„Hobitul” va fi lansat în decembrie 2012
New Line Cinema, Warner Bros. Pictures and MGM have announced the titles and release dates for filmmaker Peter Jackson‘s two-film adaptation of J.R.R. Tolkien’s enduringly popular masterpiece The Hobbit. The first film, titled “The Hobbit: An Unexpected Journey,” will be released on December 14, 2012. The second film, titled “The Hobbit: There and Back Again,” is slated for release the following year, on December 13, 2013.
Both films are set in Middle-earth 60 years before Tolkien’s “The Lord of The Rings,” which Jackson and his filmmaking team brought to the big screen in the blockbuster trilogy that culminated with the Oscar®-winning The Lord of The Rings: The Return of The King.” The adventure of “The Hobbit” follows the journey of title character Bilbo Baggins, who is swept into an epic quest to reclaim the lost Dwarf Kingdom of Erebor from the fearsome dragon Smaug.
Under Peter Jackson‘s direction, both movies are being shot consecutively in digital 3D using the latest camera and stereo technology. Filming is taking place at Stone Street Studios, Wellington, and on location around New Zealand.
Ian McKellen returns as Gandalf the Grey, the character he played in “The Lord of The Rings” trilogy, and Martin Freeman, who just won a BAFTA TV Award for Best Supporting Actor for his role in the BBC series “Sherlock,” takes on the central role of Bilbo Baggins.
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Spent a week working on shooting three videos with several Limerick bands.
The first shoot was with Hermitage Green in the lobby of the new Irish Music Dance building in the University of Limerick. It was great to get all the guys I worked with in the Gibson Friary session together again. Everybody knew instinctively what to do and the whole thing went off with ease.
The second shoot was with Fox Jaw Bounty Hunters. We got the audience to shoot the band when they performed their track ‘Fight The Grey’ at their gig upstairs in Dolans. I was quite surprised at the amount of people who filmed. It was great working with the Fox Jaw lads as they are very creative people. During the song they took it upon themselves to film the audience which I thought was a touch of brilliance.
The third shoot was with The Hip-Neck Blues Collective in Dolans Warehouse. Like with Hermitage Green it was very easy working with the band as they were used our workflow. All the band have a real good fun energy and are great to be around. When we were not laughing we got the job done. Dolans was a perfect location and I would certainly like to do something there again.
All in all it was a great week working with some talent people. I look forward to working with them again. Now to lock myself off from the world to start the long editing process.


