Tuesday, January 14, 2020
Describe the character of Macbeth in detail Essay
Describe the character of Macbeth in detail, showing clearly in what way his character changes as a result of the action of the play. Consider carefully why you feel Macbeth is a tragic hero and whether you feel any sympathy for him. NOTES: * Beginning Ã¢â¬â honest; noble; valiant; brave; loyal * End Ã¢â¬â Ã¢â¬Å"butcherÃ¢â¬ ; not honest, loyal; still brave and prepared to fight till his death Ã¢â¬â Ã¢â¬Å"at least weÃ¢â¬â¢ll die with harness on our backÃ¢â¬ ; he has become cruel and hardened Ã¢â¬â Ã¢â¬Å"I have almost forgotten the taste of fearÃ¢â¬ . He is corrupted by power and greed * So What Changes Him? : o Witches give him idea o Wife encourages him/builds on idea o Ambition/determination to be king o Once he starts killing, he canÃ¢â¬â¢t stop * Macbeth kills MacduffÃ¢â¬â¢s family Ã¢â¬â turning point for L. Macbeth Ã¢â¬â she realises what she has turned her husband into. * He can no longer control his ambition and it takes control over his actions * In the very first scene when we meet the witches, we see that Macbeth is closely connected to them, because they are talking about him, saying they will meet him and talk to him Ã¢â¬â Ã¢â¬Å"there to meet with MacbethÃ¢â¬ . However, this is strongly contrasted in the next scene when we hear Duncan talking favourably about Macbeth, saying that he fought bravely and is to be rewarded for his loyalty Ã¢â¬â Ã¢â¬Å"oh valiant cousin, worthy gentlemanÃ¢â¬ , Ã¢â¬Å"they smack of honour bothÃ¢â¬ * Although it may seem from the start that Macbeth is weaker than his wife, this is not always the case Ã¢â¬â she never actually kills anyone: she gets Macbeth to kill Duncan because she thinks Duncan looks like her father when he sleeps Ã¢â¬â Ã¢â¬Å"had he not resembled my father as he slept, I had doneÃ¢â¬â¢tÃ¢â¬ . * Ã¢â¬Å"Glamis and Thane of Cawdor: the greatest is behind.Ã¢â¬ Ã¢â¬â Here we see MacbethÃ¢â¬â¢s own ambition before his wife has intervened. Also, before he talks to his wife, he considers the witches and if they are telling him the truth or if they are just evil, and he also thinks about ways he could fulfil their prophecy, the murderer of Duncan being one of them Ã¢â¬â Ã¢â¬Å"my thought, whose murder is yet but fantastical.Ã¢â¬ * Dramatic irony Ã¢â¬â just as Duncan and Malcolm are talking about deceit and saying how Ã¢â¬Å"thereÃ¢â¬â¢s no art to find the mindÃ¢â¬â¢s construction in the faceÃ¢â¬ , Macbeth enters. We know he is already deceiving people. * He starts to become evil when, in act 1 scene 4, he thinks about killing Malcolm. Here he starts to rhyme as well, like the witches, Ã¢â¬â a sign of him changing Ã¢â¬â Ã¢â¬Å"stars hide your firesÃ¢â¬ ¦when it is done to seeÃ¢â¬ * When Macbeth and his wife are discussing DuncanÃ¢â¬â¢s murder, Macbeth is unsure about it Ã¢â¬â Ã¢â¬Å"we will speak furtherÃ¢â¬ Ã¢â¬â but his wife keeps encouraging him. Ã¢â¬Å"MacbethÃ¢â¬ by William Shakespeare is a play about deceit, ambition and betrayal, in which some of the characters change dramatically because of the fast-moving action of the play. One of these characters is the playÃ¢â¬â¢s tragic hero, Macbeth himself. Macbeth as we see him at the end of the play is barely recognisable as the same man we meet at the beginning: he has turned from a loyal, noble man to a cruel and hardened Ã¢â¬Å"butcherÃ¢â¬ , driven mostly by his own ambition to become King. Because Macbeth is a true tragic hero and we can clearly see all his good qualities as well as his bad ones, we do feel some sympathy for him as well. This play is set in Scotland, where Macbeth is a gallant Thane who is recognised and rewarded by King Duncan for his heroic efforts in battle. However, Macbeth is given the idea by three witches that someday he himself will be King and, especially after speaking to his wife on the matter, he becomes determined to fulfil the witchesÃ¢â¬â¢ prophecy and claim the throne of Scotland. Although, this is not easy and Macbeth resorts to murder and begins to kill anyone who might pose a threat to him, and this eventually leads to his own death. From the very first scene, we see that Macbeth is somehow connected to the supernatural as the three witches speak of meeting Macbeth and talking with him Ã¢â¬â Ã¢â¬Å"there to meet with MacbethÃ¢â¬ . However, this is contrasted is the next scene when we hear Duncan speaking favourably of Macbeth, saying that he fought bravely and is to be rewarded for his loyalty Ã¢â¬â Ã¢â¬Å"o valiant cousin, worthy gentlemanÃ¢â¬ , Ã¢â¬Å"they smack of honour bothÃ¢â¬ (Macbeth and Banquo). Therefore, before we have even met Macbeth ourselves, we have a mixed opinion of him; is he a valiant and Ã¢â¬Å"worthy gentlemanÃ¢â¬ or does he have a darker side to him as the witches suggest? The answer to this question is that he has both qualities, but they each arise separately. During the course of the play, we see Macbeth quickly changing from a Ã¢â¬Å"gentlemanÃ¢â¬ to a Ã¢â¬Å"butcherÃ¢â¬ . The first time we meet Macbeth is with the witches, and his first words Ã¢â¬Å"so foul and fair a dayÃ¢â¬ echo the witchesÃ¢â¬â¢ in the first act Ã¢â¬â Ã¢â¬Å"fair is foul and foul is fairÃ¢â¬ . This gives the immediate impression that he is closely connected to them, and in his first soliloquy he is giving second thoughts to what the witches said about his future and he is clearly ambitious from the start Ã¢â¬â Ã¢â¬Å"Glamis, and Thane of Cawdor: the greatest is behindÃ¢â¬ . Although Macbeth is thinking about the witchesÃ¢â¬â¢ words and already considering the possibility of murdering Duncan, he makes it clear he would never actually do it Ã¢â¬â Ã¢â¬Å"my thought, whose murder is yet but fantasticalÃ¢â¬ . In the next scene, Duncan and Malcolm talk about deceit and they say that Ã¢â¬Å"there is no art to find the mindÃ¢â¬â¢s construction in the faceÃ¢â¬ , when, ironically, Macbeth walks in: he is hiding his thoughts about the witches and we know he will be deceitful when he murders Duncan Ã¢â¬â Ã¢â¬Å"stars hide your fires, let not light see my black and deep desiresÃ¢â¬ . Again, when talking to Lady Macbeth, he is still unsure of the idea. She is trying to persuade him that DuncanÃ¢â¬â¢s death would be best but he still says Ã¢â¬Å"we will speak furtherÃ¢â¬ and he is worried about someone finding out what he will have done Ã¢â¬â Ã¢â¬Å"if we should failÃ¢â¬ , and it is easy to see that Macbeth is a good and moral person. In MacbethÃ¢â¬â¢s first major soliloquy he weighs up both sides of the argument, thinking about how much Duncan trusts him and thinks he is a good man Ã¢â¬â Ã¢â¬Å"heÃ¢â¬â¢s here in double trustÃ¢â¬ . Macbeth knows that Duncan is also a good man, and a wonderful king, and it would not be right to kill the king simply because of his own greed, but his ambition to be king leads him on. Macbeth knows that people have Ã¢â¬Å"golden opinionsÃ¢â¬ of him, and he likes being looked upon in such a way, and he does not really want to loose that; he knows that he will if he carries out this murder, and these opinions would be Ã¢â¬Å"cast aside so soonÃ¢â¬ . However, Macbeth is now determined, although not as much as his wife, to become the King of Scotland and he says that the only thing leading him on is his ambition Ã¢â¬â Ã¢â¬Å"I have no spurÃ¢â¬ ¦but only vaulting ambitionÃ¢â¬ . Just before, and after, Macbeth murders Duncan, he is at his weakest and feels very culpable. His imagination begins to play on him. In the moments leading up to the murder, his thoughts are filled with evil; he imagines seeing a dagger covered in blood Ã¢â¬â Ã¢â¬Å"is this a dagger I see before meÃ¢â¬ ¦or art thou but a dagger of the mind, a false creation?Ã¢â¬ , and he imagines actually killing Duncan Ã¢â¬â Ã¢â¬Å"I seeÃ¢â¬ ¦gouts of bloodÃ¢â¬ . He thinks that Ã¢â¬Å"nature seems deadÃ¢â¬ and he thinks of wolfs, ghosts, and witches Ã¢â¬â all symbols of evil. Once Macbeth has murdered Duncan, he still imagines things: he claims to hear voices telling him that he will never sleep again Ã¢â¬â Ã¢â¬Å"sleep no more: Macbeth does murder sleepÃ¢â¬ and he cannot wash the blood stains off his hands Ã¢â¬â Ã¢â¬Å"will all great NeptuneÃ¢â¬â¢s ocean wash this blood clean from my hand? NoÃ¢â¬ , to which his wife replies, Ã¢â¬Å"a little water clears us of this deedÃ¢â¬ (only to prove herself wrong later). When Duncan is discovered dead by Macduff, Macbeth acts surprised and angry Ã¢â¬â Ã¢â¬Å"the wine of life is drawnÃ¢â¬ , Ã¢â¬Å"thÃ¢â¬â¢expedition of my violent love outran the pauser, reasonÃ¢â¬ . However, this may not be just an act: Macbeth could really be feeling that way, and he is angry with himself for what he has done when he sees other peopleÃ¢â¬â¢s reactions. Hence, Macbeth travels to Scone and is crowned King of Scotland. Even though Macbeth has achieved what he wanted Ã¢â¬â to be king Ã¢â¬â he does not stop killing. He fears Banquo knows that he killed Duncan, so Macbeth is now suspicious of Banquo, as Banquo is of him Ã¢â¬â Ã¢â¬Å"there is none but he, whose being I do fearÃ¢â¬ Therefore, the only option Macbeth sees is to kill Banquo, so he arranges for three men to murder Banquo and his son, Fleance, on the night of a banquet. He tells them that he cannot murder Banquo himself because the risk of being found out is too great Ã¢â¬â Ã¢â¬Å"certain friends that are both his and mineÃ¢â¬ ¦wail his fallÃ¢â¬ . This is the point at which we see a major change in MacbethÃ¢â¬â¢s character: he is still nervous and slightly afraid, but is now a little more confident; and he organised the murder by his own free will and without any help Ã¢â¬â he did not need his wife to set it up or to assist him, whereas et the murder of Duncan it was she who organised everything. Lady Macbeth did not even have any knowledge of BanquoÃ¢â¬â¢s murder before it took place and she asks Macbeth Ã¢â¬Å"what is to be done?Ã¢â¬ and Macbeth tells her to Ã¢â¬Å"be innocent of the knowledgeÃ¢â¬ ¦till thou applaud the deedÃ¢â¬ . Macbeth is pleased to hear of BanquoÃ¢â¬â¢s death, but the news of FleanceÃ¢â¬â¢s escape troubles him Ã¢â¬â Ã¢â¬Å"then comes my fit againÃ¢â¬ ¦I am cabined, cribbed, confinedÃ¢â¬ . We can see that Macbeth does still have a conscience when he is at the banquet, as he sees the ghost of Banquo in the hall Ã¢â¬â Ã¢â¬Å"the graced person of Banquo presetÃ¢â¬ and he talks to it Ã¢â¬â Ã¢â¬Å"thou canst not say I did it; never shake thy gory locks at meÃ¢â¬ ; so it is clear that Macbeth still has remorse for what he has done and he cannot hide it, despite his wife telling him to Ã¢â¬Å"look like thÃ¢â¬â¢innocent flower, but be the serpent underÃ¢â¬â¢tÃ¢â¬ and he said himself that Ã¢â¬Å"the false face must hide what the false heart doth knowÃ¢â¬ . Macbeth speaks to his wife alone after the banquet, and he says that he will visit the witches again and from now on he will kill anyone who might get in the way of him keeping the throne Ã¢â¬â Ã¢â¬Å"we are yet but young in the deedÃ¢â¬ , so we can see Macbeth changing again, this time becoming more confident. This is the last time that he and his wife see each other. Macbeth goes to see the three witches again and his confidence is boosted even more. The witches plan, and succeed, to make Macbeth over-confident and this will be his down fall. They show him three apparitions, each telling him something; the first is an armed head (which is actually his own) and it tells him to Ã¢â¬Å"beware MacduffÃ¢â¬ , the second is a child covered in blood (Macduff) who tells him Ã¢â¬Å"no man born of a woman shall harm MacbethÃ¢â¬ , and the third, a crowned child with a tree in its hand (Malcolm) tells him that Ã¢â¬Å"Macbeth shall never be vanquished until Great Birnam WoodÃ¢â¬ moves to Dunsinane hill. Finally, a procession of eight kings passes with Banquo following behind them. These apparitions, especially the second and third, make Macbeth more confident in himself and he thinks he cannot be killed by anyone. With his newfound confidence he vows to continue killing, as he cannot be stopped Ã¢â¬â Ã¢â¬Å"the very firstlings of my heart shall be the firstlings of my handÃ¢â¬ , and with the knowledge of Macduff travelling to England, Macbeth turns to murdering every other member of MacduffÃ¢â¬â¢s family Ã¢â¬â Ã¢â¬Å"give to the edge oÃ¢â¬â¢thÃ¢â¬â¢sword his wife, his babes, and all unfortunate soulsÃ¢â¬ . As Lady Macbeth grows weaker, Macbeth grows stronger. Lady Macbeth is now the one feeling guilty, and she begins sleepwalking and hearing Ã¢â¬Å"foul whispÃ¢â¬â¢ringsÃ¢â¬ , just as Macbeth was before. Macbeth heads into battle against the English army, knowing that his Ã¢â¬Å"way of life is fallÃ¢â¬â¢n into the sereÃ¢â¬ . He has now become hardened and does not care for much, except his wife; when the doctor brings him news of Lady MacbethÃ¢â¬â¢s illness, Macbeth asks him to make her better Ã¢â¬â Ã¢â¬Å"cure her of thatÃ¢â¬ ¦perilous stuff which weighs upon the heartÃ¢â¬ , so we can clearly see that he still loves her and cares about her, and has not yet completely lost everything that was good about him. Despite this, Macbeth is now a more cruel and, in a way, evil man and he says he has Ã¢â¬Å"almost forgot the taste of fearsÃ¢â¬ , and he is not surprised to hear of his wifeÃ¢â¬â¢s death Ã¢â¬â Ã¢â¬Å"she would have died hereafterÃ¢â¬ . He thinks about life and how it is a Ã¢â¬Å"brief candleÃ¢â¬ and now his life has lost itÃ¢â¬â¢s meaning, so he might as well die fighting Ã¢â¬â Ã¢â¬Å"lifeÃ¢â¬â¢s but a walking shadow, a poor playerÃ¢â¬ ¦then is heard no moreÃ¢â¬ ¦signifying nothingÃ¢â¬ . Macbeth knows he is going to die when he hears that Birnam wood is moving toward Dunsinane but still he is brave Ã¢â¬â Ã¢â¬Å"bear-like I must fight the courseÃ¢â¬ . Macbeth meets with Macduff outside the castle, where he learns that Macduff was not born of a woman and he can kill him. Now Macbeth knows for sure that he will die there and then and he could have just let Macduff kill him, but he decided to fight bravely till his death Ã¢â¬â Ã¢â¬Å"at least weÃ¢â¬â¢ll die with harness on our backÃ¢â¬ . Macbeth is truly a tragic hero as he had many of the qualities needed to be king Ã¢â¬â he was a good man: noble, brave, loyal, caring and loving toward his wife, and he never lost the will to fight bravely, no matter what the outcome may be. However, he changed in a very short space of time to become cruel and hardened, influenced, first by the witches, then by his wife. Because of this, we do feel sympathy for him; because he was good man who was changed by supernatural beings, but also partly by his own ambition. This is a tragic tale of how ambition can tarnish a person and make their life seem pointless, or as Macbeth said Ã¢â¬Å"LifeÃ¢â¬â¢s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury Signifying nothingÃ¢â¬ .


