost entirely. Rumors were that she joined a cult, or lost her mind.
Grace Kelly exuded the vibes of a royal even before she married the Prince of Monaco. A darling of the 50’s, her career came to an abrupt end when she married Prince Rainier the Third. Grace Kelly became the Princess of Monaco and left the silver screen behind. Possibly the best reason to leave Hollywood!
Equal parts sultry and sassy and an English accent to add to it, Elizabeth Hurley was an erotic icon in the 90’s. But her looks were going to take her only so far, it seems. Her last prominent role was in early 2000, and aside from a few gig here and there, Hurley has faded away.
Geena Davis is most notably known for her role in the children’s movie ‘Stuart Little’, but she also boasts of an Oscar win, ‘Thelma and Louise’, ‘A League of Their Own’, under her belt. She had hit Hollywood gold. But she gradually faded out of movies to focus on personal projects.
Doris Day was at the top of her game in the 60’s and 70’s. She starred alongside some of the biggest names in Hollywood and was the singer in Big Bands. But the fame and fortune have a way of getting to people. She had 4 failed marriages which took a toll on the actress, and ultimately she retired from the public eye.
Being the niece of the famous Jane Fonda, Bridget also took a liking to the craft of her aunty and soon became a sought-after star in the 90s. However, as is the case with marriage and kids, they seem to take away female actresses from the big screen. Bridget’s last appearance was 2002 movie ‘Snow Queen.’
Lark played the role of the chipper Lisa Turtle on ‘Saved by the Bell’, which made her a household name in the early 90s. She left the limelight shortly after the show wrapped. But in more recent times made headlines for her bizarre change in appearance due to Lupus.
While some might not even know or remember that name, but young Danica played the role of Winnie Cooper in ‘The Wonder Years’! In many cases, child stars go on to pursue acting as a career, but Danica had other interests entirely. After leaving TV, she went on to study mathematics and has since written books for young girls that encourages girls to learn the subject.
The Olsen Twins
Mary-Kate and Ashley Olsen, collectively known as the Olsen twins, were the “it” girls of the 90’s. They started their acting careers as toddlers and have several tv shows and movies under their collective belts. After leaving acting early on, Mary-Kate suffered from Anorexia Nervosa but has now thankfully bounced back.
Nikki had her big break when she got cast in the titular role of Tracy Turnblad in the cinematic revival of the 2002 musical production ‘Hairspray.’ She acted alongside big names of Hollywood – John Travolta and Michelle Pfeiffer. But after non-significant roles in other TV shows and movies, Nikki’s career never really took off after ‘Hairspray.’
A young and doe-eyed Mara Wilson was a darling of the children’s movies with starring roles in Matilda and Mrs. Doubtfire. But all that glitters isn’t gold, Mara soon found out when acting on the big screen didn’t turn out to be as fun as thinks it to be. She gave up acting professionally after her stint in movies as a child.
For young Carrie Henn, after her role as the tough kid – Newt – in the ‘Alien’ movie, she never got the appeal of acting. After her very short run as an actress, she dropped out completely after just one movie. She instead pursued studies and child development and went on to become a teacher.
Lindsay got her start in Hollywood after starring in the hit movie ‘The Parent Trap’, playing the dual roles of the spunky redhead twins. She garnered even more fame after starring in the sleeper hit ‘Mean Girls’. But there was a steep decline in her popularity after getting involved with illegal substances and minor shoplifting. She has since then laid low and hopes for a comeback.
The price of experiencing success at a young age is quite hefty. Tatum won an Oscar for her role in ‘Paper Moons’ at the tender age of only 10 years old, the youngest recipient ever to receive the award. But maybe it wasn’t the best thing for the young star. Her immense fame opened the alluring gateway to drugs, which led to the end of her career.
Karyn played the role of Hillary Banks on the popular 90’s sitcom ‘The Fresh Prince of Bel Air.’After her stint on the show, she left it behind to focus on her personal projects. She founded the company ‘Sweet Blackberry’ that focuses on telling biographies of African Americans “that would otherwise stay stuck in history books.”
Goldie Hawn’s last film was way back in 2002 called ‘Banger Sisters’ alongside Susan Sarandon. And although she’s been seemingly on a hiatus for fifteen years now, she hasn’t retired officially. She took a surprising decision in 2017 by agreeing to star in a film called ‘Mother/Daughter.’


or Shin-chan, many people think about him that he is an obscene
boy but in fact, he isn't. Shin-chan likes to tease his mother,
brings about the story of his mother to tell to neighbour and
does something that feel disgraceful to his parents. Some people
think about this show isn't good but he is a general boy and loves
his parents like the other boys. The writer of Shin-chan story
wants to show a boy who is not afraid of parents or anyone.
Misae, Shin-chan's mother likes the other housewife. Although she is a very grumble and best, she loves her son so much. And now she has a daughter. Shin-chan's sister name is Himawari.
Hiroshi, Shin-chan's father and Misae's wife. He is a drunk, flirty but he loves his family.
Himawari, Shin-chan's sister. She likes gold color. She likes a thing that are gold color such as necklaces, gold, gold card, key and earring. And she likes a handsome popular. Ohho!


