I remember reading years ago that of all fictional characters, Sherlock Holmes had had about the most movie adaptations. In the past several years, this is still easy to believe. Even “different” portrayals of the character now seem commonplace. Nor is it a new idea to make it different. As far back as 1988, the comedy Without a Clue turned the whole concept around by making Dr. Watson the real detective who’s stuck in the shadow of his own literary creation and the actor he hired to play him. And of course there’s the “rodent Sherlock Holmes” Basil of Baker Street made widely known in Disney’s The Great Mouse Detective, two years earlier. So now, while I enjoyed Sherlock and to a lesser extent the 2009 Sherlock Holmes film and its sequel A Game of Shadows (and just didn’t see the other recent versions), I’m getting a saturated feeling again. Do we really need more of this? Is there room for yet another adaptation, no matter how different?
It turns out that yes, if it’s different enough, there was room for one more.
Mr. Holmes, an adaptation of the novel A Slight Trick of the Mind by Mitch Cullin, stars Sir Ian McKellen as Sherlock Holmes in his nineties — and fighting against a seriously deteriorated memory. The setup is immediately very different from any other version I’ve seen. Holmes has isolated himself to a small house in the middle of nowhere and focused on raising bees, but now he also has to focus on fighting his dementia. There are three intertwined storylines, one in the present, one in a recent flashback, and one back at the end of Holmes’s career as we know it. The story in the present deals with Holmes’s relationship with his housekeeper and her son and his struggle to remember what really happened in his last case. The recent flashback involves his trip to Japan to look for a cure for his dementia. The old story that Holmes gradually remembers and writes down concerns what seemed like yet another typical case, but which had been pivotal for him and ended his career — for reasons he can no longer remember.
In a lot of ways, it seemed like this was a story about dementia (if that’s the right term) told by means of Sherlock Holmes. Showing the mind that is deteriorating as being the most famously brilliant fictional one certainly serves to drive the point home, and might bring such things to the attention of people who would otherwise be uninterested. The irony of Sherlock Holmes losing his memory is similar to the recent real-life case of Terry Pratchett, the world’s greatest wit, coming down with early-onset Alzheimer’s disease and later dying of it. The setup with Holmes also allows showing that people affected by such illness, no matter how debilitated in some way, don’t automatically lose all of their minds. Even when unable to remember people’s names, Holmes is still able to do his trademark “that thing were he looks at people and tells them where they’ve been,” inferring everything from just a few clues.
That said, it’s still a Sherlock Holmes story, and each of the three stories contains something like a mystery to be solved in the characteristic Holmes fashion — even the Japan anecdote, which doesn’t seem like it would. In the present, the mystery starts with the question of what’s been killing the bees but gets more serious later on. Admittedly, since the clues in that last one are largely facts about bees that would be readily at hand for an expert, it seems a little off to show it as something that needs figuring out. I personally enjoyed that part anyway — because I’m interested in insects and also solved it myself at the same time as Holmes.
The characters in the story are well drawn. Aside from Holmes, they don’t have that many facets, but this one story doesn’t need that. As for Holmes himself, I automatically expect something good from Ian McKellen ever since he was perfect as Gandalf, and he doesn’t disappoint. His Holmes is rather more smiling and relatively more human than I’m used to, though he’s still characterised as being a person focused on logic and not so much human emotion.
Then again, perhaps the less stony demeanor is intentional, as this Holmes considers the depiction of himself in a movie stereotyped. This is not the only way the movie discusses its “real” Sherlock Holmes as opposed to the one in the stories written down by Dr. Watson and their further altered adaptations. An element that embodies this difference is the deerstalker hat Holmes is known for that is not featured in the original stories; someone doesn’t even believe it’s him in real life because he doesn’t wear it. I mentioned Without a Clue above, and these movies both discuss the status of Holmes as a fictional character even within their fictional worlds. But whereas Without a Clue makes Holmes the fiction (and is analogous to Sir Arthur Conan Doyle’s own relationship with the character), here Holmes is treated as the true original distorted by later stories, somewhat reflecting the relationship of the original stories with their adaptations. This also defines his relationship with Dr. Watson, who never really appears; even when he is briefly onscreen, his face is not shown. This ties to another of the main themes of the movie, but talking about that would spoil the plot. It’s all part of an exploration of the character of Sherlock Holmes.
Overall, this is a good movie with some interesting mystery and a touching story, and I would recommend it to anyone wanting to see either.


Empowering women is the trend of the year. More and more women are taking the lead on our screens and proving women are not just the typical timid innocent character and I love it!
Growing up as an aspiring actress, I would find it confusing that women played such timid character’s when I didn’t know many women who were actually timid and wanted to be saved by the stereotypical superhero man. The majority of women I knew were strong, sassy, fearless and held down a family, career and also managed to look fabulous. Smart and ambitious. They didn’t need saving! If anything, they were the ones doing the saving. Yet why was this not shown on our screens?
5 great women roles you need to watch!
Netflix and youtube is becoming increasingly popular and more conversation is being had over inclusion and seeing diversity on our screens and tv. Diversity in our character’s, actors playing them and the roles they are playing. I think people forget how much of an impact these roles have on society. They should ideally reflect society, which has not been the case for many years but I can see a change.
Check out these fabulous women in these empowering roles!
She’s gotta have it – Netflix Watch it here
Nola Darling (DeWanda Wise) is a sexually free artist who moves through life taking what she wants. Nola is a feminist, an activist, and a woman. A woman who has no time for the people who don’t understand the way she’s chosen to live her life.
Chewing Gum – Netflix Watch it here
Tracey (Michaela Coel) has lived a sheltered life, there’s no doubt about that. Tracey’s mother is overprotective and deeply religious, the man she’s supposed to marry seems vaguely repulsed by her, and she’s definitely never had sex. However, as heroines go, Tracey is outrageously funny and determined to start living her life on her own terms even if that means making out with a poet who hangs out in dumpsters.
Crazy Rich Asians
Wu will star as Rachel Chu. An economics professor who suddenly finds herself thrust into the world of wealth and excess when she goes to the wedding of her boyfriend’s best friend in Singapore. Empowering women from all races and backgrounds.
Jane The Virgin – Netflix Watch it here
Jane the Virgin follows three generations of Hispanic women all living under the same roof. But at its heart, the series is a coming-of-age tale centered on Jane (Gina Rodriguez). Watching Jane grow with the support of the amazing women in her life is an absolute joy. It just gets better with every season.
Glow – Netflix Watch it here
Who knew a show about the world of women’s wrestling could be so entertaining? GLOW‘s eclectic group of characters includes Alison Brie as “the heel,” a star-making turn from Betty Gilpin as the quintessential all-American hero, and Sydelle Noel as the only character who knows what she’s doing in the ring. Together this rag-tag group defies expectations at every turn.
This is just a small selection, there’s soo many especially on Netflix at the moment. Id love to hear your thoughts on these roles and if you had any recommendations for empowering roles to look out for let me know!
Photography – Tyler Fayose


From an email shared on the Communications Technology email list:
The 26th Annual Zoom International Student Film Festival is now open for submissions! The festival is open to all high school students worldwide between the ages of 14-18 and it’s free to enter. It’s a great opportunity for students to showcase their work on an international scale! The festival will take place on April 20th @ 7PM. Deadline to submit a film is April 14th. For more information about the festival and/or to submit a film go to: https://earlhaig.ca/zoom/
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On cars, old, new and future; science & technology; vintage airplanes, computer flight simulation of them; Sherlockiana; our English language; travel; and other stuff
THIS SUGGESTION WAS uttered by Jacques (Jay-Qwees, pronounced Elizabethan fashion) in Shakespeare’s As You Like It, Act II Scene 7. He was referring to the patchwork of red, green, and blue traditionally worn by court jesters
Fast Forward to the 20th-Century. Margaret (aka Percy) Harris, her sister Sophia, and friend Elizabeth Montgomery attended plays at the Old Vic Theatre and set up teaching theater design at the London Theatre Studio in 1936.
Martha Hartman says in “Designing Women,” Opera News, July 2021, “For their professional work, the trio chose to be credited simply as ‘Motley,’ perhaps taken from Jacques’s remark in As You Like It, ‘Motley’s the only wear.’ This was the name under which the women would design and teach for the next sixty years, both in partnership and individually.”
A Break With Tradition. Of traditional theater, Hartman observes, “Classic texts were being mercilessly cut to allow for lengthy scene changes necessitated by bulky, directly representational sets. Actors were hampered by heavy, oft-reused Edwardian costumes.”
Here are tidbits on the Motley Theatre Design Group gleaned from Hartman’s article and Wikipedia.
Instead, the three women offered relative simplicity, with a unity of design and resources. Others leading the way in this trend were Léon Bakst and Alexandre Benois.
Early Successes. Among early proponents of Motley’s works was actor John Gielgud, who invited them to design costumes for his directorial debut of Romeo and Juliet for the Oxford University Dramatic Society in 1932.
Sixteen more Gielgud/Motley productions followed in the next three years. Gielgud’s London production of Richard of Bordeaux ran for eighteen months and was the first of Motley’s set designs as well as costumes.
The women’s West End studio in the 1930s occupied space once housing Thomas Chippendale’s furniture workshop. It became a gathering place for young actors of the time, including Alec Guinness, Jessica Tandy, and Robert Donat.
Hartman notes, “… the Motley creators began a custom of using cheap, unorthodox materials such as upholstery cloth, burlap and felt, which looked deceptively rich under stage lights.”
A Transatlantic Partnership. With the advent of World War II, Margaret and Elizabeth sailed for New York; a newly married Sophia opting to stay in England. Margaret returned after the war, and the Motley transatlantic partnership would last for another 20 years.
As the New York branch, Elizabeth designed 79 productions on Broadway, at the American Shakespeare Festival, and for the Metropolitan Opera. She garnered two Tony Awards along the way.
South Pacific. Hartman notes, “The costumes for South Pacific in particular caused a stir: Mary Martin’s denim shirt, makeshift newsprint skirts and oversized sailer suit proved so popular that Elizabeth designed ready-to-wear versions to be sold in shops.”
Motley Heritage. “As the twentieth century progressed,” Hartman observes, “the ideas that made Motley innovative in the 1930s became standard. They had influenced theater and opera, leading by example: Attention to text, clarity of purpose and the very concept of a unified production team would be their heritage.”
“Motley,” Hartman concludes, “had become a byword not only for stylish, thoughtful production design but for a rich tradition of collaborative, intelligent theater-making.”
I’m agreeing with Jay-Qwees. ds
© Dennis Simanaitis, SimanaitisSays.com, 2021