Emotional Scarborough RNLI Film Wins Bronze Award
4:51pm 15th March 2017
(Updated 7:09am 16th March 2017)
Scarborough's RNLI won a bronze prize at the Charity Film Awards in London last night.
'A Night of Courage and Loss' documents the tragic night in February 2015, when Andrew McGeown died trying to rescue his dog from Scarborough's South Bay.
It describes the efforts of three crew on the inshore lifeboat who tried to save him in stormy conditions.
Andrew's sister, Donna Loveland, who's in the film, said:
"We made the film only a few months after we'd lost Andrew, so it was still very raw. It was a very, very difficult film to make and at first I had to make the decision whether or not I was going to do it. But then telling Andrew's story probably helps save other lives when people hear a real life story that's actually happened".
Here it is..


In season seven, in the wake of Elena Gilbert's goodbye, some characters will recover while others falter. As Lily and thrill rides as THE VAMPIRE DIARIES continues for a seventh season. Subtitles: English [CC], Español ( Latinoamérica),
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The Intro to Film and Video students are now in the post-production stage of their recent project. Since the beginning of the school year, students in the intro class have learned various techniques that are essential to a well produced production. After seeing videos from upperclassman during the Fright Night Film Festival in October, the students have seen how the quality of their work will advance over the course of the program. Consistently working on the basics of production gives them the ability to advance more quickly in the field. This project tests their abilities to apply those simple and advanced techniques to a short sequenced video. After following proper camera techniques during production, the post-production process is where students piece together their clips, apply transitions and add multiple layers of audio tracks. Stay tuned for the final cuts.


Jasmine Yu-Hsing Chen
Chinese - World Languages and Cultures
Contact InformationOffice Location: Main 002 F
Ph.D., Asian Languages and Cultures (Chinese Literature), University of Wisconsin–Madison, 2018
M.A., Taiwan Studies (Literature and Theatre), National Taiwan University, 2009
B.A., Chinese, National Taiwan University, 2005
Jasmine Yu-Hsing Chen specializes in contemporary Chinese and Sinophone theater, film, media, visual culture, and literature. Her first research agenda examines how theatrical and cinematic works challenge government-promoted nationalism. Her second research project inquiries novel media interventions in the performing arts. Currently, she is a member of the Board of Directors at the North American Taiwan Studies Association.


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The Chicago Libertarian Party Meetup Group
We’ll start the evening out at PJ Clarke’s (302 E Illinois) at 6:30 for drinks and food. We’ll head over to the theatre at 8pm which is where you can meet us if you want to skip PJ Clarke’s. The movie starts at 8:30 and covers the first third of the book.
- Movie Website: http://www.atlasshrug…
- Buy Tickets online: http://www.movieticke…
- Theatre Website: http://www.amctheatre…
Chicago, IL 60611 – USA
Go here to see the original:
Atlas Shrugged the Movie (part 1)


This new course explores myriad European identities within the classic Hollywood studio system and the city of Los Angeles between the 1910s and the 1960s. We will analyze and historicize the artistry and impact of European emigres and exiles on studio-system American cinema (especially film noir). Identities here include Victor Sjöström, Ingrid Bergman, Greta Garbo, and Warner Oland from Sweden, Germans and Austrians Ernst Lubitsch, Billy Wilder, Fritz Lang, and Robert Siodmak, French exiles Jean Renoir, René Clair, and Julian Duvivier, and Italian-born Frank Capra. Europeans in LA (not least artistic and intellectual exiles from Hitler’s Nazi-occupied Europe in the 1930s and 1940s) inextricably shaped the cinema of the 20th century. Course taught in English.