Thank you To The Malayalee Association Uk 8th June 2019
Thank you to everyone at the Malayalee Association UK [MAUK] for kindly hosting and excellent exhibition of Kathakali costumes and a workshop offering a rare opportunity to study the story of Poothana Moksham depicting the evil Poothana attempting to kill the baby Lord Krishna.
Poothana disguised as a beautiful lady searches for Lord Krishna. She learns to love the baby and doesn`t want to kill him but is afraid of the evil King who is ordering her to do this terrible thing. She eventually finds salvation as she dies because she has been killed by Krishna.
Kathakali actor - Kalamandalam Vijayakumar led the workshop enabling a group of interested people to explore how the story is told and how the thoughts and feelings of Poothana are expressed.
Kathakali make up specialist - Kalamandalam Barbara Vijayakumar explained how the costumes and make up is a vital part of a Kathakali play.
Kindly funded by the National lottery heritage Fund.


A young scientist by the name of Frankenstein breathes life into a gruesome body. Banished into an indifferent world, Frankenstein’s creature desperately seeks out his true identity, but the agony of rejection and a broken promise push him into darkness.
Dangerous and vengeful, the creature threatens to obliterate Frankenstein and everyone he loves, in a ferocious and bloodthirsty hunt for his maker.
Rona Munro’s brilliant new adaptation of Mary Shelley’s Gothic masterpiece places the writer herself amongst the action as she wrestles with her creation and with the stark realities facing revolutionary young women, then and now.
Tickets for this event are no longer available.


While the automobiles of this film franchise have become just as famous as 007 himself, which of the James Bond cars are regarded as the most memorable?
Shootouts with the bad guys, exotic locations, extraordinary women and of course – fast cars – all helped to build the James Bond franchise into the multi million dollar brand that it is today. From the Sunbeam Alpine Series II that first hit the screens in 1962’s “Doctor No” right through to 2015’s custom-made Aston Martin DB10 featured in “Spectre”, the James Bond cars are just as diverse and iconic as the actors who played our favourite secret agent – but which are regarded as our favourites?
Five Of The Most Memorable James Bond Cars
Our protagonist throughout the film series is Bond, James Bond. Otherwise known as Agent 007 in the British Secret Intelligence Service, or MI6, Bond has spent over fifty years on screen taking down bad guys across the world.
Of course, our hero needs a few items in order to do so throughout the franchise, such as a ‘Bond’ girl, a collection of gadgets, access to alcohol, and at least one iconic car per film. Each of the James Bond cars are radically different, and have certainly transformed throughout their long tenure on the silver screen. While everyone seems to have a favourite, what are some of the more iconic additions that continue to command our attention today?
The Film: “From Russia With Love” (1963)
The Car: Bentley Mark IV
The Back Story: The addition of the Bentley Mark IV was deemed to be unusual, considering that the car in question was already over thirty years old when it hit the screen. However in several of the novels, Bond had driven a Bentley 4.5 litre, which predated the Mark IV by two years and was likely the inspiration behind its inclusion in the film.
The Film: “The Spy Who Loved Me” (1977)
The Car: Lotus Esprit S1
The Back Story: For the tenth Bond film instalment, the producers understandably wanted to out-do themselves and deliver a film that ‘wowed’ audiences on all fronts, including the Bond car of choice. As such, 007 was equipped with a white Lotus Esprit S1 in a chase sequence that covered both land, air and water.
The Film: “On Her Majesty’s Secret Service” (1969)
The Car: Mercury Cougar XR7
The Back Story: Although technically not his car, the Cougar was essentially a rebodied Ford Mustang that is still regarded as a hardcore pony car. Kitted out with a performance package that included a ram air hood scoop, rally wheels and high backed bucket seats along with a full gauge kit, the chase scene is considered to be one of the best of the series.
The Film: “Tomorrow Never Dies” (1997)
The Car: E38 BMW 750iL
The Back Story: The most famous Bond BMW throughout the series was the E38 BMW 750iL, thanks to fully remote-control capability. Long before Tesla’s ‘summon mode’, James Bond was able to remote control his E38 7 Series and escape from the bad guys. The tech and gadgets included in this car was hinted at previously, but never seen in action quite like this before.
The Film: “Goldfinger” (1964)
The Car: 1964 Aston Martin DB5
The Back Story: Light years ahead of its time, the Aston Martin featured in this film sported machine guns, oil-slick sprayer, ejector seats and even a ‘modern’ navigation system. The car itself sold for a staggering $4.6 million in 2010, and cemented the half a century partnership between James Bond cars and Aston Martin that still continues today.
In fact, the DB5 is such a fan favourite that it made an immediate reappearance in 1965’s “Thunderball”, as well as future Bond entries like “Goldeneye”, “Casino Royale” and “Skyfall”. While the series currently encompasses twenty-four films, the latest instalment “No Time To Die” is set to be released in late 2021, and will no doubt give us another James Bond car to know and love.
Get To Know Your Local Classic Car Expert
Finding a fellow vintage auto enthusiast can feel a bit like finding a needle in a haystack, but rest assured that Classic’s Garage understands the thrill more than most. Having spent forty years collecting anything and everything from matchbox cars to hub caps, he’s successfully followed his passion to source, collect and stock beautiful and low mileage classic automobiles from around the world. With extensive experience in the automotive industry, it was only a matter of time before Wayne expanded on his love of vintage, iconic vehicles to share his knowledge and passion with the public.
Although his passion is for automobiles built before 1978, with a particular love for Buicks, Cadillacs, Lincolns, Oldsmobiles and even Fords, Wayne is just as passionate about the stories of the owners. Just like the cars, he has found that his fellow classic car enthusiasts all have wildly different attractions and logic behind their passion or hobby, and this often translates into how the car is presented. If it’s even remotely different, rare or just plain unusual, Wayne will overcome the relevant logistical and geographical challenges of bringing the cars to his showroom in Australia.
Classic’s Garage is a showroom conveniently located at Seventeen Mile Rocks, that specialises in the restoration and sales of vintage automobiles. If you’re on the hunt for Brisbane classic cars – quite simply, Wayne is your man. If you would like to arrange a viewing or inspect any other of our classic vehicles, please get in touch with us today.