i hate to admit it but the first time i’ve seen a Brillante Mendoza movie, called Serbis, i just didn’t like it. perhaps it’s because lately i’ve come to prefer watching stupid comedy movies. i had enough of the serious ones that usually lure you into believing there is something more to it than what it is. only to find out in the end that it’s just another piece of pretentious bullshit.
as for his Cannes film festival winner, Kinatay (Butchered), i seem to feel a kind of aversion towards the title. it calls to mind traumatic scenes from my childhood like seeing our neighbor bash a dog on the head to kill it and to later eat it. they even gave some of the cooked dog meat to me without me knowing at first that it was a dog. so that i had already eaten some of it beforehand. it also calls to mind that not-so-favorite scene in the Lord of the Flies with a pig’s head at the end of a spear with flies hovering. and of course, my Lola, mercilessly slitting the throats of a hundred live chickens per hour, the day before a town feast. so i doubt if i will ever get myself to see this movie.
it’s not that i never watch violent movies. i mean i totally loved Kill Bill, and Taxi Driver is one of my favorite movies of all time. but somehow, when the words are in Filipino, like kinatay, it just sounds a thousand times more bloody and gory to me.
anyways, about Captive, i managed to promote the movie to the Filipino Community (AFPMP) here in Toulouse. and one of the french members managed to actually find a cinema (Utopia) that would show the movie here. the cinema only featured art films. and i was relieved that they do not dub the movies in french, like most theaters here usually do. although, i had to resort to reading the french subtitles from time to time when the characters were speaking in Visayan dialect.
first of all, i loved the theater. it was really old of course. and it seats only a few people. i was quite surprised to see a lot of people actually watching it. and the night before, i even saw one TV show (Le Grand Journal sur Canal plus) doing a short movie review about it. and they actually raved about it! 🙂
like all the reviews say, it was quite repetitive. and some say they feel as if there’s no message or there’s something lacking.
as for me, i liked it. not raving about it. but i just liked it. it’s kinda ironic that the movie title is Captive. as for me, i found it quite a liberating experience to watch this movie. very few movies actually let you think for yourself what to make of what you watch or experience. this one does. and it’s total freedom from the usual boring captivity of a dull and predictable movie that already tells you everything you would see, or want to know about just from the title itself.


DVDSCR | MKV | English | 2h 9 min | 608x256 | x264 - 540 kbps | AAC | 501 MB
Release Date: 11 November 2011
Stars: Kiefer Sutherland, Charlotte Gainsbourg and Kirsten Dunst
Writer: Lars von Trier
Director: Lars von Trier
Rating: 7.8/10 from 6,179 IMDb users
Genres: Sci-Fi, Drama
Storyline: Two sisters find their already strained relationship challenged as a mysterious new planet threatens to collide into the Earth.


We are very excited to announce this year’s charity project organised together with our partner Rotary Club of Westminster East.
Patricia Routledge, English character comedy actress and singer, in conversation with Edward Seckerson – Presented by ROTARYACT in support of Polio Plus, ShelterBox and Soho Theatre Writers’ Centre.
Sunday 13th May & Sunday 17th June at 7.30pm
Charing Cross Theatre – The Arches, Villiers Street, London WC2N 6NL
Top Price: From £25.00 (Front Stalls)
2nd Price: From £17.50 (Rear Stalls, Benches, Balconies)
(All Tickets include drinks and canapé reception)
Tickets can now be booked online at www.rotaryact.org OR by phone 08444 930 650 OR at the Charing Cross Theatre Box Office
100% of ticket proceeds benefit Polio Plus, Shelter Box and Soho Theatre Writers Centre equally.
(Please note there is a £2 charge for online booking which will not go to the charities)
Although best known for her many television roles in such shows as Keeping Up Appearances, Hetty Wainthrop Investigates and Victoria Wood as seen on TV, it is still one of the best kept secrets in show business that Patricia Routledge trained not only as an actress but also as a singer and had considerable experience and success in musical theatre, both in this country and in the United States of America.
Her many awards include a Tony for her Broadway performance in the Styne-Harburg musical Darling of the Day (1967) and a Laurence Olivier Award for her performance in Leonard Bernstein’s Candide (Old Vic 1989). Her one woman show Come For The Ride toured the UK in 1988 and in 1992 she played Nettie Fowler in the highly acclaimed production of Carousel at the National Theatre. In 1998 she was honoured with the Gold Badge of Merit by the Academy of Songwriters, Composers and Authors.
Edward Seckerson’s diligent discovery of her ‘musical life’ makes for a fascinating evening.


Do they give awards for trailer editing? This one was done really well, it revealed nothing, didn’t give all the best parts, and even kept some things unknown. At least the first one did, I didn’t see the official second trailer until I was putting together media for this post.
Fresh off of seeing Dolittle (2020) for the second time last week, I thought I’d sit down and map out why this movie that is getting irreparably panned by critics now means so much to me.
The movie was a lot of fun and I am not sure what people expect movies to be these days, but paying your money and forgetting about the world outside for 140 minutes in adventure and fantasy is what I always thought they were about. Maybe it is because I don’t go to the movies a lot, I dunno. Even living in town where there are multiple theatres a couple miles away I don’t go. I don’t go see things just to go to the movies. I thought I had been recently (like two years) but realized as I was comparing ticket stubs in the cigar box I keep them in that the last time was 2016.
I loved the movie, and I’ll probably try to go see it one more time in theatres before it leaves, and multiple viewings in theatres is something I very rarely do. I think the last time was Watchmen. Looking through some of the terrible reviews for this movie, I am beginning to think more and more it was doomed to fail from the beginning. I have read it was cursed with reshoots and off scheduling (April 19 to May 19, to January 2020), only to be released on MLK weekend opposite Bad Boys 26 (which from all the old jokes in the trailers for it, it could be called Bad Boys: Lethal Weapon but with two black guys). Can we at least appreciate the centenary link with the first book being published in 1920?
I wonder if the books play here in any way. I read them all when I was a kid, checked out from out elementary school library. Many of them were the older versions which contained many racial insensitivities that were later expunged in the late 1980s republications. There is a whole post’s worth of stuff relating to that and the craziness around the 1967 film release that I will try to sum up near the end here, so maybe that’s just the hand the franchise has been dealt over the last 100 years.
I grew up on a farm, but we weren’t farmers. Both my father and grandfather worked an hour’s drive at GoodYear, but we had horses, cows, chickens, pigs, gardens, goats, and just about anything else at one time or another. It was on a dirt road and what few neighbors I had were mostly all adults and I only interacted with kids my age at school. I was, most assuredly around animals more than people. The Dolittle books were my escape as a kid and even then I never saw myself as Stubbins, but the title character. What hit me most with Dolittle 2020 was from the trailer on the cinematography captured what I saw in my head when I read these books. It looked right to me.
If you’ve never read the books, you should give them a go, they’ve been released as treasury collections over the years, and most recently as a full collections all hardbound in a slipcase. There is a recommended reading order of sorts, but since the stories started out as letters home from WWI, the internal timing is all over the place, and you can pick one up and start as good as any other. They are more episodic than the chronologies we’ve come to experience in literature on the screen, something which I think either the critics did nor realize or hated, or both.
One of the better turns back toward the source material is Dolittle talks to the animals in their own languages. An ability that has learned and can eventually teach others, it isn’t a “gift” that manifested itself in some mutant ability sort of way that is passed down to his children a la the 1998 Eddie Murphy version which led to I think a total of five films. This film also moves in and out of that at times every so briefly so you can see things from the point of view of those who cannot talk to the animals.
Robert Downey, Jr. is an amazing actor. He is brilliant as Tony Stark, but I find him even better when he is in eccentric, twitchy mode as his Sherlock Holmes which in many respects shows up in Dolittle. I had no problem understanding his accent in Dolittle, but I have family members who talk the same way, some even a little harder to understand. The voice casting was great, although I’ll confess to not knowing everyone from something else. Their emotional range fit the characters as they were presented, and the CGI was really great. Part of the marketing for the film was their audition videos as well, which, again, speak to Downy’s talent as an actor interacting with empty space 90% of the time for the film, and 100% of the time for their audition videos.
I believe Emma Thompson provided the voice of Polynesia in the West End Musical which had all the animals in animatronic form provided by the Jim Henson Company, and this short documentary on the making of it really makes me wish I could have seen it live:
Maybe I am just better at suspending disbelief than others but I wish we’d get a series somewhere out of this. The opening flashback was done in a quick and artsy animated style and that would be an amazing way to keep the stories alive. But, given the “dismal” box office reports, this is probably all we get, and you know what, as disappointing as that is, it’s fine because it stands on its own. I also wouldn’t mind having most of the wardrobe that Downey wore in this film, scaled up to my size, of course.
Maybe the movie was just made for a handful of people. I’ve seen worse, and worse that made more money. This one pulled a lot of nostalgia out for me, so much so that I chanced taking my 18 month old son to a showing so it would be his official first theatre film. He was engrossed the whole time, and didn’t fuss or cause any kind of disturbance. He made until the last 15 minutes before he couldn’t stay awake any longer. Had the movie started at the listed time instead of the 20 minutes of previews he would have made it all the way. It’ll have that spot with us too. I had originally wanted to take him to see Missing Link as his first for some professional adventurer sort of imprinting that I had in college, but he was way too young to be dragging around like that then, and I am glad it worked out this way. Being able to share that with him, even though he will never remember it was a really great experience for me.
The original 1967 musical version, which I also really like, bombed at the theatres as well. The whole trying to take hundreds of animals from the US to England to film and having to quarantine them to locals trying to sabotage production, to the back end animosity between Rex and Newly, it was amazing that it had every been completed in the first place. The original cut was too long so they edited out many of the first scenes that had been shot and used for promotion–the whole Dolittle on a Giraffe bit, but it was still referenced in the film when Dolittle gives Matthew the tooth he was called to Africa to pull.
Through some fantastic 1960s politicking the film won two academy awards, one for best song (Talk to the Animals) and best set design. I put together a little pop up display at work to start or Bizz at the Movies series where I use things from the collection that tie into what’s at the box office (next month it is Emma), and found this nice little article in the September 20, 1966 LIFE Magazine. Colin Lofting, son of Dolittle creator Hugh Lofting, wrote for the magazine and included a piece about his dad after the article.
One of the most thorough accounts of all that goings on with the original film can be found in Mark Harris’ book Pictures at a Revolution: Five Movies and the Birth of New Hollywood. Harris looks at all five nominees for best picture in 1967 including “Guess Who’s Coming to Dinner, The Graduate, In the Heat of the Night, Doctor Doolittle, and Bonnie and Clyde-and through them, the larger story of the cultural revolution that transformed Hollywood, and America, forever.” There is also the added benefit of having an entire Dolittle soundtrack recorded by Sammy Davis, Jr, who was supposed to be in the film at one time, was present to accept the academy award for best new song, and whose relationship with Leslie Bricusse brought him his first number one song (Candyman from Willy Wonka and the Chocolate Factory).
I hope that Dolittle with at the very least get the cult status that the original 1967 film has, it deserves that. I generally don’t wish any interaction with Hollywood folks on my part, but this is one time I really wish I could tell everyone that worked on the production “thank you” in person. It brought something back to me at a time when I could give it to my son, and remember the joy that books can still bring. We’ll at least have it at our house when it comes to DVD, BluRay, or Digital. I’ll take Dolittle over hobbits, dwarves, elves, and wizards any day.