Costa Brava, Lebanon: A family nest in danger amidst Lebanon’s waste crisis
At some point in your life, you and your family decide to leave your home town, a metropolis devastated by pollution, corruption and chaos. You move far enough from that place. You succeed to create your own rural heaven, where you can live in peace with your loved ones. One day, all of that chaos you left behind shows up at your doorstep, forcing you and your family to answer one simple question: should we stay or should we leave?
This is the engaging premise of Mounia Akl’s second feature, titled Costa Brava, Lebanon. The film, a Lebanese-European-Qatari co-production, was world-premiered in the Orizzonti Extra section of this year’s Venice Film Festival (1-11 September) and later presented in the Contemporary World Cinema strand of Toronto International Film Festival (10-18 September).
In detail, Akl follows the misfortunes of a Lebanese family, the Badris, who have escaped Beirut by seeking refuge in a beautiful mountain home. After eight years of tranquillity, a garbage landfill is suddenly built right outside their fence. It seems that there is no solution to get rid of it.
This unlucky family includes patriarch Walid (played by Saleh Bakri), his former rock singer wife Souraya (Nadine Labaki), Walid’s mother Zeina (Liliane Chacar Khoury) and the couple’s two daughters, teenager Tala (Nadia Charbel) and nine-year-old Rim (curiously portrayed by twin sisters Ceana and Geana Restom).
Quite clearly, here the garbage represents the violence and the troubled past they have left behind. The appearance of the damp shakes up the family’s dynamics and brings all of its members – and Walid and Souraya in particular – to awaken repressed feelings and to become estranged.
"After eight years of tranquillity, a garbage landfill is suddenly built right outside their fence. It seems that there is no solution to get rid of it"
The growing emotional turmoil is accompanied by the worsening of the ecological crisis. The strongest scene depicts the family members finding out that their makeshift pool’s water has turned red, probably because of underground infiltrations. The desperate attempts of removing the contaminated water powerfully reflect the lowest point reached by Walid, who is the most reluctant about leaving and seeking shelter elsewhere.
But Costa Brava, Lebanon is not just a family drama enriched by ecological themes. Interestingly, Akl’s work features several characters’ internal longings, which make their feelings and desires plain to see on screen. During one of the final sequences, for example, Walid imagines that all the garbage bags surrounding his home rise to the heavens and restore the landscape’s original beauty.
Furthermore, the character development built by Akl and screenwriter Clara Roquet, is solid and well-thought. We can get a clear sense of what Walid and Souraya used to do (and to be) back in Beirut, and why their political commitment almost became toxic for their long-term well-being. Zeina also presents herself as a very charismatic woman, who knows what is risky for her own health but, nonetheless, chooses to live her life light-heartedly and to the fullest until the end.
Despite her brief appearance, Walid’s sister Alia (Yumna Marwan, who plays a young, arrogant expat enjoying her new life in Colombia) also leaves a mark. She embodies that type of person who has left her family members behind, has no genuine interest in knowing what happened to them and, once she is forced to come back home, feels totally out of place, being unable to relate with all of them.
That being said, the most surprising character is actually Rim. The child was presumably born in the mountain home and has no knowledge of what her parents have left in Beirut. She has been leading an “out of time,” bucolic lifestyle. She has developed the strange habit of counting upwards, and she often does that to release tension or simply for fun. She also demonstrates an unexpected level of maturity along with the obvious naivety of her age. And, more importantly, her presence will be crucial for the resolution of the whole story.
"The family drama and the ecological themes are well balanced throughout, bolstered by excellent acting performances"
All in all, Costa Brava, Lebanon is a very compelling picture. The family drama and the ecological themes are well balanced throughout, bolstered by excellent acting performances. The script is based on a rather classical narrative mechanism. The family nest is the victim of an unexpected threat and the characters’ different ways to cope with the crisis open up the story’s main conflict.
Despite its simplicity, said approach works and it does justice to the country’s real socio-political context. Specifically, Lebanon is facing a serious waste crisis since 2015, aggravated by political inaction. According to the Human Rights Watch, about 85 percent of solid waste still goes to open dumps or landfills such as the one depicted in Akl’s film.
On another positive note, the director offers food for thought for those who live next to environmentally endangered areas – Taranto, Chernobyl and Volokolamsk, just to name a few – who keep on facing the decades-long dilemma of whether to stay or to leave.
On September 18, the feature won the prestigious NETPAC Prize, presented by the Network for the Promotion of Asian Cinema to honour the best film from Asia having its premiere at the Toronto International Film Festival. Hopefully, this will be the first of many well-deserved accolades.
Davide Abbatescianni is an Italian Film Critic and Journalist based in Cork, Ireland.
Follow him on Twitter: @dabbatescianni


When do you wrap your gifts? As you buy? Or all at once? Do you make them all fancy?
Oh Oh! I have a little movie review for you.
I watched The "Sex and The City" movie today! The reason why I'm telling you about this movie is because I have Never watched not one episode of the show when it was being aired. I had zero interest in it. I also had no desire to watch the movie either. Today however, Craig was working and the kids were at my Mother In Laws. I was flicking through the channels and saw the movie was playing (we have satellite). I flicked it on, and got so entranced in it! It is such a good movie! I highly recommend you watch it. It's more of a chick flick though, so you boys probably won't enjoy it. I know my hubby would never watch it.
So there ya go, another blog for another day. Hope all of my Canadian readers are enjoying thier Thanks Giving weekend!!


Kewaunee County cow cast in Packers movie
The Eberts of Kewaunee County have a new star in the family.
Reaction, a three-year-old Holstein cow owned by their children, Jordan and Whitney Ebert, gained a cameo spot in the movie “The Sixty Yard Line,” about a Green Bay Packers fan.
The romantic comedy is written and produced by Ryan Churchill and stars Churchill. It is based on the true story inspired by one of Churchill’s friends who bought a house next to Lambeau Field.
Churchill is originally from Beloit and has farming roots.
“Farming was a part of my childhood and plays a key role in Wisconsin heritage,” he said. “I saw an opportunity to include it in the film.”
Reaction’s appearance in the film was instigated by Millaine Wells Skoda, who works for WFRV-TV Channel 5 and also serves on the Kewaunee County Farm Technology Days 2017 publicity committee. She heard that a cow was being sought for an upcoming movie and suggested that Ebert Enterprises, who is the host farm for the event, might want to submit an application.
It was Jordan, a student at the University of Wisconsin-Madison, who actually filled out the application.
“He said that their cows were well-trained and you can take them into the house,” said Terrilynn Hastreiter, a spokesperson for Farm Technology Days.
The Eberts received a call from the show’s Los Angeles producers last week.
“It’s not every day that you get a phone call to bring one of your cows to be in a movie,” said Randy Ebert, Jordan’s father.
Renee Ebert, Jordan’s mother, said that they picked Reaction because the producers wanted a Holstein and Reaction was one of their show cows.
“The producer said that when America thinks of a cow, they think of a black-and-white cow,” said Renee.
In the film, Churchill buys a house next to Lambeau Field the same day he’s supposed to propose to his longtime girlfriend. Instead of buying her an engagement ring, he buys the house, which is located at the corner of Stadium Drive and Oneida Street in Green Bay.
They brought Reaction to the house Wednesday.
“It was a very small house,” Renee said. She said they had to figure out how to have the cow enter it.
They decided the front door provided the biggest and easiest entrance for the cow. Both Hastreiter and Kristy Pagels, also of the Farm Technology Days Committee, as well as two friends from El-Na farm were on hand to help Renee, Randy and Jordan maneuver the cow in and out of the house for the filming.
If Reaction has any special scenes or lines in the movie, they won’t be revealed until the movie debuts in late 2016.
“We’ll see how it all pulls together in a couple of months when the movie comes out,” Hastreiter said.
Renee said that she enjoyed meeting the film crew and producer from Los Angeles.
“It was a once-in-a-lifetime experience,” she said.
Karen Ebert Yancey can be reached at [email protected], on Facebook at Kewaunee County Star News Facebook, on Twitter at @EbertYancey or by calling 920-559-1235.
This article originally appeared on Green Bay Press Gazette: Kewaunee County cow cast in Packers movie


Villains and Vittles
Dinner Theatre Productions
the SASCU Theatre
Hidden away in the wardrobe of R.J. Haney Heritage Village is a wedding dress from the early 1900s. Every wedding dress has a story, but few can compare with the story of this dress. The bride for whom it was intended never wore it.
It is a story of intrigue and betrayal, of stolen love, and hot tempers, of world travel and young men going to war.
It is a story of sisters and brothers and world-famous explorers and it will all happen before your eyes on the stage of the SASCU Amphitheatre at R.J. Haney Heritage Village.
Our talented cast, Timothy Weicker, Carly Pullin, Chad Baker, and Joy Peters will take you on an amazing adventure full of song and dance that begins and ends with—a dress.
Joining us for his seventh successful season as writer and director is local playwright, Peter Blacklock. “The Dress” is sure to charm and entertain audiences of all ages. Peter fills his plays full of original musical scores and humorous story telling while sharing the history of the Salmon Arm area.


Founder and CEO, Rodrick Covington, ignited the birth of Core Rhythm Fitness through his passion for the performing arts and fitness. It all started while in college studying theatre arts and film at SUNY Purchase. Upon graduation, he toured with the Broadway show “Fosse” and soon thereafter earned a principal role in “The Lion King” on Broadway. Following his passion to pursue TV and film acting, Rodrick moved to LA where he met his Pilates mentor Thalia Thomas. He became certified in all disciplines of Pilates, as well as personal training and nutrition.
Rodrick returned to NYC to start Core Rhythm Fitness and perform. He was most recently a lead cast member in the Tony Award Winning Revival of “Once on This Island” on Broadway. With over 15 years in the industry, his expertise in tailored one-on-one personal training, transformative high-intensity group fitness offerings, and CRF personalized nutrition, Rodrick’s methodologies are sought after by many around the world! His vision and passion for transforming lives continues to bring souls from all over the world into one community.