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The Weavers, by Gerhart Hauptman, is a play about the suppressed weavers of Peterswaldu, Langenbielau, and Kaschbach, Germany. This story tells about their efforts to liberalize themselves from the trappings of poverty and the social structure which keeps them there. This struggle leads into a violent revolt which ends with innocent death. Before the events of the play can be outlined in any detail, I will introduce a few of the main characters.
Dreissiger is a local merchant and owner of a textile production company. The weavers come to him once a week to sell him the cloth that they have made and to obtain new yarn in which to make more for the next month. Dreissiger pays the weavers too little because he says that the cloth is not in high demand on the market. Yet at the same time he is able to employ 200 additional weavers. He uses the excuse that he is just trying to help, but in reality he is exploiting the workers.
Pfeifer is the cashier for Dreissiger. He is abusive of his power to pay the weavers as little as he wants and constantly bullies on them for not producing high-quality enough fabrics. When the revolt begins, the weavers blame him for many of their problems because he has been so abusive towards them, and he represents the face of this abuse.
Baecker is a weaver who publicly complains about the abuse and insufficient prices of the cloths from Pfeifer. He is the first to stand up in objection to the unfairness of the weaver’s situations and is the reason why the weavers eventually rise up against Dreissiger.
Jaeger is a German soldier and nephew of the weaver Baumert. He sings a song to his uncle which encourages him to unite the weavers, and because of his military experience he is able to assist in the structure of the weaver’s organization and how they should plan to fight.
Old Hilse is a weaver who remains neutral during the revolution. He becomes an innocent victim of the revolt when he is killed by a stray bullet while he is weaving. Old Hilse is the character which delivers the most of Hauptman’s message to the audience.
The Weavers is a five act play. The first act opens in Dreissiger’s house where weavers are lined up to sell their ‘webs’, or cloth. They are receiving their payments from Pfeifer, which are extremely low, and Pfeifer is verbally abusing them and the quality of their work. Weaver Baeker stands up against this treatment, especially about the excessively low prices and causes a huge scene. The weavers start to align behind him in agreement, but Dreissiger enters and puts an end to the commotion and convinces Baecker to leave. Just as Baecker is about to leave, a boy enters the scene and passes out on the floor. This causes lots of panic and confusion amongst everyone in the room. Dreissiger takes the boy into his office and puts him on the couch, giving him water to help him regain his strength. Although Baeker has left, the point he made still lingers in the thoughts of those who remained. The other weavers start to talk about it amongst themselves but Dreissiger interjects and explains to them that he is doing the best he can, that really cares about him, and that it is the market, not him, which is making the prices of the webs so low.
In the second act we are introduced to the Baumert household where a few weavers are discussing their poor and tragic situation. There are mixed beliefs about what the cause of their misfortune is, but they all agree that something needs to get done about it. Jaeger, the nephew of the Baumerts enters. He is in the German military and is well fed and has been able to escape the poverty of his family. He tells of his new life and recites a song to the house which energized Old Baumert to organize the weavers against Dreissiger and those involved in the textile industry about them. This song would be known as, “The Dreissiger Song.”
Act three takes place in a tavern called the Tap Room. The weavers have congregated here to discuss their situation amongst each other and what they should do about it. The climax of the scene is when Police Officer Kutsche enters the tavern. The weavers take out a lot of their anger on him and Kutsche quickly realizes that this mob out numbers him and so he leaves. Before leaving, he tells the weavers that they can no longer sing The Dreissiger Song, under penalty of the law. In defiance, the weavers start singing the song as soon and Officer Kutsche leaves.
The fourth act of the play takes place in Dreissiger’s house and starts off with a conversation between Pastor Kittelhause’s, his wife, a young man named Weinhold, and the Dreissigers. Dreissiger is complaining about the song that the weavers are singing. Weinhold is asked to leave the room when he tells Dreissiger that he thinks it is ok for the weavers to sing their song. All the while, the weavers are gathering outside of Dreissiger’s house, singing the song and forming a protest against the way Dreissiger has been treating them. Officer Kutsche and the chief of police enter with Jaeger as a prisoner, and try to coerce him into calming the growing mob. Jaeger refuses to cooperate and is led into the street into the gathering. Pastor Kittelhause goes to talk to the crowd and never returns. The mob overruns the house, but not before Mrs. Kittelhause, the Dreissigers, and Pfeifer are able to escape.
The fifth and final act starts off with Old Weaver Hilse praying quietly in his home. He has not participated in the rioting and refuses to add to the trouble. He stays at home instead and weaves. The mob approaches his house. It is being led by Jaeger, Baumert, and Baeker, and they try to get Hilse to join them, but he will have no part in this procession. He tells them that what they are doing is wrong and that they should keep to their own way and weave, not rebel. So without Hilse, the mob goes on to meet the German soldiers which have come to put them down and fighting ensues. There are gun shots, and one of the bullets goes astray and tragically kills Old Weaver Hilse as he sits at his loom weaving.
This play was pretty well written and I think adequately depicted some of the realities and struggles of the poor. There was a real ‘damned if you do, damned if you don’t’ type message being presented here. These poverty-stricken people really have hit bottom and have no lives worth living. They have no social means on which to improve their situations, or any way to advance economically. Their only options are to die helplessly or to rebel against the social and economic institutions which suppress them. Unfortunately, what happened in this play was that the rebellious were shot down, and the one that was complacent was made an innocent causality.
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FIREFLYFILMWORKS | Darcy Dennett
Founded by Darcy Dennett, the award-winning Director and Producer of the documentary The Champions, about the pit-bulls rescued from Michael Vick – the New York City based production company FIREFLYFILMWORKS produces documentary, film, reality television, advertising, commercial, and corporate work — bringing a unique perspective to a myriad of subjects. FIREFLYFILMWORKS aim is to work on projects that will help to make the world a better place.
Founder of FIREFLYFILMWORKS, Director/Producer Darcy Dennett majored in film and studied photography at Wesleyan University, has lived and worked in New York City since 1992, and has traveled to over 50 countries.
Her first award-winning documentary feature, The Champions is about the pit-bulls rescued from the notorious dog-fighting ring of NFL’s Michael Vick, the Atlanta Falcon’s star quarterback—an unexpected and inspirational story of resilience and the significance of the relationship we as humans have with animals.
In 2013 Dennett produced a high-profile segment in Nigeria, one of the most dangerous countries in the world, for Oprah Winfrey’s landmark international series Belief about belief and religion around the world, which aired in 2015.
Darcy has worked in photography, film, and television for nearly twenty years on a wide variety of projects, from commercial and corporate work to documentary and television, for networks including HBO, National Geographic, Discovery, A&E, The Food Network, OWN, and has won numerous awards. She directed, produced and wrote five episodes of the OWN series Our America with Lisa Ling, and produced a multi-million dollar advertising-campaign for HSBC Bank in collaboration with National Geographic that involved travel to over 20 countries and working with some of National Geographic’s best photographers. She was the series producer of National Geographic’s Dogtown, and directed a two-hour special on the pit bulls rescued from a dog-fighting ring run by the Atlanta Falcons’ star quarterback, Michael Vick. It was the highest-rated second-season premiere in network history, with 4.3 million viewers, and was given glowing reviews in both the New York and Los Angeles Times. The series was also nominated for a Genesis Award given by the Humane Society, in recognition of media illuminating animal rights issues.