The world of theatre is a magical place where storytelling comes to life through a combination of acting, lighting, set design, and, of course, sound. best sound effects theatre in Coimbatore play a crucial role in enhancing the theatrical experience, drawing the audience deeper into the narrative. In this blog, we will explore the art of sound effects in theatre and discuss some of the best techniques to create a captivating soundscape.
The Importance of Sound Effects
Sound effects in theatre serve several essential purposes:
a. Setting the Scene: Sound effects transport the audience to different locations and time periods, whether it’s the bustling streets of a city or the quiet serenity of a forest.
b. Enhancing Emotions: They amplify the emotional impact of a scene, from the tension of a suspenseful moment to the joy of a heartwarming reunion.
c. Reinforcing Storytelling: best sound effects theatre in Coimbatore can help clarify the narrative, providing context and depth to the characters and plot.
Sound Design: The Foundation
Creating a compelling soundscape begins with sound design. Sound designers work closely with directors, playwrights, and the production team to understand the play’s themes, settings, and emotions. Here are some key considerations for effective sound design:
a. Script Analysis: Careful analysis of the script helps determine where sound effects are needed and what type of sounds will best serve the story.
b. Collaboration: Effective communication and collaboration with the director and other designers are crucial to ensure a cohesive production.
c. Sound Sources: Sound designers choose the right sources for their sound effects, whether it’s recorded audio, live Foley work, or a combination of both.
Foley Artistry: Live Sound Effects
Foley artists are the unsung heroes of best sound effects theatre in Coimbatore. They use a variety of props and techniques to create live sound effects, often right on stage or in a nearby booth. Some common Foley techniques include:
a. Footsteps: Foley artists use different shoes and surfaces to mimic various types of footsteps.
b. Props: From opening and closing doors to pouring a cup of coffee, props are essential tools in creating realistic sounds.
c. Body Movements: Artists can use their bodies to create sounds like rustling clothes or the rustling of leaves.
Technology and Sound Libraries
In modern theatre, technology plays a significant role in sound effects production. Sound designers have access to extensive sound libraries and software to create and manipulate sounds. Some popular tools include:
a. Digital Audio Workstations (DAWs): DAWs like Pro Tools and Logic Pro are used to edit and mix sound effects.
b. Sound Libraries: These extensive collections of pre-recorded sounds cover a wide range of scenarios and can be a valuable resource for sound designers.
c. Sound Effects Generators: Some designers use synthesizers and sound generators to create unique, otherworldly sounds.
In recent years, immersive sound design has become increasingly popular in theatre. This involves using surround sound systems and specialized speakers to create a three-dimensional auditory experience for the audience. Immersive soundscapes can enhance the audience’s sense of being inside the story.
Best sound effects theatre in Coimbatore are an integral part of the theatrical experience, helping to transport audiences to different worlds and deepen their emotional engagement with the story. The art of sound effects in theatre involves careful planning, collaboration, and a blend of traditional Foley techniques with modern technology. When done right, sound effects can elevate a production from good to unforgettable, leaving a lasting impression on theatergoers long after the final curtain call.


GAME OF THRONES
Season 8, Episode 6 -
ANALYSIS AND SPOILER REVIEW
By JASON BURLEIGH
THE LAST WORD
I doubt any show will ever rival Game of Thrones and it will be something that will be treasured and celebrated for decades to come. Just because it didn't end the way some people wanted it to, nothing will ever, ever take that away.
THE FINAL SCORE
We use a simple “out of 5” rating criteria for all reviews.
3 out of 5 is GOOD.
Something with this rating is absolutely worth checking out, but it’s flawed with a couple of mis-
So there it is, the final episode of what has arguably been the single greatest TV show of the last 9 years. It's true to say you'll never please all the viewers and fans of the show in their entirety. Just like you can't in life in general outside of fiction but you know what, as far as endings go, for a show as grandiose as Game of Thrones, that weren't half bad.
The show has made us feel a vast miscellany of emotions over the course of its 8 season run. It's also (very consistently I might add) demonstrated powerful thematic's, and in this episode three stood out in particular: Love, Power and Honour. Created characters that are so influential, sophisticated and just damn well likeable, and this is what made this show great ever since the pilot episode graced itself onto prime time television. The final episode of Game of Thrones was a lowly affair in comparison to some of the episodes in seasons gone (shout outs to ‘Hard Home’, ‘The Watchers on the Walls’, ‘The Rains of Castamere’ and ‘The Battle of the Bastards’) but in my eyes, it wrapped up a lot of the character arcs pretty well.
This episode was heavily focused on performances and the likes of Emilia Clarke, Kit Harrington and Peter Dinklage did not disappoint. It was tough to see a character as much loved as Tyrion on his knees bashing the rocks in grief for what he has lost, reminding himself and the audience that he is the last surviving member of his house. This also serves to remind us that Tyrion himself is far from perfect.
Set phasers to fur. -
Just the week before he had betrayed his best friend, a misguided act of loyalty that now was entirely in vein. After the dust settles from the weeks previous incendiary events, the now assumed mad queen of the seven kingdoms gives a hair raising speech to her remaining soldiers that is reminiscent of something from Nazi Germany in the 1940's. It seems Tyrion seals his fate here if only for a while, as he casts his pin aside in protest of all the lives she swore to never take in order to achieve what she wanted. He does this not only in defiance and ultimate protest but also because he truly loved and respected her and believed in the world that she wanted to build that is now literally in ruins. The pace of the episode quickens and the drama elevates ending this segment of the episode in a climactic scene in the throne room laced with finality, for the show, for the fans and for a certain character. It's a powerful scene that was always destined to end one way as Jon utters those immortal words "you will always be my queen" and does what he was earlier urged by Tyrion to do and that he also knew in his heart had to be done.
This episode, as suggested by the episodes title, was all about the Iron Throne and its inevitable destruction. After all in a show that has seen countless people perish amidst a relentless pursuit of a chair made of swords, how could it possibly be left standing at the end of it all? The very symbol of power from the start of the show, melted down into oblivion by the last surviving dragon. It's a little cheesy the way it's done but a moment of huge symbolic importance none the less. It's an impressive scene in the first part of the episode with Danaerys at the head of her army and that fantastic shot of the dragon's wings spanning out behind her. However it is also completely unrealistic, given the events of the previous episode, as now virtually all of the Dothraki and Unsullied have been essentially respawned after the long night, where virtually no one but the main characters were left standing.
When it came to the choosing where all the remaining power figures had gathered in the dragon pit to ultimately pick who should rule Westeros, I'll admit, I didn't see it coming. My money was on a certain dwarf and red head that were technically still married although be it not consummated. Was it a good choice? Maybe. Does it make sense in line with the story? I guess, however in the end I think for most of the fan base it was pretty underwhelming, given how minimally invasive and teen angst he has been for the past 2 seasons; more Harry Enfield's Kevin than supposed mystical omnipotent 3 eyed raven (Sorry Meera you deserved better for your efforts, dragging him around in the snow for 3 seasons). I was glad to see the characters that have been central to the story line since the very start (the Starks) seize their individual fates. Ever since the beginning they have arguably been at the very centre of most major storylines and acted as the shows moral compass. It was a great moment to finally see them all get the endings they deserved.
It has to be said that Kit Harrington and Peter Dinklage fundamentally carry this episode with bi laterally impressive performances. From the moment he throws his pin in defiance of his queen in protest to her incendiary actions, to the moment he talks with John Snow about what must be done and what honour demands and what John knows in his heart must be done in order to save the realm. He does his duty at the sacrifice of his own honour. It's equally impressive in Harrington's final moment with Danaerys, and the journey that's he has been through throughout GOT is visible in his expression.
She is still not a nice person. -
It's here that tribute has to be paid to the writers of the show, Weiss and Benioff. It's true they have taken somewhat of a digital beating in weeks gone by for the handling of Season 8 and I'll be the first to admit there are things I would have done a lot differently. However, it is ultimately these two writers that brought this incredible literary fantasy to life on screen for tens of millions to enjoy year after year and that hopefully will be enjoyed for many more years to come. Despite the negative press they both still ultimately deserve respect as writers for carrying the show's success and getting it as far as 8 seasons. David and Dan, I salute you. I still don't forgive you for the ridiculous and unexplainable respawns though…
The final episode of the series, although it felt too rushed, is sweetly satisfying. As mentioned previously most of the characters got the endings they deserved. Pod got his knighthood, Brienne got laid, Tyrion still ends up as hand of the King, a certain prominent lord no longer breastfeeds... Sansa comes through it all to rule the north and finally a certain sell sword gets his castle. That isn't to say I was satisfied with all of the characters endings, Jamie's and Cersei's were particularly bad (we all know which one deserved a lot worse) despite it matching what Jamie wanted for himself when talking to Bronn in Season 5. John Snow’s was also particularly anti climatic given the recent focus on his heritage that sees him wound up right back where he started. One thing I wish they would have added in the final two episodes amongst the chaos in Kings Landing would have been to see Arya finally catch up with Illyn Payne. Which I believe was the last un addressed name on her list and given the significance of his character ending her father's life back in Season 1. Just like her appointment with a certain king's guard back in Season 5, it would have been horrifically satisfying to see on screen. However this is not the end of a Song of Ice and Fire, and as a book reader I will eagerly await the publications of the Winds of Winter and A Dream of Spring.
Although myself and many more have taken issue with the overall pace of the last 2 seasons I hail it overall a success. As all men must die so everything must also end but not always the way you want it too. The ending was always going to be controversial; the actors said it themselves before the season aired. The problem Game of Thrones has suffered of late is that the show is a victim of its own success in the earlier seasons. It would be hard for any writer to match the heights of seasons gone by.
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Movie #7, 1934 Best Picture nominee, "The House of Rothschild," which, sigh, I imagine is about the family of European bankers, because what other Rothschilds are there.
's got Boris Karloff in it, I guess.
Movie #8, 2008's "Star Wars: The Clone Wars." Extended cut again.
#9, "We Bought a Zoo," because I've been making fun of the title for nearly a full decade and it's on Disney+.
Movie #10, or #250 since I started counting, 2006's "The Prestige," or "Batman v. Wolverine: What if Stage Magic But Too Much."
Movie #11, 2011's "Zookeeper."
I do not know what this one is or is about.
Movie #12, 2017's "The Zookeeper's Wife."
I also don't know what this one is about, but from the Netflix thumbnail it looks like a WW2 movie.
(I think that's a reverse blarting.)
Movie #13, we move on from zoos to the jungle, where the animals are keeping a small human? Absolute madness.
It's 2016's live-action "The Jungle Book."
Movie #14, 1934 Best Picture nominee "Viva Villa!"
I'm pretty sure Wallace Beery is in brownface in this one. :/
Movie #15, 2010's "Four Lions." Terrorism comedy, I'm pretty sure.
Movie #16, 2017's "Boss Baby."
Movie #17, 1934's "The Thin Man."
I've heard good things.
Movie #18, 2015's "Trumbo," in which Bryan Cranston plays the sequel elephant to Dumbo.
#19, I kinda fell off the rewatch over the summer, but I've put 2017's "Spider-Man: Homecoming" on.
Sigh. #20, the 2020 "Mulan."
#21, 1934 Best Picture nominee "Here Comes the Navy," which is probably pretty blatant propaganda? Sigh, oh well.
#22, 2020's "The Kid Detective." Adam Brody plays the former titular getting thrown into a Real Case, I think?
Let's watch another one, I wanna stay at one a day, #23, 2020's "Black Bear."
No idea what it's about, Aubrey Plaza's in it.
#24, the 2014 "Godzilla."
#25, I watched "Disintegration Loop 1.1"
#26, 2017's "Kong: Skull Island."
I did initially intend to go see this at the time, but I found the Vietnam aesthetic of the trailers off-putting? We'll see.
#27, 2019's "Godzilla: King of the Monsters."
skreeeonk and all that
#28, I just grabbed some movies that I saw on multiple Oscar shortlists, I'm watching 2020's "News of the World," which I think has America's Finest Actor Tom Hanks in it?
#29, 2017's "Thor: Ragnarok," on the TV because the Blu-Ray was five bucks in the discount bookstore last year.
#30, 2021 motion picture "Psycho Goreman," which is about, I think, a kid who gets control of a sci-fi monster man?
#31, 2015's "The Intern," in which I assume Robert de Niro teaches his dumb millennial boss (Anne Hathaway?) to slow down a little? Something like that, I'm sure.
#32, I'm about halfway through 2016 found footage documentary "Dawson City: Frozen Time."
It's movie! 1934's "Cleopatra," #33.
I'm pretty sure I've heard this one is notable mostly for pushing the limits before the Hays Code starts getting enforced? We'll see.
Oh, that's right, it's Groundhog Day.
And so is movie #34!
#35, I'm about halfway through 2020 dead mall documentary "Jasper Mall."
And so is movie #36.
This time I'm watching it in black-white-and-blue.
I was gonna just set it to black-and-white but VLC has a colour threshold setting.
"Good guess! You know what, I think that actually /is/ the first day of spring!"
a funny coincidence
⏲ "Groundhog Day" (1993) Show more
does Phil even have a sister called Mary Pat
you know, "Groundhog Day," the art film
i mean, pretty much anything is gonna be kinda striking in black-and-white with one colour
@Alexis yeah, just as an example, look at a Star Wars Stormtrooper
@The_T you add an element of one colour to any of those suits, boom, always looks terrific
@Alexis yeah! as an example... the TIE Pilot suit!
The social network of the future: No ads, no corporate surveillance, ethical design, and decentralization! Own your data with Mastodon!