It is with great honor and joy that KE.M.E.S. presents an interview that Julie Garfield – daughter of legendary Hollywood star, John Garfield – gave to our contributor, Despina Veneti.
Introduction / Interview: Despina Veneti
He was born in 1913 as Jacob Julius Garfinkle, in a family of dirt poor Russian Jewish immigrants.
He managed to stay away from the mean streets and gangs of New York, channeling his anger to boxing and his sensitivity to acting.
His first on-screen appearance – an explosive mixture of toughness, sexuality and vulnerability – spoke directly to the viewers’ hearts.
He was the first (on and off screen) Hollywood rebel.
He became a symbol for the non-privileged, super-star and public hero simultaneously.
He fought for better parts and films that would reflect the social reality, but also for a chance to work with colored and Hispanic actors, as well as with people who were blacklisted.
He founded his own production company, to be able to make the films he dreamed of.
As actor and producer, he put his seal on some of the best and socially conscious film noir of the decade 1941-1951, highlighting subjects such as the unfair distribution of wealth, the ruthless face of capitalism and the in corruption of the system.
After failing to join the armed forces, due to his fragile health, he and Bette Davis co-founded the Hollywood Canteen, where he offered his services throughout World War II.
He never betrayed his childhood honor, denying to name friends and acquaintances to the notorious H.U.A.C. (House Committee on Un-American Activities).
He was the biggest star who was hunted as «communist» during the McCarthyists’ witch hunt; as a result, the major studios practically closed down their doors for him.
His heart didn’t bear that bitterness and injustice, and one May morning of 1952 he never woke. He was only 39 years old.
His funeral was mobbed by thousands of fans, in the largest funeral attendance for an actor since Rudolph Valentino.
Just as in the years after the Great Depression and WW II, in the hard days we’re living nowadays, the moral combat and the existential agony that are authentically captured on his face, as well as his figure as hunted, betrayed or romantic rebel, are as relevant and up-to-date as ever.
His friends called him «Julie».
His beloved daughter, Julie, talked to us about her father, the great John Garfield.


Year six student Charlie and the whole of the Junior School, watched ‘Aladdin’ at the cinema last week, ahead of the Junior School production this summer.
Cheeky chap Charlie is cast as villainous viper-yielding sorcerer Jafar and really enjoyed seeing his character brought to life on the big screen.
Head of Junior School, Mrs Glynda Cullen, said: “The children have worked so hard in drama lessons, rehearsing for their show, so what better to do on the last day of term than treat them to a trip to see the Disney version.
“As well as having great fun, our students were able to pick-up acting tips and get to know the characters’ mannerisms and personalities – I’m sure parents, teachers and friends are just as excited as we are to see the Gad’s version of the all-singing, all-dancing classic folk tale.”
Every Junior School child plays a part in the musical, which runs from the 2nd to 4th July in the school theatre – tickets will be on-sale soon.


…in January 2006 my uncle gave me the play of a friend of his to read, comment on and, hopefully, assist in finding a conduit for... I read the piece, and enjoyed it. But the work had a British theme; it was a story around the ascension of George VI to the British throne, his stammer, and the help he received from an unorthodox Aussie speech therapist. I knew that a very good theatre producer friend of mine in London, Joan Lane, who is very well networked, would find the piece of interest. I sent it on to her. Four years later, and further down stream, the play is realized as a film, and the film is called The Kings Speech, featuring Colin Firth, Geoffrey Rush, Helena Bonham Carter and Michael Gambon; Tom Hooper directs; the film was done by Bedlam Film Productions, and is being distributed by the Weinstein Company. Heady stuff. ..as it turns out, the world evolves its own serendipity; Bedlam Film Productions is the group interested in my screenplay, In The Shadow of the Phoenix. I’d met Simon Egan, of Bedlam, this past August, and we spoke of my script; the conversation continues –but he heard of my initial facilitation of The Kings Speech, and has invited me to the NY premiere of the film, next Monday, the 8th November, at the Ziegfeld, and the after party. …in the confluence of things, it is quite an honor; on the other hand, I’m kinda stunned. But I look forward to being in the audience witnessing how the Universe works… and how open handed gestures, really do find reward.. Fingers crossed for In The Shadow Of The Phoenix, please.. and I promise to share the details of the NY premiere..


Director: Mitchell Leisen
By Marilyn Ferdinand
Swing High, Swing Low has long been considered director Mitchell Leisen’s best film, but one whose reputation is based more on received opinion than actual experience. For the general public, the film was missing in action until the 1960s, when three reels of a nitrate distribution copy were found. The American Film Institute finally restored the film in the 1970s after Leisen’s own 16mm print became available from the director’s estate. Even so, the uneven quality of the cobbled-together print has made showings of the restoration few and far between.
Naturally, the Northwest Chicago Film Society stepped in to resurrect this gem from an undervalued director at its weekly Wednesday screening. As a fan of women’s films, I have a strong affinity for Leisen, who made weepies that avoid camp through their sincerity. Some classify Swing High, Swing Low as a screwball comedy, but there are few laughs, as Leisen chooses to focus on the deep, but troubled love between his lead couple, Maggie King (Carole Lombard) and Skid Johnson (Fred MacMurray).
Patrolling the Panama Canal locks on his last day in the army, Skid spies Maggie, a shipboard beautician, looking over a railing at the massive lock machinery instead of attending to her customer (Esther Howard), who is packed with mud and wired like the bride of Frankenstein to a permanent-wave machine. Skid chats Maggie up, but she’s not buying what he’s selling. Nonetheless, Maggie’s ship sinks with the lowering water level, forcing Skid to get down on his knees to keep her in view—this brief and clever image forms a potent metaphor for their relationship as the film progresses.
Skid, disguised behind a floppy hat, manages to entice Maggie’s friend Ella (Jean Dixon) with a bargain price to act as their chauffeur around Panama City. Soon unmasked, Skid picks up his roommate Harry (Charles Butterworth), a hypochondriac pianist, to make the outing “safe” for Maggie, though he really means to foist Ella off on Harry so that he can paint the town red with Maggie. At their final stop, Skid shows off his considerable skills with a trumpet, quieting Maggie’s complaints that she hates the trumpet, but ends up in a bar fight that has the pair thrown in jail just long enough for Maggie to miss reboarding her ship. Stuck in Panama for two weeks, until the ship comes back through, she temporarily moves in with Harry and Skid. Soon she and Skid, a good-time guy and womanizer, fall deeply in love and get married.
The couple works together at Murphy’s, a nightclub run by its no-nonsense namesake (Cecil Cunningham), where they are successful enough to draw the attention of a booking agent from New York (Arthur Stewart Hull), who wants to sign Skid, but not Maggie. Their love is severely tested when Maggie pushes Skid to accept the contract, and he becomes an overnight sensation so distracted by the limelight and the maneuverings of his old girlfriend Anita (Dorothy Lamour) to rekindle their flame that he neglects to send for Maggie. She eventually pays her own way stateside, only to learn that Skid has spent the night in Anita’s room. Although he was passed out on the couch, Maggie makes no effort to get at the truth and merely files for divorce. Distraught over losing Maggie, Skid becomes a flaming alcoholic. Of course, he gets one last chance to climb out of the gutter, but it’s up to Maggie to persuade him to go on.
Yes, it’s a set-up from the word go and one that descends into predictable melodrama. But this is first-rate melodrama that is very shrewd about the character flaws and incompatibilities that were bound to cause trouble sooner or later. Maggie was sailing to California to marry a rich farmer (Harvey Stephens) she didn’t love because she failed at some unspecified career in New York. Her love for Skid is genuine, but she wants a man who is wildly successful, rather than the man she married, who was content to be a hit in a backwater. Despite knowing that Skid’s old girlfriend is singing at the New York club where he will be headlining, she is so anxious to have vicarious success through him that she ignores the risk Anita eventually proves to be.
For his part, Skid is skittish about commitment and the responsibilities of success. He jokes with Maggie about reenlisting in the army if he falls flat, but the appeal is real because there he doesn’t have to take responsibility for himself, only follow orders. He tries to back out of working at Murphy’s, and only makes a go of it because Maggie is there, chatting up customers to buy drinks and singing with him onstage. Despite premonitions of disaster, he won’t say no to Maggie’s insistence that he go to New York without her. He falls back on Anita in New York to be his Maggie/mommy substitute, gullibly believing only the surface of the intentions of those around him. He lacks an internal sense of self that becomes downright deadly for him when he is out of the relatively forgiving atmosphere of Panama.
The performances Leisen pulls out of Fred MacMurray and Carole Lombard are extraordinarily intense and nuanced. Some think Lombard’s is her best, and I’m inclined to agree. Aside from Charles Butterworth’s laconic obliviousness and a short comic turn by Franklin Pangborn as the head of the ship’s beauty salon, Leisen doesn’t make the screwball aspects of the film come to life, wasting Lombard’s considerable comedic abilities. But the glow of love on her face is more than skin deep, the defense of Skid she makes when Ella tries to put him down helplessly vigorous, and the hurt and tears that come when marriage ends before love does heart-rending. At Murphy’s and at the close of the film, Leisen brings his camera in tight on Skid as he encircles Maggie with his arms and accompanies her as she sings “I Hear a Call to Arms,” a marvelously intimate and original staging that perfectly communicates their closeness and the way Skid leans on Maggie for support.
MacMurray is a surprisingly sexy and sensitive costar. Leisen helps MacMurray build his character in interesting ways, for example, after overhearing Ella and Maggie argue about him, Skid deciding to act like the cad Ella thinks he is to test Maggie’s devotion. When he learns Maggie is to remarry, he storms into her hotel room, drunk and in a frenzy, feigning gaiety and congratulations as he blows the Wedding March on his horn. The scene is so true to his character and to life, as is the appalled pain Lombard communicates at seeing him so destroyed and out of control. The contrast between the cheeky soldier and the wasted drunk, his shakes realistic, his fear glowing in his eyes, is a shock, but we were prepared all along the way. The depiction of two such crazy-in-love people unable to connect lifts the film out of straight melodrama and into the realm of pure dramatic tragedy.
An admiring word must be said of Leisen’s mise-en-scène, particularly during the scenes in Panama. The frames are crowded with people, rickety shacks, and street life that, even in black and white, seem to throw off the heat of the tropics that makes love grow as fast and as large as the tropical plants edging the frame. I was aghast that Maggie would want to leave Panama for New York, which Leisen contrasts as a sped-up, disorienting place that is both luxurious and isolating.
The original songs include Al Siegel and Sam Coslow’s “I Hear a Call to Arms” and “Panamania,” a great nightclub number sung by Lamour, as well as Leo Robins and Ralph Rainger’s “Then It Isn’t Love,” sung by Lombard and communicating Maggie’s feelings. These songs are really quite good and are well-integrated into the story, something that can’t always be said of 1930s music films. The attention to this detail is indicative of the entire enterprise, certainly a labor of love for the relatively untested director. Add in a fun cameo by a young Anthony Quinn speaking nothing but Spanish and a chicken rescued from a cockfight, and you will find watching Swing High, Swing Low a labor of love yourself.