The Story So Far:
“Tonight’s performance is by the Arkham Theatrical Society. Doctor Faustus!”
A sycophantic murmur—the sponsor of the production is Carl Sanford.
The Silver Twilight Lodge congregation clapped, the curtain was drawn back, and the players on the stage acknowledged the audience; Isopel Astarte curtsied. Speaking clearly but with a hint of breathlessness she began:
“Why this is hell, nor am I out of it.
Think’st thou that I, who saw the face of God,
And tasted the eternal joys of heaven,
Am not tormented with ten thousand hells
In being deprived of everlasting bliss?”
“The play was a triumph!”
“Our leading lady is both talented and beautiful.”
Isopel refilled another glass of punch, handing it to a portly man with ruined teeth.
“Uncle,” she said, turning round to Carl Sanford who stood behind her, “tomorrow I return to Switzerland; but school is such a bore! Oh how I wish I could stay here with you, and be an actress with the Arkham Theatrical Society. Please…”
“My dear, I see that it’s time. You must join us at the ‘Lodge.”
“Ouch!” Isopel sat up in her bed; she was awoken by a sting at the back of her throat. Several floors below she felt the pound of a bass drum and heard fluting music from the party which she had long since left. She slipped on her dressing gown, and then quietly trod downstairs. She hoped to snaffle a bottle of “champers.”
The door to the ‘Lodge’s hall was ajar. She peeked through it, stifling a giggle, and then choked because of what she saw: her uncle and the portly man were cavorting—in rhythm to the beating of a huge drum—upon the stage, cheered on by a braying mob. The sight of Carl Sanford’s sweating face, vice shining out from every pore, would stay burned in her mind for a long time.


“This toe-tapping joyous musical extravaganza is sure to rank among your family’s favorite holiday traditions.”Lark Wallis-Johnston, TheatreJones.com
Synopsis and show info:
It’s Christmas Eve! After 1,000 years of faithful service, Santa and Mrs. Claus announce their decision to hang up the big red suit and train a replacement. Enter Nick: a website designer and single dad to tech-savvy daughter, Bee. With pressures mounting–and a jealous, naughty elf thwarting their every move–will everyone in Santa’s Workshop come together in time for Nick to take the reins?
Jingle jam-packed with a sleigh full of fun, energetic, and original holiday music, Santa Claus: The Musical‘s heartwarming script and score put joyful audiences in the spirit of the season!
Book Noah Putterman
Music and lyrics David Christensen and Luke Holloway
Running Time: 60 minutes, plus an optional intermission.
Cast size: 8 (3m, 5f), plus a flexible ensemble.
Production Pack includes:
- Fully orchestrated musical tracks
- A libretto
- A piano/vocal score
Script Sample (click) – Full perusal script available upon request.
Sample Production Tracks:
- Casa Mañana Theatre (Fort Worth, TX ) – 2016* & 2017
- South Carolina Children’s Theatre (Greenville, SC) – 2017
- Children’s Theatre of Cincinnati (Cincinnati, OH) – 2018, 2020**
- Columbia Children’s Theatre (SC) – 2019
- Dream Street Studio (Evansville, IN) – 2021
- Derby Dinner Playhouse (Clarksville, IN) – 2022
- Broadway Palm Dinner Theatre (Fort Meyers, FL) – 2022
- Circa ’21 Dinner Playhouse (Rock Island, IL) – 2022
- Dutch Apple Dinner Theatre (Lancaster, PA) – upcoming – 2023
*Premiere **Live Stream


Natalie Margolin (Jenny/Playwright) is a playwright, actress, improviser, and graduate of Kenyon College. Her play, The Power of Punctuation, was a New York Stage and Film Founders Award finalist, recipient of Kenyon College's James E. Michael Playwriting Award and the Thomas Turgeon Memorial Award. Upon her arrival to NYC, Natalie worked as a dramaturg for Lucy Alibar (Beasts of the Southern Wild) on Lucy's piece titled, Throw me on the Burnpile and Light Me Up, which was performed at both the 2014 Prelude Festival and the 2015 Under the Radar Festival. Natalie worked with producer Matthew Kagen at the Young Jean Lee Theatre Company, where she assisted with the 2014 production of Straight White Men. Natalie's short plays Lemons and Rugby have both been performed at Kenyon College. Her upcoming piece, Tutus, will appear at the Haven Theatre Company in Chicago this fall. Natalie most recently appeared in the NYC Fringe Festival playing the role of Ashley in the comedy Laugh Track, and in the webseries New Mayor of New York, playing the role of Laura. She resides in New York City where she continues to write and perform.
Elizabeth Gambal (Fran) is a New York based actor and aspiring producer. She majored in Drama at Kenyon College, and has been seen in various shows including Noises Off, Bachelorette, Pains of Youth, Dog Sees God, and the original production of The Power of Punctuation. She’s trained with the London Dramatic Academy, Stella Adler Studio, Atlantic Acting School, and Upright Citizens Brigade. She lives in Williamsburg and is currently working in television production. This is her New York theatrical debut.
Rebecca Frisch (Angie) is an actor and improvisor from Brooklyn, New York. She graduated from Kenyon College with a degree in theatre. Previous credits include How I Learned to Drive, Balm in Gilead, Cold Foot Laura, Macbeth, Lobby Hero, and the original production of The Power of Punctuation. She most recently has trained with The Atlantic Acting School and Upright Citizen's Brigade.