Brews & Views at The Royal Grove: This is Spinal Tap
Hello there! Please join us for our very first Brews & Views at The Royal Grove as we take a gander at one of the best rock ‘n’ roll movies of all time and an all-time comedy classic: This is Spinal Tap!
But it’s not just a movie. Join us for:
– $1 Dad Beers
– $1 Royal Grove Coozies
– Free Popcorn
– Movie Themed Drinking Game
– NO COVER
About the film: directed by Rob Reiner, the film is a spoof about a filmmaker making a documentary about a once-famous, now almost forgotten British heavy metal band returning to the United States after 17 years for a concert tour.


Title- Burn Out
By- Ruthi Kight
Expected Publication Date- August 2013
Pyromaniac. Murderer. Burn out.
Ten years ago Delia’s life went up in smoke. Literally.
After a decade of hiding, she is forced back into the world.
With only her wits to guide her, she must now figure out how to live in a town that knows her only as a murderer.
Her family is gone. The people all fear her. She has nothing holding her in Sunny Shores...until she meets Liam.
He’s heard the stories. He knows he should stay away from her, but he’s drawn to her like a moth to a flame.
Life seems to be looking up for them...until her past comes back like a bitch slap to the face.


Movie directory application for desktop
Builded using :
- JSON REST API
My Role in this project:
- UI/UX Designer
- Front-End developer
To create a movie directory application, written as a Single-page application using ReactJS and communicates with a JSON REST API.
The API is used to add, remove, edit and list the movie list and the server does form validation during add or edit a specific movie.
The main page should also contain a text input that can be used to search for movies by title or director’s name.
On this page, the focus is on the list of the movies shared by people who use the application and the search box to make it easier for the user to find a specific movie based on its title or director’s name.
On the list, user can easily delete a movie item from the list or edit the current information of the selected movie. User can also add a movie to the list by the button on the top part of the screen.
Add movie page
In this page, user can add a movie to the list using a controlled validation form, which gives errors if the input are not valid.
Individual movie info
On this page, user can read more detailed information of the movie they chose. Here they can also edit the movie and delete the movie from the movie without needing to go back to the main page. If they edit the movie from this page, then when they finished, they will automatically redirect back to this movie info page.
When a user open a movie info page of a specific movie but then on the same time other user delete it from the list, then when they refresh the page, an error 404 will shown instead.
Edit movie page
Unlike the add movie page where the forms are completely empty when loaded, the edit movie page forms already pre-filled with the information of the specific movie. This to make it easier for the user to edit the content of the information. From this page, the user will redirect automatically back to the page they came from before (either main page or individual movie page).
This page used the same controlled validation form to make sure user’s inputs are correct.
Note: The server for the live demo is currently not available


I won’t play the speculation game about the assassination yesterday of former Lebanese prime minister Rafiq Hariri. Instead, I’ll recommend that you try to see the film which, I’m sure, will remain the most succinct statement of who Hariri was. I’m referring to the documentary portrait by the Syrian director Omar Amiralay, L’Homme aux semelles d’or, which I reviewed a few years back. The review was embedded in a longer treatment of several films, so here it is, extracted:
It’s an odd combination: Amiralay, a Syrian Marxist, better known for his films on intellectuals (Syrian playwright Sa’dallah Wannus, French sociologist Michel Seurat), has done Hariri. Amiralay was a bit hesitant about the idea, and the film includes sequences in which his mother warns him against criticizing the formidable man while his intellectual friends worry lest he be seduced. At first, Hariri, too, is not so sure he wants Amiralay to film him. Perhaps the filmmaker will use a camera to assassinate his character? As Amiralay discovered, Hariri is so wary of his image that he staffs a small library devoted to recording and cataloguing all of his media appearances.
Nothing to fear: Amiralay slowly succumbs to the allure of the great man of Lebanese politics. Here is Hariri standing on some kind of dock at night, a lone, receding figure, an enigma. Here he is in humble robes, in his mountain palace, ruminating on the meaning of his life. Here he is engrossed in the country’s business, at his sprawling desk in his private jet. Here he is looking out on Beirut from his penthouse office above the city, the solitary, self-made, self-contained man. Hariri engages in some self-deprecation, but his bottom line is clear: “I regret none of my economic or political choices.” “In this kind of duel between the man of power and the intellectual,” Amiralay has told an interviewer, “the intellectual always loses.” Amiralay is absolutely right: he has produced a subtle work of sycophancy of Hariri, of a Hariri excised from the complex nexus of Lebanese politics and Syrian hegemony.
But in its own way, the film tells something about the appeal of Hariri: he is the clean slate, a man not implicated in Lebanon’s wars, a super-contractor who tears down the past to build a new, antiseptic present behind reflecting glass. He is no Berlusconi, he insists; his money was made before he entered politics, outside the borders of Lebanon. He established Solidère because no one else would. In the cut-and-thrust with Amiralay, he argues perhaps his most important point: he did not need a political role, and if he sought one, it was only in a moment of vanity. Now it is a matter of fidelity to the idea of Lebanon.
At the end of the film, Amiralay brings his intellectual friends together around a table where they vent the usual criticisms of Hariri. He turned his money into power; he represents the old order; he is not a national figure, but a Sunni za’im, a sectarian leader. Perhaps this is meant to disabuse the viewer of any notion that this film is a testimonial. But could it be anything else? And might it be more than this: a longing to see Lebanon finally cleansed? The opening and closing scenes show Solidère’s cleansing of Beirut’s massive wartime dump. No evictions, no demolitions: just the clean-up.
If you’re serious about understanding Hariri, try to see Amiralay’s film. This is Hariri as he would want to be remembered, and it gives a real flavor of how he spent his time and money. The spell he casts over the skeptical Amiralay is strong testimony to his persuasive powers.
Pointer: Recently, Amiralay has made another film, a devastating critique of the regime in Syria, that played to great acclaim in Beirut last fall. Whether he can continue to do this and move back and forth from Syria is a very open question.


With the right plan and the right discipline, you can get seriously shredded in just 28 days.Read article
Yippe-kai-yay, motherf*ckers. He's back. Bruce Willis is back for the fifth time as world-weary cop John McClane and by the looks of this trailer, he has not forgotten how to leave a trail of carnage behind him.
Here is the synopsis of A Good Day to Die Hard, according to iTunes:
"Iconoclastic, take-no-prisoners cop John McClane, for the first time, finds himself on foreign soil after traveling to Moscow to help his wayward son Jack–unaware that Jack is really a highly-trained CIA operative out to stop a nuclear weapons heist. With the Russian underworld in pursuit, and battling a countdown to war, the two McClanes discover that their opposing methods make them unstoppable heroes."
Now that's what we're talking about! In a stroke of potential marketing genius, the movie comes out on St. Valentine's Day, 2013. Now, you can take that special someone to the movies and not have to sit through another soulless romantic comedy.
Do you think Bruce still has what it takes? Check out the trailer and let us know what you think!