Dana White spoke to FOX Sports Live today on the news of UFC women’s Bantamweight Champion Ronda Rousey to take a new role in remake of the 1989 film ‘Road House” which many call a cult classic. Rousey will be playing the character called Dalton that was originally played by the late Patrick Swayze.
“Im happy for her. I’m actually a big Road House fan I love that movie, you can’t be sitting at home on television and see that movie and not watch it. It’s a classic and I’m happy for her. Dana says. She’s just learning and she’s only gonna get better.”
There has been no timeline set for the movie at the time of this post but it will likely be worked around Ronda Rousey’s fight schedule.


Non Non Biyori was a show suggested to me by various people after I praised Yuru Camp. Yuru Camp was a show about a group of friends who explore the beautiful countryside of Japan through camping. Non Non Biyori takes this a step further by focusing on the inhabitants of a much more rural countryside, and how they kill boredom day-to-day.
Here’s the summary from MAL
Asahigaoka might look like typical, boring countryside to most; however, no day in this village can ever be considered colorless thanks to five students of varying ages occupying the only class in the only school in town. The youngest student is first grader Renge Miyauchi, who brings an unadulterated wit, curiosity, and her characteristic catchphrase, “Nyanpasu!” Then there are the Koshigaya siblings consisting of the quiet ninth grader and elder brother Suguru, diminutive eighth grader Komari, and the mischievous seventh grader Natsumi. The recent arrival of Tokyo-raised fifth grader Hotaru Ichijou, who appears overdeveloped for her age and thus naturally holds an air of maturity, rounds out this lively and vibrant group of five classmates.
From the get go, Non Non Biyori is NOT an anime driven by any sort of plot. It’s about as pure a slice-of-life as you can get, and its focus is more on the gorgeous rural scenery and the characters’ personalities. It’s also a show that takes its time, in a good way. Every aspect of the show, from the comedy, the emotional moments, and even just the gorgeous background shots are all given ample time to sink in for the viewer. A lot of runtime is dedicated to almost no dialogue, and just watching scenes play out. Yes, there is still a lot of talking, but the intercut long silences is what gives this series that feeling of peace.
The show has a very playful nature, and this extends to the characters. There’s not a lot of conflict that happens in the series, most of it is character-specific situations that get resolved in the episode, but they do leave a good mark when they happen. Most of the series is comedic, but not in a laugh out loud way. It’s a more pleasant sort of comedy, the type that has you smiling throughout all of the episode due to adorableness or goofiness. Renge provides most of the dry and eccentric humor I enjoy-
The Koshigaya Siblings Komari, Natsumi and Suguru provide a lot of the more traditional slapstick and situational humor-
And Hotaru’s borderline worship of Koma-chan’s cuteness is a wonderful source of humor as well.
However, the best part about the comedy is that it all feels like natural things every character would do, not a joke that the writer shoehorned in. This makes the characters feel authentic and not just a vehicle for the writer to put in “moments.” Their actions are all organic and happen naturally.
While the character designs are clearly anime as heck, the rural province of Asagihaoka is breathtakingly realized in all of its photogenic glory.
Full Album of BG shots here for your wallpaper needs.
It truly sucks you into this beautiful mountain town, and the little touches of civilization in this lovely mountain overgrown with green makes it feel much more alive.
The overall playful nature does make the few dramatic moments punch a lot harder, because you do feel for these characters, and you do get what they’re going through.
One of my favorite episodes that encapsulates the feel of the show perfectly is the one where Renge meets another girl, Honoka, who is her age and is visiting her grandma over the summer.
Renge is at first genuinely confused seeing a child as old as she is, but visibly gets very excited getting a playmate she can relate to. We are treated to a silent montage of their time together, and it’s quite adorable as you would expect. We get a lot of great shots of their summertime fun.
You know where this is going. Summertime friends can’t last forever, as Honoka’s father gets called home early for work, and without even being able to tell Renge. So, Renge naively goes to her house and expects her to be there, only to find she’s already gone. Now, we as adults, know that people come and go. Renge,a young child, doesn’t understand that yet. We get treated to a solid minute of an uncomfortably close shot of her blank face processing the fact, before she eventually breaks down into tears, the first emotion we see out of her that wasn’t the usual blank expression. Remember when I said the show took its time? That is uncomfortably true here.
To further drive the point home, remember all those cute shots of them playing together? They show you the same scenes without them right after.
Fortunately enough, Hanako sends her a letter promising to come back next summer, with a heartwarming photo of the two of them.
That about sums up why I love the show. It’s a wonderful and soothing experience with great characters and gorgeous cinematography, wrapped up in a beautiful mountain rural town. I give Non Non Biyori a 9/10!
I really enjoyed this show after a stressful summer,and if you haven’t watched this yet, go and watch it!


You could definitely feel the love Sunday night at the Minskoff Theatre in New York City. As The Lion King celebrated 20 years on Broadway, Elton John took the stage after the musical’s curtain call Sunday for a surprise performance.
Elton, who co-wrote the music for the Disney animated film and the stage adaptation, sat at the piano and sang his song “Circle of Life.” He was accompanied by The Lion King‘s cast.
The musical production first debuted on Broadway in November 1997. The story is getting a reboot on the big screen with a live-action film directed by Jon Favreau. It was announced last week that Beyonce would be joining the cast as Nala.
Copyright © 2017, ABC Radio. All rights reserved.


Woods to Waves / London Surf Film Festival 2017 Shorties
We spent the last month shooting the various stages of our Woods to Waves wax production with the very brilliant Dave O'Carroll for the latest episode of The People We Meet. Filming with Dave has been a great experience, even if we did get skunked on our only trip West during the shoot.
The 5 minute film has been shortlisted for this years London Surf Film Festival taking place at the end of October. If you enjoyed watching it we would be forever grateful for a vote, which you can cast by clicking/tapping the like button on the LSFF Woods to Waves page.


As Riverdale approaches its seventh and final season on The CW, fans are eagerly anticipating how the beloved characters’ storylines will conclude. One character who has captured both hearts and intrigue throughout the series is Cheryl Blossom, portrayed by Madelaine Petsch.
Madelaine Petsch acknowledged that bidding farewell to Cheryl Blossom and the entire Riverdale experience has been an emotional journey. The actress expressed her gratitude to the cast and crew who dedicated their passion and love to the show.
Petsch recognizes that it was time to retire Cheryl’s iconic red lipstick, and she believes that Cheryl’s storyline has been meticulously wrapped up for the audience’s satisfaction.
Cheryl Blossom’s character has evolved significantly over the course of Riverdale’s seven seasons. Initially introduced as a complex and enigmatic figure, Cheryl has undergone a transformation, revealing her vulnerability, resilience, and inner strength. Madelaine Petsch’s portrayal of Cheryl has resonated with viewers, making her one of the show’s most iconic characters.
A significant aspect of Cheryl’s character development in Riverdale has been her romantic relationship with Toni Topaz, portrayed by Vanessa Morgan. Interestingly, Petsch and Morgan share a close friendship in real life, which adds authenticity and chemistry to their on-screen partnership.
Petsch highlighted the dedication both she and Morgan put into making their characters, affectionately known as “Choni,” feel genuine and true to life. This commitment to authenticity has been particularly evident in the final episodes of the series, where the focus has been on defining the unique dynamics of their relationship, ensuring that fans are left content with its portrayal.
Riverdale recently wrapped production on its seventh and final season, marking the end of an era for the cast and crew. Camila Mendes, who plays Veronica Lodge, took to Instagram to share a heartfelt tribute to the show and her character. She expressed the profound impact the series had on her life, both personally and professionally, and how it shaped her journey as an actor.
Madelaine Petsch also shared her sentiments on social media, posting a poignant message accompanied by a photo of herself in the iconic halls of Riverdale High. Her message reflected the emotional toll of saying goodbye to a place and character that had been such a significant part of her life.
Riverdale’s seventh season takes a bold step into uncharted territory by exploring a new era—the 1950s. The season picks up where the previous one left off, with Jughead Jones (played by Cole Sprouse) finding himself trapped in the 1950s, unable to return to the present. His friends lead seemingly authentic lives, reminiscent of their classic Archie Comics counterparts, unaware of any existence beyond the 1950s.
Showrunner Roberto Aguirre-Sacasa explained the creative decision behind this unique narrative shift. He emphasized that the 1950s have a nostalgic charm that resonates with audiences, aligning with the essence of Archie Comics. The show’s distinctive take on the era adds an intriguing layer to Riverdale’s final chapter.
As Riverdale embarks on its seventh and final season, fans can expect a heartfelt conclusion to the characters’ stories. Madelaine Petsch’s portrayal of Cheryl Blossom has been a standout element of the series, and her insights into Cheryl’s journey offer assurance that viewers will be content with the character’s resolution.
The emotional farewells from the cast and crew reflect the profound impact that Riverdale has had on their lives, making this ending a bittersweet moment for all involved. The unique narrative approach of Season 7, set in the 1950s, promises to be a fitting and captivating conclusion to the beloved show.
Riverdale has left an indelible mark on the world of television, and as fans prepare to say goodbye, they can cherish the memories and experiences shared with the characters who have become a part of their lives over the years. The legacy of Riverdale will live on, and its impact will be felt long after the final episode airs.