Joshua Rudolph is a Communications Specialist at The Hope Center for College, Community, and Justice. He joined The Hope Center after graduating from The University of Scranton with degrees in communications and philosophy. There, he studied screenwriting, philosophy of film, critical theory, and writing. He primarily writes fiction. Joshua wrote for the short film “Never Get Trapped Again”, which played at the 2021 East Village Queer Film Festival. To read his other work, visit his website.


Tell Me Something Tuesday #8Tuesday, March 06, 2012
Tell Me Something Tuesday is a weekly meme created by Cambria Hebert. Click on her link and join in the TMST fun!
Tell Me Something....
Do you usually like the book better than the movie or the movie better than the book? What is your favorite book to movie adaptation you have ever seen.
Definitely not the latter.
I am huge fans of both movies and books, however I disliked watching a movie adaptation if I had read the book beforehand.
Take Twilight as an example. I had great time watching Twilight because I had zero expectations for the movie, but the subsequent chapters weren't that much appealing because I've gone ahead and bought the books to read. Which I sort of regretted because I have high expectations for the next installments and hated when I disappoint myself. I have to blame myself for not liking New Moon as much as I liked Twilight, I supposed if I never read the books, I would love Twilight even more instead of criticizing the movie for not being like the book. I have to say, books set a pretty high standard for the movie.
I love to watch movie adaptations, only if I have never read the book because I couldn't stop myself from comparing, and I hated myself when I do that. Well, I am looking forward to Hunger Games though, I try to not expect anything and just let the movie 'wow' me.
I enjoyed watching several movie adaptations such as Percy Jackson, I am Number Four and Beastly because I went to watch the movie without knowing the plot, and I came out happy and content. Even more, I found myself loving the story even more after I watched the movie and then read the book.
In a nutshell, I will like a movie adaptation if I haven't read the book.
And for my favorite? Well....I can't say I read much books which was made into movies, but I loved Harry Potter, so there ya go!
Comment and please give me a feedback! (I sounded so cynical in this post....) Don't forget to leave your link below so I can check yours out too. Happy Tuesday!


While humanity slumbers, vampires rule the night. Ignorant of the constant danger, humans live their lives in bliss.
Life has never been easy for Cassandra Brooks. She and her family-her father William and her brother Austin-never stay in one place for long. To complicate matters, her dreams are haunted by a boy she has never met.
Her existence becomes a fight for survival after her brother saves her from a group of nomadic vampires. With help from an unexpected source, Cassandra must embark on a journey to piece together the shattered remnants of her life. All the while, hunted by a dark specter she can't seem to shake.
Pallaca: Coming 2019