The play takes place at a summer barbecue. It opens with the group waiting to hear what their Production Manager Nick has chosen for the next production, and who will play the coveted female lead.
May 11th, 12th and 13th at 8pm.
MORT OCTOBER 2017
In October 2017, Terry Pratchett’s Discworld will once more be gracing the stage at Loddon Hall. We are putting on a production of Mort, which will involve a large cast, plenty of dramatic moments and a lot of laughs.
“Death comes to us all..... When he came to Mort he offered him a job.” So Mort becomes Death’s apprentice and starts to learn to wield a scythe. However, when his emotions get in the way, the consequences of his actions begin to affect a whole nation. So he sets about trying to put things back to rights.
Come along to our HQ in Polehampton Close on May 16th at 8pm to get involved.
October 5th, 6th & 7th 2017 at 8pm.
Our pantomime will be Dick Whittington and his Cat by Peter Denyer. Tickets go on sale in September 2017.
Auditions October 10th and 12th.
Performances January 18th, 19th & 20th 2018
Why not keep in touch by liking our facebook group


She was born Ernestine Jane Geraldine Russell in Bemidji, Minnesota, the only daughter of Roy William Russell (January 5, 1890-July 18, 1937) and Geraldine Jacobi (January 2, 1891-December 26, 1986). Her four younger brothers are Thomas Ferris Russell (born April 16, 1924), Kenneth Steven Russell (born September 2, 1925), James Hyatt Russell (born February 9, 1927) and Wallace Jay Russell (born January 31, 1929).
Her parents were both born in North Dakota. Three of her grandparents were born in Canada, while her paternal grandmother was born in Germany. Her parents married in 1917. Her father was a former commissioned First Lieutenant in the U.S. Army and her mother was a former actress with a road troupe. When Jane was a child they moved temporarily to Canada, then moved to the San Fernando Valley of Southern California. They lived in Burbank in 1930 and her father worked as an office manager at a soap manufacturing plant.
Jane's mother arranged for her to take piano lessons. In addition to music, she was interested in drama and participated in stage productions at Van Nuys High School. Her early ambition was to be a designer of some kind. But her father died when he was forty-six and after graduation, she went to work as a receptionist. She also modeled for photographers and, at the urging of her mother, studied drama and acting with Max Reinhardt's Theatrical Workshop and with famed Russian actress Maria Ouspenskaya.
In 1940, Russell was signed to a seven-year contract by millionaire Howard Hughes and made her motion picture debut in The Outlaw (1943), a story about Billy the Kid that went to great lengths to showcase her voluptuous bust. Although the movie was completed in 1941, it was released for a limited showing two years later. There were problems with the censorship of the production code over the way her ample cleavage was displayed. When the movie was finally passed, it had a general release in 1946. During that time, Russell was kept busy doing publicity and became famous.
Besides the thousands of quips from radio comedians, including Bob Hope once introducing her as "the two and only Jane Russell", the still of her on a haystack glowering with sulking beauty and youthful sensuality as her bosoms push forcefully against her amply filled dress was a popular pin-up with Service men during World War II.
Though The Outlaw was not a spectacular Western, it did well at the box office. It appeared that Hughes was only interested in her being cast in movies that showcased her physique, however, reportedly refusing an offer from Darryl Zanuck for her to play Dora Sol in Blood and Sand. She was not in another movie until 1946, when she played Joan Kenwood in Young Widow for RKO. Though her early movies did little to show her true acting abilities, they helped parlay her into a career portraying smart, often cynical, tough "broads" with a wisecracking attitude.
In 1947, Russell attempted to launch a musical career, recording a single with the Kay Kyser Orchestra, "As Long As I Live". She went on to perform with proficiency in an assortment of roles, which includes playing Calamity Jane opposite Bob Hope in The Paleface (1948) on loan out to Paramount; and Mike Delroy opposite Hope in Son of Paleface (1952), again at Paramount.
Though her screen image was that of a sex goddess, her private life lacked the sensation and scandal that followed other actresses of the time, such as Lana Turner. At the height of her career, Russell started the "Hollywood Christian Group", a weekly Bible study at her home for Christians in the movie business that was attended by some of the biggest names. Russell was a prominent Republican who attended the Eisenhower inauguration, along with Lou Costello, Dick Powell, June Allyson, Anita Louise, Louella Parsons, and other conservatives.


What a perfect summer movie this is! James and I went with our friends Denis and Michael with pretty low expectations, but it was really a treat.
Don’t let the movie’s title fool you. Rise of the Planet of the Apes is really all about the relationships, and the characters and their connections, how they love each other, but betray each other. If you don’t shed a tear when James Franco finds the Curious George doll that he lost in kindergarten, I’ll be a…
No it’s not. It’s RISE OF THE PLANET OF THE APES, for god’s sake.
It’s about Simian Revenge. It’s about Guerrilla Gorillas. It’s about Monkey Power. It’s about retelling that old story and making it fresh and nearly plausible, if you don’t think too hard. I haven’t had this much fun at the movies since Twister, where Helen Hunt (who won an Oscar one time???) was acting in front of that CGI cow that goes flying around. Remember that? Well R. of the P. of the A. is EVEN BETTER than Twister!
The basic premise is that James Franco is a scientist (um… okay.) and he’s working at at lab that’s doing animal testing for a drug for Alzheimer’s. The experiments succeed beyond his “wildest” imagination. Without revealing the ending, one can assume that, since the movie is called “Rise” of the Planet of the Apes, the apes end up in pretty good shape.
Obviously this ain’t Shakespeare, but it’s told very well, and kept me guessing. The CGI chimps are pretty cool. The tone of the movie isn’t campy or self-referential, which is refreshing. The action scenes are heart pounding and the plot even engages your mind just a little, with enough clever twists to make me feel like someone who made this film was trying.
Stuff blows up. There’s a showdown on the Golden Gate Bridge. Chimpanzees are everywhere, bearing their teeth and screeching. Freida Pinto is in the movie, and she doesn’t get in the way of the monkeys wreaking havoc too much. John Lithgow got paid to be in it, too. He is the only one really acting, but he doesn’t make a big deal of it. He knows who is the star.
Look. I love a sub-titled, indie film about sisters bicycling across Europe and learning to forgive as much as the next gay guy, but sometimes you want to see monkeys kick ass. Go see this movie!


Paul Reubens, identified greatest by his character title Pee-wee Herman, died Sunday after a non-public six-year battle with most cancers. He was 70.
“Please accept my apology for not going public with what I’ve been facing the last six years,” Reubens wrote on an Instagram message posted at present. “I have always felt a huge amount of love and respect from my friends, fans and supporters. I have loved you all so much and enjoyed making art for you.”
The put up’s caption, written by his property, reads, “Last night we said farewell to Paul Reubens, an iconic American actor, comedian, writer and producer whose beloved character Pee-wee Herman delighted generations of children and adults with his positivity, whimsy and belief in the importance of kindness. Paul bravely and privately fought cancer for years with his trademark tenacity and wit. A gifted and prolific talent, he will forever live in the comedy pantheon and in our hearts as a treasured friend and man of remarkable character and generosity of spirit.”
Born Paul Rubenfeld in Peekskill, New York, Reubens, whose iconic character each parodied and celebrated youngsters’s TV hosts of the Fifties and would change into a cherished determine amongst youngsters who liked his mild however anarchic humor and the adults who appreciated the wit behind it, was an improv comic and actor who obtained his massive break in Los Angeles as a part of The Groundlings within the Seventies. He remained with the troupe for six years, constructing a friendship and a collaboration with fellow Groundling Phil Hartman (who would later seem because the character Captain Carl in the course of the first season of the CBS Saturday morning present).
In 1980, Reubens had a small half as a waiter in The Blues Brothers, all of the whereas growing the character that may shoot the actor to worldwide fame within the Eighties.
By 1982, Reubens was spotlighting the fully-formed character – wearing a too-small grey swimsuit, white shirt and pink bow-tie, his quick hair slick with what an earlier period might need known as greasy child stuff – in a stay act known as The Pee-wee Herman Present, a routine already so well-liked that HBO handed Reubens his personal particular constructed across the stage present.
Not often seen in public out of character, Reubens meshed so properly with the child-like (however sometimes naughty) Pee-wee that the actor and character developed each a small however devoted following that rapidly expanded to the mainstream. In 1985, he starred in Tim Burton’s breakthrough hit movie Pee-wee’s Massive Journey (1985). Three years later Reubens starred within the sequel Massive Prime Pee-wee.
Parody crossed over into actuality with Pee-wee’s Playhouse, the 1986-90 Saturday morning youngsters’s program on CBS. With that weekly collection, Reubens eradicated the edgier elements of the sooner stay present, turning into a youngsters’ present favourite full with catchphrases (“I meant to do that”) and shelves-full of merchandise, from dolls, playsets and Halloween costumes, to call a number of.
Reubens’ profession got here to an abrupt, and years-long, halt in July of 1991 when he was arrested in a Sarasota, Florida, grownup theater and charged with indecent publicity. He’d sit out many of the Nineties, re-emerging within the 1999 characteristic movie Thriller Males and, in 2001, Blow. By this time, Reubens usually left the Pee-wee character behind.
Different post-scandal credit embody Reno 911! (2006), a hilarious activate 30 Rock (2007), Pushing Daisies (2007), Life Throughout Wartime (2009), The Blacklist (2014–2015), Unintentional Love (2015) and Mosaic (2018).
MORE TO COME…


My name is Tobias Pehböck and I was born 1986 in Austria. I studied as an Erasmus Mundus scholar in the Documentary Filmdirecting Master Programme Docnomads in Portugal, Hungary and Belgium. In July 2014 I graduated with the short documentary “Lebensgewohnheiten” (Living Habits) as “Master of Arts in Documentary Film Directing.” During my Bachelor Degree in Media Technology at the University of applied Science in St. Pölten, I was enrolled in FhSpace Tv, an experimental educational Channel as production manager. During my exchange semester at the Media University Stuttgart I worked on several shortfilms with an international group. I was writing my bachelor thesis on lighting on location and in studio during my Internship with Oak3 Films in Singapore where I gained experience in the Camera Department.