Samuel Dyches grew up in Jackson Heights, Queens, and is a graduate of Humboldt State University where he studied film production and dramatic writing. He has written and directed several films, most recently the offbeat comedy Hold For Release. As Editor, he’s completed several feature films, including Knockaround Kids, Street Soldiers, and Finding Forever In Love, which have collectively screened in film festivals domestically and internationally. He worked professionally in the Television industry as a cameraman and archivist in Los Angeles, New Orleans, and New York, while also freelancing as cinematographer, editor, and sound mixer on documentary and narrative films.
Samuel continues to develop and write television and film scripts with a focus on indie, character driven projects while taking advantage of the technological revolution and remarkable access to all the cinema tools a filmmaker needs to tell stories in pictures.
Still from Beautifulese


Clients Keith Burke & Cameo Sherrell: Renew into Season 8 of The Haves and Have Nots!
Congratulations to our clients, Cameo Sherrell (Laura) and Keith Burke (Derrick) who will be reprising their roles on the hit OWN Series, The Haves and The Have Nots by Tyler Perry. Both are slated to return for Season 8 of the long-running series. Keith originally entered the series in Season 5, while Cameo is set to enter the show in Season 7 in late 2019.
Cameo and Keith are both represented by Chris Giovanni at CGEM Talent. Keith is also represented by Nick Roses at Pantheon Talent.


Singapore International Film Festival (SGIFF) will host its fourth edition of Moonlight Cinema in partnership with Gardens by the Bay, over two days in August, where audiences can enjoy free film screenings that spotlight the whimsical and magical side of Singapore.
Running on 20th and 22nd August 2021, this will be the first-ever edition of Moonlight Cinema organised outside of the Festival period. The programme celebrates storytelling through film, and is part of SGIFF’s efforts to foster deeper film appreciation in Singapore. The initiative is a platform to encourage local audiences to expand their horizon to different types of cinema and illustrates SGIFF’s commitment to produce inclusive programmes to connect communities and audiences of all ages through the magic of cinema.
The Moonlight Cinema series this year includes a slate of notable Singapore films by directors Royston Tan, Tan Pin Pin and Ng Xi Jie. Film-lovers can look forward to musical drama 3688 by acclaimed director Royston Tan which centres on a parking attendant named Fei Fei who dreams of a musical career, Singapore GaGa by award-winning filmmaker Tan Pin Pin that features vignettes of Singapore life as well as its everyday sounds and sights, and Singapore Minstrel by Ng Xi Jie, that takes viewers into the mind of Singapore’s wildest busker, Roy Payamal.
Join SGIFF for a night out with these stories that uncover the creative side of Singapore, in anticipation of the 32nd SGIFF at the end of November. Screenings will be held at 7.30pm on 20th August 2021, 5pm and 7.30pm on 22nd August 2021 at the Flower Field Hall, Gardens by the Bay. All films are rated PG. Admission is free, by registration.
Moonlight Cinema runs on 20th and 22nd August 2021 at Gardens by the Bay. More information available here
SGIFF 2021 is slated to run from 25th November to 5th December 2021. For more information about the SGIFF, visit their website here


|Full Name||Valentina Novakovic|
|Date of Birth||1990/10/22|
|Father Name||Radvan Novakovic|
|Mother Name||Biljana Novakovic|
Actress Valentina Novakovic was born on October 22, 1990, in Sydney, Australia. She is well-known in her native country.
Actress Valentina Novakovic gained notoriety for portraying Natasha Williams in Soap Opera Neighbours, a bold and colorful character. In addition to this, the actress has had prominent cameos in films like Tell Me I Love You and Insomniac.
Novakovic was reared in Australia along with her sister Bojana Novakovic after being born on November 17, 1991, to Serbian parents of Russian descent. She has always been passionate in acting and holds a bachelor’s degree in dramatic arts. She stands tall at 5 feet, 1 inch, or 156 cm, and has the astrological sign of Cancer.
Bojana Novakovic, the sister
Like her sister, Bojana is an actor. In the 2007–2009 television series Satisfaction, she played the role of Tippi. She won the Best Actress in a Leading Role in a Television Drama or Comedy category of the Australian Film Award for 2004.
When she first moved to Australia at the age of seven, she initially considered becoming a social worker or a doctor. Novakovic, however, changed her mind and chose to become an actress.
The Instinct actress attended The McDonald College in Sydney and earned a Bachelor’s degree in theatrical arts from the National Institute of Dramatic Art. She learned more thanks to all of this education, which also improved her acting abilities.
In terms of acting credits, Novakovic has 46 listed on her IMDb page. She has acted in a number of films and television shows, including Kerion, Love me, Instinct, Malicious, etc.
Jake Kilmister, a location assistant for British movies, and Valentina Novakovic have been dating for a while. Couples, like the majority of famous people, are open about their personal relationships and do not hesitate to appear as a couple.
On February 4, 2018, the couple announced their relationship on Instagram by posting black and white photos of them together. The couple has since shared their adorable moments on each of their individual social media platforms.
Novakovic has not yet advanced their relationship,
When picking a spouse and making decisions for her life, Novakovic exercises extreme caution. Although they began dating and have been living together since October 6, 2018, they have not made the decision to further their relationship.
They are not hurrying to be married and are instead enjoying their relationship. However, after a while, folks might hear from them with positive news.
About Jake Kilmister
Jake, Novakovic’s boyfriend, is a location manager for British motion pictures. In addition to being a member of a dodgeball team in college, he graduated from a university in 2016.
Kilmister enjoys turmoil, having a good time, and being with his loved ones. He supports UTC and enjoys sports as well. His Instagram post showing him cheering on UTC in the stadium demonstrates this.
Jake similarly wants to go to new places rather than just sit around. Knowing the culture and various locales is also essential for him as a member of the site management team.
Additionally, he spends time with Valentina, his romantic interest.
Bojana Discusses Her Opinions on Acting in Soap Operas
The Tell Me I Love You actor, Novakovic, has announced that she will no longer be acting in soap operas. She stated in an interview with Stellar Magazine that viewers would not see her in TV series that portrayed the daily lives of the same set of individuals.
She continues by stating that all NIDA-trained actresses, including herself, are celebrities despite her early career in theater.
To help Fletcher raise money for charity,
In order to generate money for the Whitelion charity, actor Alan Fetcher, who has been in theater productions of Peter Pan and Call Girl Musical, once had to lodge in an Old Melbourne Gaol.
Stefan Dennis, Jordy Lucas, and Valentina Novakovic all needed to raise $1,000 to help Fletcher leave Neighbours.
became viral after displaying her body
When a friend of Novakovic published a photo of an actress posing in a one-piece and showing off her body in 2015, the image quickly gained popularity.
The actress was spotted flaunting her long, slim legs while maintaining the hanging in her hair and exposing just a little bit of her cleavage.
Acting Debut for Valentina
Valentina received her first part in the soap opera Neighbours after receiving her Fine Arts degree. She portrayed Natasha Williams, a character who is well-liked by the show’s viewers, in that role.
Novakovic moved to Melbourne from Sydney to become a member of the neighbor’s family. On May 5, 2010, she made her first appearance on film. Her persona was similarly established as a schoolgirl with a spirit of rebellion and a desire to run the school.
Valentina made the decision to quit the program, though, in order to explore other acting opportunities in the US. She stated in an interview that she wants to learn and grow. There are less options in Los Angeles than there are in Australia for The Neighbour actress to participate in an Australian show.
After leaving Neighbours, Novakovic appeared in a number of films. She has shown her artwork to the crowd, and it has been well appreciated. The actress from Insomniac will become a well-known actor in the years to come even though she hasn’t yet established herself in the performing profession like her sister has.
She has nine acting credits to her name, including Tell me I Love You, Insomniac, Unwanted Guest, and Neighbours.
Like her boyfriend, Novakovic has gotten into site management for the movie. In Peter Rabbit 2: The Runaway and Bridgerton, she worked as the location assistant. She also worked as a location coordinator for The Old Guard and a production assistant for Last Christmas’ locations.
You may also like to know about: Donald Sutherland
Gross Value & Source of Income
According to estimates, Valentina Novakovic has a net worth of $1.5 million. She has been involved in the entertainment industry for a while and now makes a respectable $50,000 from her work as an actress, location manager, and TV personality.
Valentina earned a sizable sum of money from her roles as Charlotte in Tell me I love You and Natasha in Neighbours, among other successful productions. She is enjoying a pleasant and comfortable life thanks to her great money.
Valentina regularly uses Instagram, where she has more than 35k followers under the account @valnovak. She has published more than a thousand posts to date, both on her personal and professional experiences. She has however kept her Instagram account secret.
Other than this, it doesn’t appear that the Neighbour actress has her account active on any other social network.
Also Read: Thomas Müller


Introducing the Brooks Brothers collection for Baz Luhrmann’s film adaptation of the Great Gatsby.F. Scott Fitzgerald’s famous 1925 American novel, set in the sizzling, sexy bacchanal of Jazz Age New York, is now in the cinematic realm of Australian auteur Baz Luhrmann.
From the designs of double Academy Award winning designer, Catherine Martin, Brooks Brothers produced all the men’s costumes in Baz Luhrmann’s film adaptation of the Great Gatsby. There are the costumes for Carey Mulligan from Prada and Miu Miu and the Art Deco jewels especially created by Tiffany & Co. There is the Fitzgerald Suit at The Plaza hotel in New York decorated in Art Deco style byThe Great Gatsby‘s designer Catherine Martin with Restoration Hardware furnishing and copies of F. Scott Fitzgerald book. There are also Leonardo DiCaprio’s clothes as Jay Gatsby created by Brooks Brothers. F. Scott Fitzgerald was a life-long Brooks Brothers customer, making America’s oldest clothier a perfect partner for the filmmakers. “It was this most basic and fundamental connection that has made our collaboration so authentic”, said Martin. “Brooks Brothers is mentioned several times in Fitzgerald’s writings as a representation of the ultimate gentleman’s purveyor of fine clothing to the American man of distinction”.
A majority of the 500 men’s costumes featured in the film were inspired by images and products from the company’s archives. The resulting costumes added a period-specific authenticity to the film and helped bring F. Scott Fitzgerald’s masterpiece to life in 3D. Brooks Brothers has adapted the costumes to create a special collection which is now available in stores and online.
Now, the collection’s white linen suits and boater hats are appealing to the sartorial style of a younger generation, whose introduction to “The Great Gatsby” might have been in high school English class. “We’ve gotten a great response for the collection,” Rita Cooper, assistant manager at Brooks Brothers in Greenwich, said. “Lots of young guys have been coming in just to take a peek. The movie is definitely helping with the buzz.”
Remember: In the movie version that starred Robert Redford and Mia Farrow, Redford’s clothes were made by Ralph Lauren including that pink suit which has become a lasting sartorial image, a look that continues to be referenced by designers including Lauren himself. In the Luhrmann film, DiCaprio also dons a pink suit and that pink suit has made its way into Brooks Brothers’ Gatsby collection, a special line inspired by the movie’s costumes.