|Age||Unknown, appears in 40s (deceased)|
|Species||True Vampire (Demon)|
|Abilities||Creation of Ghouls |
|First Appearance (Manga)||Volume 1|
|First Appearance (Anime)||Episode 1|
|First Appearance (OVA)||OVA I|
|Voice Actor||J.B. Blanc|
This Priest is a minor character and antagonist in the Hellsing series.
The Priest was an older looking man, appearing somewhere in his forties, with black hair, very sharp and prominent features, and hellish red eyes. He had pale skin, sharp fangs and dressed in darker, monochromatic colors.
From what little we see of him, the Cheddar Priest seems as sadistic and depraved as most of his kind. He planned on raping Seras, thereby disallowing her to become a vampire like himself, because he didn't want a vampire with free will running around. Power hungry, dismissive, arrogant, cowardly and violent, he was ended by Alucard.
In Hellsing/Hellsing UltimateEdit
Supposedly a quiet and devoted man of God, he was a vampire posing as a priest in a church in the small village of Cheddar, England. At the time, Seras Victoria was working with the London Police Department and was called out with her special unit to investigate the trouble that the Priest and his ghoul army were causing. This power-hungry vampire ambushed Seras with his ghouls and had almost killed her- until Alucard, Hellsing's finest agent, was deployed by The Hellsing Organization to 'clean up' the scene. He was shot in the heart and subsequently impaled by Alucard after he unsuccessfully tried to take Seras as a hostage and his Ghoul army was destroyed.
He had virtually no strength on his own and due to this deploys cowardly acts to survive (Such as using ghouls due his lack of fighting ability and strength), though it is possible his cowardice and lack of strength are an indication that he wasn't turned long before his first appearance.
- The priest's manner of death in the anime differs of that depicted in both the manga and OVA. In the manga and OVA, he was killed by Alucard in the forest, while in the anime he was killed in the chapel. Also, in the OVA and manga, he is shot, then impaled by Alucard. In the anime, he's only shot.
- His plans for Seras in the anime are also altered. In the manga and OVA, he plans to rape her, then turn her into a ghoul. In the anime, it seems he wants to turn her into his vampire mistress (he may have been feigning this though, as he cares nothing for her once his life is threatened by Alucard).


I would like to say this is the 1st ever award show that I was happy with all the winners!!!
Here are a few of my favorites!!
Outstanding Lead Actor in a Comedy Series
Jim Parsons!! I tell you that Sheldon, on The Big Bang Theory is one of the best characters of all time!
Outstanding Supporting Actor in a Comedy Series
Eric Stonestreet!!! He just cracks me up beyond belief!! And outside of acting impresses me as well.
Outstanding Supporting Actress in a Comedy Series
Outstanding Comedy Series!!
Outstanding Drama Series
How bout you? Anyone get snubbed that you thought should have won?


“I’ve heard a great deal about you, Fa Mulan. You stole your father’s armor, ran away from home, impersonated a soldier, deceived your commanding officer, dishonored the Chinese Army, destroyed my palace, and... you have saved us all.”
The Emperor - Mulan
Looking at the world, from a child’s perspective, is what makes Disney movies and Japanese Animation resonate with both adults and children. When it comes to Disney, the child viewer is transported into a world that portrays children like them as the heroes of the story, a world that is simple, yet complicated by the actions and decisions of the adults around them.
In movies like the Little Mermaid or The Lion King, the protagonists of these stories are children who imagine a world that is more inclusive, more loving, and more “fun” than the one that is portrayed to them by their parents. In their journey of self-discovery, this naiveté about them is taken advantage of by the evil characters of the film and is compounded by the over protecting parental figures’ inability to speak to the child in a way that they understand, or in a way that the child’s own reality, inspires change in the mind of the adults.
The concept of parental blindness is portrayed perfectly in the films Mulan and Pocahontas. Movies that feature the story of two teenage girls who do not see the world as binary, but see the possibilities of embracing and learning from those who are called “enemies” when it comes to Pocahontas, and the futility of gender binaries when it comes to Mulan, as she, pretending to be a boy, becomes the hero to China and the savior of her family’s patriarch.
Disney’s ability to speak from the perspective of the child also challenges the hearts and minds of the adults who are watching the films as well. For in the failures of the parents or the parental figures of the film, to adequately communicate with the child in a receptive manner to the child’s own creative imagination, and the calamity that comes from that failure in communication, the adult viewer is challenged to look at their own lives, and explore the times that they have felt bogged down, not listened to, or even shamed by the authority figures of their past. In remembering their own innocence towards the world, and the times that they were forced to grow up and told that the world of a child had no place in the realities of adulthood, they can empathize with the protagonist of the film. And while remembering those times and actions that jaded them to the world, they are shown by the film that in the end, the caretakers of the protagonist end up with the realization that their child truly did have a point, and that they should have been more receptive to their feelings and wisdom.
The adult viewers, who see the failures of the authority figures in movies like Mulan and Pocahontas, are then moved to embrace the naiveté, the innocence, of the protagonist in a way that makes it a positive trait, instead of a negative one. They are also challenged by the failures of communication between the adults and the children of the film, and how that failure can not only be deadly but can also open the door to consequences that could have been avoided by embracing the wisdom of a world that anything is possible, that is exhibited by the child protagonist.