SUNNY SIDE UP
A Theatre-In-Education Project
Produced by Spears Theatre Arts
Directed by Anthony Underwood
Spears Theatre Arts creates bespoke performing arts education programs delivered by leading practitioners from around the world.
They are passionate about the power of the performing arts to educate and inspire junior and adult students and focus on the transferable skills such as teamwork, communication, and self-expression that are nurtured through performing arts training.
Their practitioners specialize in the fields of vocal performance, acting, circus skills, and a wide range of dance styles and have unrivaled experience in delivering performing arts programs for students of all backgrounds and abilities.


Where did 2009 go and how can it be 2010 already? Jeremi and I brought in the New Year last night by ordering food to-go and then we watched a movie together and snuggled on the couch. Jeremi asked me earlier in the week what movie I wanted him to order on Netflix. Of course, we had talked about watching a movie on New Year’s Eve together, but it didn’t register in my mind that the movie he ordered was the movie we would be watching together!
I told him to order the movie Lars and the Real Girl. For those of you that haven’t seen this movie, Google it and read the description. I love independent films, and a lady at my work told me about this movie awhile ago and I have been wanting to check it out. Well, of course, my husband asks me what the movie is about, and I said, ummm, honey, just read the back of it. Well, his eyes almost popped out of his head and he started just cracking up once he read the description.
Well, it turned out to be a GREAT movie, and my husband actually found it really amusing and we were both laughing so hard at some of the parts in the movie. And, truthfully, the movie has a great moral to it (besides all the funnies).
We were in bed at 10:30am and I awoke at midnight to the sounds of fireworks being set off on the river close to us. Luckily, they didn’t wake the kids, because I went right back to bed! And, Miss Auttie decided to wake us with her beautiful prescense at 4:45am this morning. Good thing I didn’t stay up till midnight!


This film is a wonderful depiction of a crucial time in Japan’s recent history. In 1956, when this movie was released, Japan declared the end of the postwar period and made prostitution illegal. That’s not what we see in Suzaki Paradise: we see poor people barely scraping by, in a neighborhood where there’s lots of prostitution right across the bridge.
Given the subject matter you might expect some heavy political content, but actually the story and the characters are treated with remarkable levity. In fact if you remove the historical context there’s no politics at all. At the core you have a couple, nearly out of money and not knowing what to do. By chance they end up at right outside the red light district of Suzaki and start looking for work. The woman, Tsutae, used to be a prostitute but is looking for honest work, while the man, Yoshiji, is a bit aimless and nihilistic. Unfortunately for their relationship, Tsutae ends up meeting a wealthy man and running off with him.
Eventually Yoshiji goes to the neighborhood where the wealthy man works (the electronic mecca of Akihabara), but he’s completely lost: while in Suzaki he’d have gotten some help to find him (you really feel like he knows everyone there, even though he only arrived a few days ago), nobody in Akihabara knows the wealthy man or seems willing to help. I like the contrast between the two characters: the wealthy man feels very comfortable in Suzaki (his wallet makes it easy for everyone to like him), but Yoshiji is completely out of place in Akihabara.


"To live a creative life, we must lose our fear of being wrong."
-Joseph Chilton Pearce
Elizabeth is a musical theatre specialist who brings a diverse skillset and breadth of experience to every project. A lifelong pianist with a degree in Vocal Performance, she enjoys working both on and off the stage as a vocalist, music director, actor, and educator. In both performing and teaching, she highly values versatility, vocal health, and vulnerability. Elizabeth’s approach to music and theatre-making is holistic, placing high value on acknowledging and respecting every collaborator’s full humanity, and celebrating their unique contributions and talents.
Elizabeth endeavors to see all angles at once:
When working as a music director and pianist, she makes choices informed by her understanding of the performers’ perspective and needs.
When working as a singer and actor, she makes choices informed by her interpretation of the composers’ intentions and the storytelling they weave into the musical fabric of the piece.


So Amber and I went to go see The Edge Theatre’s production of The Motherfucker With the Hat by Stephen Adly Guirgis. Guirgis is one of our favorite playwrights- we did a production of his show The Last Days of Judas Iscariot our second season. Guirgis is not for the faint of heart. Guirgis makes you squirm in your seat, laugh out loud, blush and cry. This playwright has an amazing way of hitting you straight in the face with a truth in your life that you maybe didn’t want to acknowledge or conquer just yet. So hats off (see what I did there!?) to The Edge for trying to tackle one of his plays.
This was my first time in The Edge Theatre and the set is impressive! Most of the show takes place in two different apartments and they had a revolving stage to accomplish the two looks. A revolving stage in a small black box theatre space? Pretty damn impressive. It made me excited to see the show.
Now this production was very up and down for me. I feel as though the tone set by The Edge was one of outright comedy… their cellphone reminder contained the words “Motherfucker” numerous times, getting a huge laugh from the audience. However, The Motherfucker with the Hat is not really a comedy. Does it have very comedic parts? Yes. Does Guirgis always do an amazing job with balancing the powerful and heartbreaking with the shocking and hilarious? Absolutely. But is this a comedy in the laugh- out- loud traditional sense? No. Or at least it didn’t feel like it. So the tone going into the play felt off…
Now the two leads in the play, Kent Randell as Jackie and Karen Slack and Ronnie, had some power behind their performances. Nominated for the 2011 Best Play Tony Award, this story is a darkly comic view of addiction, friendship, and love. Jackie, a petty drug dealer, is just out of prison and trying to stay clean. He’s also still in love with his coke addict childhood sweetheart, Veronica. Without spoiling the plot for you, the final scene between Jackie and Ronnie is heartbreaking and beautiful. And these two actors had me engaged with a lump in my throat. They did a stunning job with a very hard scene.
The supporting actors, however, didn’t seem right for their roles- don’t get me wrong- they all seemed like talented actors in their own right, but I wasn’t buying what they were selling. Most of that comes from the setting of the play and the hardened characters that Guirgis has written. I think it is important to remember that Guirgis writes very distinct characters. The older couple, Ralph D and Victoria, are supposed to be ex-drug addicts, seemingly trying to live out a new clean lifestyle, but clearly encountering many temptations and road blocks along the way. In the production I saw, they seemed like two older people from the suburbs trying to play tough. The lines didn’t read as smoothly as they needed to and it made the situations hard to believe. There was a cultural aspect that just wasn’t there. The intention was there but the execution faltered.
Overall, I’m glad I saw the production. I think that with a bit more purpose behind the direction and with a better pace (it was 95 mins without an intermission, and it seemed like the actors felt rushed) that it had a bunch of promise. Again, The Edge Theatre took on a show that not many people would try based on the name alone. That’s brave.
When The Motherfucker with the Hat first came out, it came out to mixed reviews. Though not my favorite Guirgis show, I think that his views on the complexity of any relationship (with loved ones, with your mind, with your health, with your vices) are spot on: nothing is black and white and nothing is easy.
Check out the clip of the premier on Broadway to get a better idea of the plot and characters: https://www.youtube.com/watch?v=xF4KaR7D2ZY


Upcoming Events at UUJMCA!
Thursday, August 20 (5:30 – 8:00pm PT)
UUJMCA is excited to co-host this multi-faith community screening and discussion with the filmmakers and co-hosts of the award-winning documentary, The Condor & The Eagle. Come together virtually as people of faith and conscience to watch an award-winning documentary, hear from the filmmakers & protagonists, and unite the faith community in the movement for Indigenous rights and climate justice.
Film Synopsis: Indigenous environmental leaders embark on an extraordinary trans-continental adventure from the Boreal forest to deep into the heart of the Amazonian jungle to unite the peoples of North and South America and deepen the meaning of “Climate Justice.” The Condor & The Eagle documentary offers a glimpse into a developing spiritual renaissance as the film four protagonists learn from each other’s long legacy of resistance to colonialism and its extractive economy. Their path through the jungle takes them on an unexpectedly challenging and liberating journey, which will forever change their attachment to the Earth and one another.
August 24 – August 29, 2020
Saturday, August 29 @ 6:30pm PT


INTERESTED IN THE FILM?
Keep an eye out for our upcoming promo video.
LIKE THE PODCAST?
The Dry CleanerCast is an entirely independent production. If you like what we are doing please help us with our monthly runnings costs by becoming a Patreon subscriber. The show roughly costs us $45 a month to run with hosting fees for the RSS feed and the website.
You can support the show by contributing as little as $2 a month. For a little more, $5 dollars a month, we will get a free HD copy of the short film "The Dry Cleaner" and the making of documentary in 2019.
Find out more about how to support us here: https://www.patreon.com/DryCleanerCast
want to join the conversation?
You can interact with us on Twitter: https://twitter.com/DryCleanerCast


Entertainment and creative arts industries have a vast reach on American culture and society, spanning a diverse range of career opportunities. This industry brings in alumni with backgrounds from a variety of different fields. From film & media production to theater and American poetry, there are professionals who have drawn from their experiences at UChicago to make their mark on media, television, the silver screen, the stage, and beyond. Alumni will share their experiences about how they took advantage of their UChicago experiences and refined the skills they accrued from their education to ones they now use in the work force.
Andrew Cutler, AB'12
Instructor/Associate Artistic Director, Black Box Acting/First Floor Theater
Andrew Cutler graduated from the University of Chicago in 2012. While still at the University, he co-founded First Floor Theater, where he still serves as Associte Artistic Director. He also attended the Academy at Black Box, and subsequently was hired as an Instructor there, where he still teaches in both the Studio and the Academy. As an actor, Andrew has appeared onstage at Actors Theatre of Louisville, A Red Orchid Theatre, The Artistic Home, many productions with First Floor Theater, and several other theaters in Chicago.
Dorothea Duenow, AB'99
Ms. Emery graduated from the College in 1999 with a degree in English Literature. As a student, she was heavily involved with University Theater and performed in various musical groups. After graduating, she continued writing, acting, and performing and then formed her first band, DUENOW, signed to United For Opportunity records. ["If You Could Only See What They Are Doing to You" Sound Records, 2003, and "The Draft LP" UFO, 2006.] In 2015, she began her current musical project, MUSE WRANGLER, and is currently touring in support of her latest album, "Songs of Spring and Regeneration." She continues to act and teach dance and offers creative coaching to young artists and performers through The Heron Project, an online collective of artists from all genres encouraging the pursuit of creative vision and the artistic lifestyle.
David Goodman, AB'84, AB'84
Mr. Goodman graduated from the College with a degree in political science. After a short stint in book publishing, he started writing, and was soon hired as a staff writer on The Golden Girls. Since then, he has written for 20 television series, including American Dad, Futurama, and Star Trek: Enterprise, as well as Family Guy, where he's worked on and off for the last eighteen years, six of them as head writer and Executive Producer. He is currently Executive Producer and a writer on "The Orville", Seth MacFarlane's one-hour drama/comedy for Fox . He is also the author of three Star Trek related books, "Federation: the First 150 Years", "The Autobiography of James T. Kirk", and "The Autobiography of Jean-Luc Picard." He is currently President of the Writers Guild of America West.
Edmund O'Brien, AB'93
Teaching Artist, Storycatchers Theatre/Second City Training Center
Mr. O'Brien graduated from the College in 1993 with a degree in History and a year spent at UCL in London. He wrote sketches and improvised with Off-Off Campus. He performed weekly for nine years with his troupe Sheila at Jimmy's and on WHPK. Mr. O'Brien wrote twisted trivia for Jellyvision's "You Don't Know Jack" before spending seven years in LA writing for various TV shows, such as Streets Smarts and MTV's Undressed. He also taught improv and performed in ACME Comedy Theatre's improv and sketch companies. He returned to Chicago and began teaching improv, writing and songwriting at The Second City. He currently improvises with his wife and fellow OOC alumna, Dana, in Sheila's Sister and spends most of his working hours with Storycatchers Theatre, where he helps incarcerated and recently paroled youth write and perform original musicals inspired by personal stories.
Lucas Wiesendanger, AB'07, MA Sociology 2010 (Yale)
Vice President, Red Wagon Entertainment
Lucas graduated from the College in 2007 with a degree in Sociology. While at U of C, he was part of the circus group Le Vorris and Vox and volunteered with Doc Films. He entered a PhD program in Sociology at Yale, but left after a few years to move to Hollywood. After a several years stint at the Gersh agency, he moved to Red Wagon Entertainment where he is now Vice President under producers Doug Wick and Lucy Fisher. His focus is on developing and producing wide-release feature films.