More than 10 years after their last performances at Argyle’s Buchanan Theatre, local actors Sam Fraser and Garth Phillips are taking to the stage again in a new production showcasing the diversity and community of theatre.
The joy of theatre
Two local actors are hitting the stage this month in a new production called Sigma Acapella. They are part of a thriving local theatre scene that spans from Deep Cove to Hendry Hall to Granville Island and beyond.
“If you want to participate in local theatre there is a place for you,” said Phillips. “If you go to Hendry Hall or to Deep Cove and talk with the productions going on there they will be thrilled to have you. You can volunteer your time, and use the opportunity to connect with other theatre people.”
Fraser agrees that local theatre is typically an open and welcoming environment.
“I am someone who doesn’t get out much. I am on the autism spectrum and there is something so wonderfully freeing about going to a theatre environment where there is no judgment. Bias falls away and I can use the written script to express something, be different or try something new.”
Both actors use the word collaborative when describing the productions they are typically a part of.
“I am a bit of a storyteller,” said Fraser, who has also published a number of written works. “Theatre is wonderfully collaborative – I love working with people to create a sort of escape for others.”
Phillips views it as an essential part of community.
“Theatre is bringing pieces of life together and putting them together in a new and interesting pattern, bringing them together with other people. Theatre by definition is a community thing: a community makes it, a community comes and watches it and it’s those stories from the community. I think community is the heart of theatre.”
Both Fraser and Phillips are only part-time actors, having recently completed graduate studies and pursuing training and education in animation/gaming, respectively. Like most of their theatre colleagues, they are fitting in this production amongst life’s busyness – continuing a passion that started at Argyle.
“Garth and I actually met at Argyle. We would be in the same productions,” said Fraser. “I had to dip in and out of theatre while I was off getting various degrees but I would do it when I could.”
The current Rushed Production musical was a reminder for Phillips too that theatre is a passion he wants to prioritize.
“I hadn’t done a production in the longest time and going forward, I know I want to do more,” he said. “I love this. I love that as we are making this, the cast is also making each other laugh. I love the process.”
Typically Phillips would have been behind the scenes and Fraser on stage but for Sigma Acapella they are both taking on stage roles.
A musical with heart
The two local actors will take to the stage on March 18 for the original musical Sigma Acapella by Annahis Basmadjian.
“Basically, there is a frat house on the edge of a university campus that is on the verge of being torn down to make way for some very fancy, expensive student housing. The unofficial leader learns of a loophole in the university bylaws that says any society of the arts or humanities is going to be saved, so they have to convince the administration that instead of a rundown frat house, they are a musical theatre group. They team up with an on-the-edge-of-university fringe musical theatre group – the Nobodies,” said Fraser.
The Nobodies are marginalized people for various reasons: disability, gender, sexuality, mental illness, he said. The two groups decide to stage their own musical.
“Think of any 90’s movie where they are trying to save the rec centre from being torn down by the evil mayor – this is a version of that,” all wrapped up in a warm, witty musical, said Fraser.
“It’s heartfelt and silly,” said Phillips. “I think it will particularly resonate with anyone who feels they are outside of regular society. There are a lot of themes people can relate to.”
It’s the script that spoke to Fraser and his lived experience of having autism.
“I think folks who have felt at casting calls – or elsewhere in life – who feel overlooked because of societal barriers will connect with this production.”
The 20-person cast has been working for over two and half months to get to the stage. It’s been a tight timeline.
“It’s frantic at this stage but it’s all coming together and we are surprised by what we are accomplishing each rehearsal,” said Phillips. “It all falls into place, everyone is putting their all in.”
Sigma Acapella is written and produced by Annahis Basmadjian and composed by Sebastian Ochoa Mendoza. Fraser says Badmadijan has a way of capturing and voicing marginalized characters with empathy and authenticity.
“She is always very conscious of those differences and she is trying to push forward marginalized groups. She is honest and respectful,” said Fraser.
The cast and crew are excited about the performances.
“This has been a lovely time,” said Phillips. “It’s a great group of people coming together.”
Sigma Acapella can be seen at the Jack and Darlene Poole Theatre, Arts Umbrella, (1400 Johnston Street, Granville Island) | Opening: March 18, 2024, with dates March 18-March 29, 2024 | March 18-20 @ 7:00 PM, March 22-24 @ 7:00 PM, March 26-March 29 @7:00PM, doors opening at 6:30 pm. Tickets are available now for $30.


SennaPosted: August 28, 2011
Saw “Senna” tonight with Dad, Ted, Peter, and Smades. Probably one of the best movies I’ve seen in a long, long while.
It was really a wonderful movie about the life, the success, the struggles, the passion, the determination, the focus of a man dedicated to a single objective: to win.
It’s in limited release, and if you can, you must watch this.


ALLEN HOOPER was born in L.A. (Lower Alabama), but soon moved (with his parents and brother) to Atlanta. While still in elementary school, he had his first acting job with a commercial for the soon to be World Champion Atlanta Braves. In high school, Allen moved to radio with a job as a disk jockey for WKRP, AM-1500 in Dallas, Georgia. (The call letters were later sold to a station in Cincinnati.) He continued working in radio through college, eventually holding the titles of Music, Promotions, and News Director all at the same time for WCHK radio in Atlanta.
Upon graduation from the Georgia Institute of Technology, Allen entered the actual work force as a computer programmer. While holding a day job, he proceeded to build an impressive theatre resume, appearing as lead roles in Samuel's Beckett's WAITING FOR GODOT, Eric Bogasian's TALK RADIO, and Larry Shue's THE FOREIGNER; while also appearing in numerous productions with the world famous Atlanta Shakespeare Company. Like everyone else in Atlanta, Allen worked on the television series SAVANNAH and IN THE HEAT OF THE NIGHT. He also starred in independent films, most notably HOW THE DAY BEGINS and NO PILLS IN HAPPYLAND, both for director Aditya Chandora.
Wanting to merge his day job with his passion for the entertainment industry, Allen moved to Los Angeles with hopes of being a working actor. To further that goal, he interned at Ulrich/Dawson/Kritzer, helping on TV series which included C.S.I., DARK ANGEL and FELICITY. That lead to Allen becoming a casting assistant on UPN's ABBY and FOX's A MINUTE WITH STAN HOOPER. He also worked as a casting associate for Jason Kennedy on PRETTY DEAD GIRL (2004 Sundance official selection) and EATING (2005 Sundance official selection).
Allen switched to the role of associate producer for the short film POOP before taking the reins for himself as producer of GOTTA MAKE THEM ANGELS. He was also co-writer of the script with Gregory Cover. Their first feature collaboration, VEINS, had a respectable showing with Project Greenlight and will hopefully begin production before the end of time.
Most know Allen for his work on ABC's MODERN FAMILY. From the pilot to the finale, he was the casting associate for all eleven seasons. Plus, he had a cameo appearance onscreen in the final season's Halloween episode. Casting director credits include the indie film SOUNDWAVE and SCI-FEST: The Los Angeles Science Fiction One-Act Play Festival which he cast for all three seasons. Allen is the recipient of four Artios Nominations and in 2015, he received the Casting Society of America's Associate Spotlight Award Los Angeles.


The point of dramatic theatre is to represent ‘real life’ so putting technology in ways that don’t reflect real life is weird.
Some of the questions and possibilities being raised by this ARTLAB are:
- Isn't this project just like trying to put puppets in a play like Ghosts?
- How do we not make it jarring to an audience?
- How can we use this media without taking away from what dramatic theatre is doing?
- How can the media support the drama – maybe it is about smaller and simpler?
Would this be a mixture of media actors or puppets?
- All characters could be ‘half’ human, half technology.
- We need to always maintain an element of human.
- Each scene in the play could be composed of different types of Media Actors.
- Should it be set in period or not?
In 2012 we will just play with each technology, purely to understand its capacity as a media actor, and how it can draw empathy and contribute to dramatic theatre's mission. Each use of technology should be like small magical moments that heighten the play, but the play has to be doing what it needs to first and foremost. These ideas are more about the cross over between real and non real/human and non human. The main reason to juxtapose human and non human is to emphasise the humanity and in this play what are the human dimensions that should be emphasised? Perhaps the the technology should do that?
When realising that altering the sequence of events fundamentally shifts one of the crucial elements of dramatic theatre, we investigated the fundamentals of dramatic theatre and what dramatic theatre contains, coming up with the following list:
- A contained world that has its own rules.
- A live audience with real-time artistic output of live performers in the audience’s space.
- Optimistic complicity of audience.
- Actors playing characters.
- Characters working to get what they want, presented with challenges.
- Audience empathise (emotionally bond) with characters and the world.
- Characters interact within real-time of the world of the play.
- Dynamic characters draw in an audience because they promise to take an audience on a journey to experience a story’s fulfillment.