Watch The Little Mermaid 3: Ariel's Beginning () full movie free disney cartoon online. Synopsis: In this animated film, a grief-stricken King Triton (Jim Cummings) outlaws music in the wake of the death of his wife, Athena (Lorelei Hill Butters). When Flounder (Parker Goris) discovers that the irrepressible. Follow Ariel's adventures before she gave up her fins for true love. When Ariel wasn't singing with her sisters, she spent time with her mother, Queen Athena. Ariel is devastated when Athena is kidnapped by pirates, and after King Triton outlaws all singing. Along with pals Flounder and Sebastian, Ariel sets off in hopes of. Watch Full movie: The Little Mermaid: Ariel's Beginning (), Online Free. The plot explores the story of Athena, Ariel's mother, through the narration of Ariel.
With the help of her friends, Sebastian and Flounder, will the Ariel be able to restore music, friendship and love to the Kingdom?. Animation · The kingdom of Atlantica where music is forbidden, the youngest daughter of King Triton, named Ariel, discovers her love to an underground music club and sets off to a daring .. At one time in the movie, where Ariel is back from the underground club and tells her sisters about it, you can hear Adella with the funny voice saying: "Yeah. About the Film. The story of Disney's Little Mermaid continues in Ariel's Beginning , a lushly drawn prequel to the animated classic. Long before Princess Ariel (Jodi Benson) found her true love on land, the young mermaid lived many musical adventures in her amazing underwater home, amid her many performing .
The Little Mermaid: Ariel's Beginning (also known as The Little Mermaid III) is a animated fantasy feature film produced by Walt Disney Pictures and DisneyToon Studios, and the direct-to-video prequel to Disney's film The Little Mermaid. Directed by Peggy Holmes, the film's story is set before the events of the.


Luke Scott talks with It’s Nice That about reinventing the movie trailer for Alien: Covenant
“For Ridley Scott’s Alien: Covenant, his son Luke Scott, now a firmly established director who grew up on the set of the original Alien, created a series of short films. Eschewing the tried-and-tested trailer format, the films promote the main event without using clips of the feature, but instead using all original content and parallel narratives. Here, Luke chats to It’s Nice That about how these intend to stir up the staid movie trailer devices, and takes us behind the scenes of their creation.”
Read more on It’s Nice That.


So I’ve been working my way through Supernatural. I think I’m starting to understand, Tumblr… I think I’m starting to understand…
Okay, but i distinctly remember The Fox and the Hound not being this sad last time I watched it over 12 years ago….When did this become the most heartbreaking movie ever?
Prisoner of Azkaban - Chapter 19: The Servant of Lord Voldemort
“‘We’ll take him up to the castle. We’ll hand him over to the Dementors. He’ll go to Azkaban…just don’t kill him.’”
Can you imagine Harry trying to parent his children and tell them they need to settle down but then James Sirius just pulls out his edition of Harry James Potter: A History and goes, “When you were my age you followed an alleged mass murderer into a tunnel, faced a werewolf and nearly got killed by dementors. I think I can go to The Bent-Winged Snitches concert.”
#WHEN IT COMES TO PORTRAYAL OF A HEALTHY LOVELY RELATIONSHIP IN AN ANIMATED FEATURE, PEOPLE SHOULD WATCH HTTYD2 AND PAY GOOD ATTENTION TO HOW BEAUTIFULLY DREAMWORKS DISPLAYS A NATURAL COUPLE AND LEARN THAT NORMAL COUPLE BODY LANGUAGE AND LITTLE GLANCES AND TOUCHES AND SHOWING HOW INTIMATE AND COMFORTABLE THEY ARE AROUND EACH OTHER AND HOW THEY HAVE PERSONAL CONVERSATIONS ABOUT FUTURE FAR OUTWEIGHS KISSING AND EYE-SCREWING AND SINGING SILLY SONGS AND CONSTANTLY TRYING TO FORCE THEIR LOVE STORY ON THE AUDIENCE BY CLICHE SCENES AND DIALOGUES AND TRYING WAY TOO HARD TO MAKE THE COUPLE BELIEVABLE EVEN THOUGH THEY HARDLY KNOW EACH OTHER PLEASE GIVE US MORE ASTRID AND HICCUP


University of Wyoming Laramie Wyoming
Broadway’s Next H!t Musical | April 21, 2017
BCPA Concert Hall
General public $23 / Senior, Faculty & Staff $19 / Student $10
“Hilarious!” New York Times
“At last! A musical of, for, and by the people.” Time Out NY
Every song is fresh. Every scene is new. Every night is different. It’s all improvised, and it’s all funny.
The hysterical Broadway’s Next H!t Musical is the only unscripted theatrical awards show. Made-up of master-improvisors, you’ll spend a night immersed in music, humor, and laughter as the cast creates a full-blown, improvised musical complete with memorable characters, witty dialogue, and plot twists galore. Seen recently at The Triad, Tribeca Film Festival, and at the New York Musical Theater Festival, Broadway’s Next H!t Musical will leave you in stitches, giving you the best ab workout of the spring!


Hinoki Sakurai is cosplaying as Meroko Yui from Fullmoon wo Sagashite.
Meroko is a rabbit shinigami with long ears, capable of transforming into an anthropomorphic bunny stuffed toy. Meroko is Takuto's partner and is infatuated with him, though her love is unrequited. She is jealous of Takuto's affection for Mitsuki, and fears that being around Mitsuki will cause Takuto to remember his past, and thus become a ghost. Meroko was Izumi's former partner and was infatuated with him; when Izumi grew tired of her frequent declarations of love, he tricked her into training newcomer Takuto in his place. Although Meroko claims to be in love with Takuto, she eventually realizes that she still loves Izumi. As a human, Meroko was Mitsuki's grandmother's best friend, Moe Rikyo. Mitsuki's grandmother, Fuzuki, was engaged to be married when they both met, and fell in love with a violinist, Seijuro Koga. He loved Fuzuki, however, and eventually became engaged to her, whereupon her former fiancée was passed on to Moe. When Moe caught Fuzuki and the violinist kissing, she ran away, with a fallen over Fuzuki calling out to her. After her own fiancée tried to rape her, Moe killed herself. In the anime adaptation, the connection to Fuzuki and Meroko's human past are never revealed. Meroko and Izumi become partners again in the manga. In the anime Meroko becomes a ghost to save Takuto but she instead becomes a angel and leads Mitsuki to Takuto using the rabbit charm.


Just in time for Valentines! My favorite movie of all time is Jesus Christ Superstar (2000 version), starring Glenn Carter as Jesus. In the movie, one of my favorite scenes is where Jesus and Mary Magdalene are having an intimate moment, in the clip "Everything's Alright," which is based loosely on John 12:1-8 and Matthew 26: 6-13. Now, my question is this: What is the real truth behind the relationship between Jesus and Mary Magdalene? Were they in love with each other? Were they married? Were they an 'item'?
Also, John said that it was Mary of Bethany that anointed Jesus' feet. So is Mary of Bethany the same Mary Magdalene or are they two different persons? Any thoughts?


Zootopia on Netflix Inspired Viewing Party
I can not tell you how long we have anticipated this night! Tonight we are having our Zootopia viewing party! To celebrate the occasion we create our own set of printables inspired by the movie which you can find at the bottom of this post.
Zootopia is one of those movies that is both entertaining yet can lead to deeper discussions about real life topics such as discrimination and inclusion. It’s a good time to talk about how we are all different but the same. The movie also makes you really want to eat a red Popsicle which I had planned on having tonight but they mysteriously vanished at some point during the day before the party. That mystery wasn’t much of a mystery when I caught them all red faced and smiling like sly little foxes. They had to eat them because they were afraid they would melt. Yep, that is what you call a hustle…
Zootopia isn’t the only Disney movie coming to Netflix.
As of September (this month!), Netflix will be the exclusive US pay TV home of the latest films from Disney, Marvel, Lucasfilm and Pixar! That covers most of our favorites and I hear that there may be a swimmingly fun movie coming in the future! Netflix has our viewing time covered with movies that we all want to watch as a family, from the youngest to the oldest. I do foresee more fun viewing parties, one that involves home made light sabers, a Darth Vader mask, and a Yoda onesie… Can you guess what movie that could be?
Included in the pack:
Cupcake and Treat Toppers
2 Masks (Bunny and Fox)
Coloring Quote Page
Download and print the pack by clicking the blue button below!
To assemble the popcorn box- fold on dark lines and tape closed.
To assemble masks – Cut along dotted lines and add string. Cut eye holes if wanted.
For cupcake toppers – Cut out the circles and add toothpick to the back.


Fresh off the success of the Bachchan Back To The Beginning Festival, the not-for-profit organization founded by filmmaker and archivist Shivendra Singh Dungarpur, Film Heritage Foundation has co-presented and programmed Indian films for the Classics section at the 44th edition of the prestigious Festival des 3 Continents that was hosted from the 18th to the 27th of November 2022 in Nantes, France.
A special section this year at the festival was the highlight of the finest films dating back to the 1970’s and 1980’s from Africa, Latin America and Asia, including an eclectic assortment of 14 Indian films. Among the stalwart Indian directors whose films were screened are Ritwik Ghatak, Aravindan Govindan, John Abraham, and Saeed Akhtar Mirza. The Indian films that were screened at the prestigious festival included Thamp, Kummatty, Agraharathil Kazhuthai, Amma Ariyan, Thaneer Thaneer, Titash Ekti Nadir Naam, Ashad Ka Ek Din, Khandhar, Om-Dar-B-Dar, Hun Hunshi Hunshilal, 36 Chowringhee Lane, Utsav, Arvind Desai Ki Ajeeb Dastan and Disha.
The Indian delegation traveled to France this year for the festival comprises of Shivendra Singh Dungarpur, Saeed Akhtar Mirza, Sai Paranjpye and Sanjiv Shah to present these films.
A pillar of cinephilia for more than 40 years, the 10-day-long Festival des 3 Continents enjoys a long-standing legacy of discovering some of the greatest names in international cinema before their mainstream recognition including the likes of Hirokazu Kore-eda (Japan), Souleymane Cissé (Mali), Hou Hsiao-hsien (Taiwan), Abbas Kiarostami (Iran), Wong Kar-wai (Hong Kong), Jia Zhang-ke (China) and Wang Bing (China) amongst others. In 2006, for the first time in the world, the Festival des 3 Continents presented the complete Satyajit Ray film collection.
Shivendra Singh Dungarpur, Director, Film Heritage Foundation states, “Film Heritage Foundation is very proud to co-present an eclectic selection of 14 Indian classics at the 44th edition of the Festival des 3 Continents in Nantes this November. I would like to thank Jérôme Baron, the Artistic Director of the festival, for giving us this incredible opportunity to showcase our rich and diverse film heritage at a festival known for its remarkable programming of films focused on Asia, Africa and Latin America. The selection reflects the complexity and diversity of Indian cinema and we have attempted to capture in a microcosm the vast breadth of Indian cinema. These radical filmmakers who rebelled against the constraints of commerce and created films with an artistic and political impact have left a legacy that must be cherished and revived. This celebration of the rebellious poets of Indian cinema in France reaffirms Film Heritage Foundation’s commitment to the preservation and restoration of India’s rich film heritage, especially those films that won acclaim, but live on the fringes of the mainstream, and hence are in even greater danger of disappearing as the commercial world turns its backs on them.”
Renowned filmmaker and author Saeed Akhtar Mirza states, “I am honoured that my film “Arvind Desai Ki Ajeeb Dastan” has been selected to be screened at the prestigious Festival des 3 Continents in France. I am looking forward to presenting my film forty-four years after its release to an international audience at a festival that showcases the best of cinema. I would like to thank Film Heritage Foundation and its director, Shivendra Singh Dungarpur, for making this happen.”
Jérôme Baron, Artistic Director, Festival des 3 Continents states, “Cinephile curiosity likes to be carried away by unpredictable currents. Indian cinema is not at all unknown to me, far from it. But until last May, the name of Govindan Aravindan was attached to a list of filmmakers whose film titles I knew, but had only been able to watch partially, a scenario made more difficult by distance and the lack of opportunity here in France to be able to know a little more. This gap promised to be partly filled with the announcement of the presentation at the Cannes Film Festival of the restoration of Thamp that Aravindan directed in 1978. And I must say that my amazement was as intense as it was lasting. It didn’t take much to be tempted to see the next Festival des 3 Continents host an Indian retrospective, an idea that immediately met with Shivendra Singh Dungarpur’s support and which marked the beginning of a complicit and unfailing collaboration with the Film Heritage Foundation, of which he is the passionate founder. Reviewing films seen in the past, checking what we thought we knew by jogging our memory, making connections between known films and many others discovered on a new trip to India last July, has made it possible to present a program which includes fourteen films that showcase the linguistic, cultural and aesthetic diversity of Indian cinema between 1970 and the very beginning of the 1990s. This retrospective will undoubtedly be one of the highlights of the 2023 festival season in France and the audience of Festival des 3 Continents will have the pleasure of discovering works of Indian cinema, most of which have never been seen in France. The public will benefit from the presence among us of Sai Paranjpye, Saeed Akhtar Mirza, Sanjiv Shah, Karan Kapoor and of course Shivendra Singh Dungarpur who will share their experience and knowledge. It will be an Indian autumn for us and there is no doubt that we will find it sweeter by warming ourselves with the pleasure of watching these films which speak of the richness of Indian cinema, for which every effort should be made to preserve its heritage.
About The Films
- Thamp (The Circus Tent) (1978) – directed by Aravindan Govindan – restored by Film Heritage Foundation
- Kummatty (The Bogeyman) (1979) – directed by Aravindan Govindan – restored by Film Heritage Foundation
- Agraharathil Kazhuthai (Donkey In A Brahmin Village) (1977) – directed by John Abraham
- Amma Ariyan (Report to Mother) (1986) – directed by John Abraham
- Thaneer Thaneer (Water Water) (1981) – directed by K. Balachander
- Titash Ekti Nadir Naam (A River Called Titash) (1973) – directed by Ritwik Ghatak
- Ashad Ka Ek Din (One Day Before the Rainy Season) (1971) – directed by Mani Kaul
- Khandhar (The Ruins) (1983) – directed by Mrinal Sen
- Om-Dar-B-Dar (1988) – directed by Kamal Swaroop
- Hun Hunshi Hunshilal (Love in the Time of Malaria) (1992) – directed by Sanjiv Shah
- 36 Chowringhee Lane (1981) – directed by Aparna Sen
- Utsav (Festival) (1984) – directed by Girish Karnad
- Arvind Desai Ki Ajeeb Dastan (The Strange Fate of Arvind Desai) (1978) – directed by Saeed Akhtar Mirza
- Disha (Direction) (1990) – directed by Sai Paranjpye
(Click on image to read the full article)


INDIANA JONES AND THE TEMPLE OF DOOM
Original art work by VHS Girl
'INDIANA JONES AND THE TEMPLE OF DOOM' 2016
- Acrylic on Wood
- 10 x 19cm
Each work is signed on the back and comes delivered in a random vintage VHS cover, not matching the actual artwork.
Based on the VHS cover for cult film Indiana Jones and the Temple of Doom (1984)
After arriving in India, Indiana Jones is asked by a desperate village to find a mystical stone. He agrees, and stumbles upon a secret cult plotting a terrible plan in the catacombs of an ancient palace.


— Click for everything you ever wanted to know about me in one convenient place
Jeffrey S. Mueller is a professional actor who brings good-natured sincerity, and warmth, to his roles on both the small and big screens.
Born in Baltimore, Maryland, he has appeared on television (Copy Cat Killers), in films (Mennonite of the Living Dead, I Want To Tell You Something, Riverment), and in commercials.
While performing every chance he gets, Jeff continues his training at the Studio Theatre Acting Conservatory in Washington, D.C. as part of their conservatory program; as well as being an active member of the Society of American Fight Directors (SAFD).
His production company (Jerd Productions) has been producing positive, health conscious, and empowering web content, since 2012. Jeffrey's passion for fitness, martial arts, athletics, and helping people achieve their best, fuels him while in between projects.
Jeffrey is just in love with the process, enjoying the ride, and looking forward to impacting viewers and fans with great work and stories. The sky is the limit; next stop is working in the next Emmy Award winning series!


The Hobbit Movie Poster of the Day: And here’s the trailer, in case you missed it. In theaters December 14.
WHICH OF THESE THINGS IS NOT LIKE THE OTHERRRRRR
We were just talking about how Fili and Kili can MAYBE get away with having sparse beards because they’re young (and at least Fili looks like a dwarf), but how can you excuse Thorin not having a full beard?! He’s the most prestigious dwarf in the bunch! He should have a huge, luscious beard!


Diary ng Panget
|Diary ng Panget
||April 2, 2014
is a film adaption of the novel of the same name.
- Kathryn Bernardo and Daniel Padilla are rumored to be in the movie.
- Star Cinema is supposed to team up with VIVA but later, Star Cinema declined.
- The movie ended in the third installment of the book. It may hinted that there might be a possible sequel.
- Cross was never stated as the Student Council President, but it was later proved in one scene where he is in the school's Student Council Room.
- The film rank third in the top-grossing filipino films for 2014.
- The theme song of the series, Rocketeer, was used in the trailer. But it was never sung nor heard in the film. The boy bawang is ommited in the film.
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Elvis Duran Invites Industry to 4th Annual Carney Awards
|RADIO ONLINE | Tuesday, October 9, 2018|
As executive producer of The Carney Awards, syndicated radio personality Elvis Duran invites all radio industry friends to attend the star-studded event that honors exemplary character actors on October 28 at The Broad Stage in Santa Monica, CA. This year's class of honorees include favorites of stage and screen Joe Morton, Jessica Walter, Joe Pantoliano, M. Emmet Walsh, James Cromwell and Bruce Greenwood. Comedian Patton Oswalt will host the evening's program. Red carpet begins at 3pm, and the televised show begins at 5pm.
Duran commented, "Art Carney is the gold standard. We're so humbled to honor these actors in his name, forever enshrining them in a character actor ‘hall of fame.' This is the only production in all of Hollywood to do so. These amazing men and women deserve to be recognized."
Now in its fourth year, The Carney Awards, named for the late, great Oscar and six-time Emmy Award-winning actor Art Carney, honor Hollywood's leading character actors for their outstanding achievements. They were created by Elvis Duran Group CEO David Katz, his brother Jim Katz, an Emmy Award-winning producer, and Brian Carney, actor/voice-over artist and Art's son. The Carney Awards is a joint production between The Elvis Duran Group and Radcliffe Road Pictures. Duran, the Katz brothers and Carney are executive producers.
Past honorees include William H. Macy, Wendie Malick, William Fichtner, Richard Kind, Xander Berkeley, Gary Cole, Stephen Tobolowsky, Dan Hedaya, Conchata Ferrell, Steve Buscemi, Bob Balaban, Michael Ealy, Bruce McGill, David Paymer, CCH Pounder and Jonathan Banks.
Please RSVP to firstname.lastname@example.org or email@example.com.