The character of Mr. Peavey was created by writers John Whedon and Sam Moore in August, 1942. Richard LeGrand was hired to play the character for a single show, but the character soon became a regular, and one of the most popular characters on the show. A magazine of the time refers to the character as “Peavey of the dry wit, gentle and wise, whose tag line, ‘Well,now, I wouldn’t say that,’ has become a national laughline.”
Mr. Peavey’s mild manner and fussy conservatism made him an excellent contrast to the the bombastic and vain Gildersleeve, and his frequent, loving references to the never seen Mrs. Peavey balanced Gildersleeve’s bachelor ways. The drugstore is a central meeting point in Summerfield– a place for Gildersleeve to buy cigars and sometimes Christmas presents, and for Leroy to indulge in sodas.
Richard LeGrand was a veteran character actor who had been in show business since 1901 and radio since 1928.


director, producer, screenwriter. Born January 5, 1931,
in San Diego, California. A highly acclaimed character actor,
Duvall first studied acting at Principia College in Illinois.
After his graduation in 1955, he served a two-year tour
of duty in the Korean War before moving to New York City,
where he honed his formidable acting ability at the Neighborhood
Playhouse. Sharing an apartment with fellow aspiring actor
Dustin Hoffman, the pair developed their famed versatility
under the tutelage of method acting guru Sanford Meisner.
Performing often on the stage during this period, Duvalls
first commended performance was that of a longshoreman on
Broadway in Arthur Miller's A View From the Bridge in 1957.
first big film break came when he was cast to play Arthur
Boo Radley in the Academy Award-winning 1963
film, To Kill a Mockingbird. Although, he had no lines,
and only a few seconds of film-time, the story line revolved
around his character and his brief performance left a lasting
impression. In 1969, after appearing in several roles in
film and television, he won his first starring movie role
in True Grit as outlaw Ned Pepper, the antagonist to John
Waynes Reuben "Rooster" Cogburn. In 1970,
he appeared in Robert Altmans M*A*S*H, a satire about
the war he actually participated in, and in 1972, delivered
an acclaimed performance in Francis Ford Coppolas
The Godfather. For his portrayal of Tom Hagen, the adopted
son of the Corleone family, he was honored with his first
Academy Award nomination, for Best Supporting Actor. In
1974, he revisited the role in The Godfather: Part II, and
in 1979, teamed up Coppola again for Apocalypse Now, for
which he was awarded another Best Supporting Actor nomination
for his forceful rendering of Colonel Kilgour, one of his
most famous roles.


|Santa Monica beach, a few blocks from SM High School|
It turns out that dt speechwriter Stephen Miller graduated in the same class with one of my daughters and her friends at Santa Monica High School.
Here's the Huffington Post report on him written by Natalie Flores, who also was in that class of 2003:
A friend told me this week that her daughter was concerned about Miller's racism while they were still in high school.
Her daughter even made a mini-documentary about him in her Audio Visual class--"but it was not shown in a student film festival because his mother, a lawyer, refused permission given that it would affect her son negatively."
I'm sure the film would have been bad for his reputation--and still would affect him negatively if released now.
In the film my daughter speaks for a moment or two "in defense of the janitors and in defense of human decency."
I'd heard about Miller this week and his having attended Santa Monica High School, but it never occurred to me that he might have been in the same class with one of my kids and that they might have known him.
Thank you to Natalie Flores for researching part of his story and trying to understand how Miller became such a right-wing person.
See also the LA Times article by Lisa Mascaro:


In Anna Karenina, Tolstoy takes the reader on an emotional journey interspersed with painfully long descriptions of scenery. The book seems to center around Anna Karenina (the title would certainly lead a reader to believe that) but in the end, her death is merely shrugged off, and the story continues.
Anna is a character driven by love and only love. There seems to be no rationale to any of her actions beyond her search for love. This is most obviously shown by her leaving her husband for a lover, but also by her treatment of her son and the way she teaches an English girl because that is the girl she loves. This abandonment of logic over passion certainly lends her towards irrational actions based on feeling, but her needless suicide is still shocking. She certainly has reason to be sad- she has lost her husband, her son and the love of her society. But the reason she dies seems to be for Vronsky. She fears his love for her is waning, and that he remains with her out of duty only.
Many identify Anna as a feminist character, and applaud Tolstoy for placing such a character into Russian society at that time. Anna does insist on living life on her own terms, and insists on attending the opera even though she knows there is nothing but scorn for her there. Anna herself is less of a feminist than a women who throws everything her society cherishes away for the idea of love. The sharp contrasts between Anna, who faces exile, public humiliation and eventually suicide for her affair, and her brother Stiva, who faces no punishment at all for his promiscuity, highlights the double standard of the Russian aristocracy.
Although he loses out on the namesake, Konstantin Levin is just as central of a character as Anna herself. An awkward aristocrat who never quite fits in and has more than a little trouble with the ladies, Levin’s character has been said to be based off Tolstoy himself. Of course this is second-hand information, as I never met Tolstoy personally. Levin loves a girl named Kitty, but is turned down because Vronsky is expected to propose to her. Vronsky ends up falling in love with Anna, who is already married, and it all gets very complicated and altogether Russian. In the end, Kitty and Levin end up married in the country. Vronsky doesn’t believe in ending his stories like Disney though. No “Anna died, Levin and Kitty are married, happily-ever-after” type endings. Instead, the book drags on about Kitty cleaning the house and the picnics they take. A tree falls and almost crushes Kitty and her son, and Levin saves them and discovers he does believe in faith. And that is where Vronsky decides to end his 900 page novel.


Leather Tuscadero Turns 61
Remember recording artist Suzi Quatro? Most of us remember her from one of the greatest shows ever!
Suzi Quatro wasn’t looking to be a TV star. She just wanted to play, sing and be a rock star. Garry Marshall the brain behind Happy Days got her the quick start. Suzi went on to have quite a career in TV and film. Here is an exerpt from Wikipedia about what she has been doing.
“She is known in the United States for her role as Leather Tuscadero on the TV show Happy Days. Show producer Garry Marshall offered the role without an audition after seeing her on his daughter’s bedroom wall. Leather was the younger sister of Fonzie’s girlfriend, hot-rod driver Pinky Tuscadero. Leather fronted an all-girl rock band joined by principal character Joanie Cunningham. The character returned in other cameo roles, including once for a date to a fraternity formal with Ralph Malph. Marshall offered Quatro a Leather Tuscadero spin-off, but she refused, saying she did not want to be typecast. The indie rock band, Tuscadero, was named after her character.
Other acting roles include a 1982 episode of British comedy-drama series Minder called “Dead Men Do Tell Tales”, as the singer girlfriend of Terry’s (Dennis Waterman). In 1985, she starred as a mentally disturbed ex-MI5 operative in Dempsey and Makepeace – “Love you to Death”. In 1986, Quatro appeared as Annie Oakley in a London production of Annie Get Your Gun.
In 1991, Quatro wrote and performed in a musical about the life of actress Tallulah Bankhead. Entitled “Tallulah who?” it was adapted from a book by Willie Rushton and ran from 15 February – 19 March at the Queen’s Theatre, Hornchurch (Greater London – Essex). Suzi co-wrote the music and adapted the book with Shirlie Roden.
In 2006, Quatro performed the voice of Rio in the Bob the Builder film Built To Be Wild, and appeared in an episode of the second season of Rock School, in Lowestoft. She also appeared in the episode “The Axeman Cometh” of Midsomer Murders alongside Phil Grainger in the role of Mimi Clifton.
In addition to touring, Quatro has hosted weekly rock and roll programmes on BBC Radio 2. The first one was Rockin’ with Suzi Q. Her second programme called “Wake Up Little Suzi”. It aired on Thursdays.
She will always have a fond place in my heart as Leather. I really like her music too. “Stumblin’ In” is a great song. The duet with Chris Norman reached number 4 on the charts and is still played on many radio station to this day. Happy Birthday Suzi, and many more!


Katy Perry has released the full music video for Unconditionally, a montage of fashion, glamour and visual effects. Dressed in Chanel, Dolce & Gabbana and Wes Gordon, Perry appears in a range of scenes featuring 19th century Russian court scenes, flaming bed, a hunting owl, cascading flowers and a fantastical collision with a vintage car.
The 29-year-old star – who is currently in a relationship with guitarist John Mayer – released the clip for the second single from her third studio album Prism on Wednesday.
The brunette beauty worked with Brent Bonacorso on the video, which includes scenes showing her crouching in the snow, standing alone in the centre of a room full of people, wearing period drama-style clothing and even a scene where she holds a brown owl.
Katy is also hit by a car in a dramatic scene, which is meant to show her enduring physical pain as a metaphor for unconditional love.
Prior to the release of the clip, Katy was hoping to get her fans thinking about their feelings, tweeting: “Yes, unconditional love sometimes feels like being hit by a car… Or being on fire… How does it feel to you?”
Katy’s new material deals with her emotional state after her split from ex-husband Russell Brand in 2012. However, the star insists she tries not to make her former flame look like the bad guy in her music.
She said: “I think on this record, the whole Prism record, it’s very self-reflective and you hear that I’ve kind of gone inside more and looked at where I can make myself better, did a patchwork thing, rather than like ‘Screw you. You’re crazy. Fuck you.’ “
Filming was shot by director Brent Bonacorso via Collaboration Factory with director of photography Magdalena Gorka, editor Jack Pyland, executive producer Thom Fennessey, commissioner Danny Lockwood and producer Jess Bell, art director Sam Tidman, stylist Johnny Wujek, colourist Charlie Tucker at Department of Color.
The Official lyrics video was directed and produced by Aya Tanimura.
For more information see:


Director Of Photography John Daly BSC
Wins 8th Knights Of Illumination Best Lighting Television Drama Award for "Up The Women"
"Rob is a highly talented console op who really understands and appreciates lighting and its control. My aim on "Up The Women" was to light the set in a natural and source driven way, within the constraints of multi-camera sitcom.
Rob was completely in tune with what I had in mind and his skill contibuted greatly towards the look of the show. He is a true collaborator and I was very fortunate to have him by my side. We have worked together now on all my studio shows and it's always a pleasure." - John Daly
Please click here to view John Daly's website. Thank you!