Trailer for Mad Max: Fury Road I recently saw the new Mad Max film with my mother as part of our Feminist Movie Night ritual, and I have never been so pleased to have my eardrums explode. This film is pure action porn; the filmmakers included over 300 action sequences, with barely any CGI in […]Read more "Mad Max: Fury Road"
So I had the flu over winter break, and I started watching a show called Parks & Recreation. Little did I know it would become my favorite comedy show of all time. Forget The Office, forget 30 Rock, forget How I Met Your Mother, forget everything but Parks & Rec. This show is the greatest […]Read more "Parks & Recreation"
So I saw the Broadway touring company’s production of Newsies this weekend, and it was the most Disney thing to ever Disney. It was like a cross between Hercules and West Side Story , except with a happy ending. That being said, I’m a sucker for happy endings, and this musical made me so bubbly […]Read more "Newsies"
Okay, so to do a review of this series would mean having to watch all 3 extended cuts again and furiously note-take, which is not a reality I can live right now thanks to my (admittedly enthralling) AP European History class. So instead I’m going to do my top 10 moments and explain why, out […]Read more "Lord of the Rings"
People have said Sondheim is the greatest composer alive, and I have to say, I kind of agree with them. With huge hits like West Side Story and Sweeney Todd, it’s only logical that eventually someone would adapt one of his musicals into a film. He may not be as filthy as Robert Lopez (The Book […]Read more "Into the Woods"
YouTube is absolutely my favorite content-sharing platform, and I spend insane amounts of time there. Throughout my long and treacherous journeys, I’ve found some videos that never fail to make me happy, and I wanted to post them here because why not? .Read more "YouTube Videos for the General Fun-Loving Masses"
Discretion is advised. STRONGLY advised. The Student Prince– from Merlin, featuring Merthur (college AU). This is a typical Merthur situation, where they start out hating each other and eventually become hopelessly devoted to each other. A Cure for Boredom– from Sherlock, featuring Johnlock. This is a great fic for lonely nights, so make some popcorn […]Read more "Fanfiction Recommendations for the Average Frustrated Fan"


One of the outputs of a recent successful Policy Lab and CRIBS Maternal Health Group Dissemination Day held in Sierra Leone, is the development of a short docu-drama film about Pre-eclampsia, created in partnership with Sierra Leonean filmmakers Mariama Wurie and Miles Kamara.
The aims of the film are the following:
- To raise awareness and understanding of pre-eclampsia through a medium that is relatable and resonates with women, their partners, family members, communities and healthcare workers.
- To improve access to health care for pregnant women suffering from the condition. This has the potential to reduce maternal and baby deaths.
The film will be shown at a series of film screenings, beginning with a Premier in Freetown on 22nd May 2023 (World Pre-eclampsia day), followed community and university evening film screenings in the following weeks. Film screenings will be followed by interactive audience Q&A sessions, which will enable further in depth learning on the topic of Pre-eclampsia.
To expand the reach of the film to the widest audience possible, the research team hope to share key messages about Pre-eclampsia, which is the second highest cause of maternal mortality in Sierra Leone, via national and local television and radio platforms.
Below are some images of the filming of Nema’s Choice:


The landmark decision struck down laws banning interracial marriage in the United States. The film tells the story of Richard and Mildred Loving, the couple behind the famous decision. It features never-before-seen footage and still photos, along with interviews with the Lovings’ attorneys. The filmmaker became interested in making the film after reading Mildred Loving’s obituary in the N.Y. Times in 2008.
The film will debut on Valentine’s Day.
For more, see Virginia Hasn’t Always Been for Lovers: Interracial Marriage Bans and the Case of Richard and Mildred Loving from the library’s collection.


Audience Enrichment Programs
This summer, Portland Shakespeare Project will be offering a variety of programs intended to make your viewing of The Taming of the Shrew and The Tamer Tamed even more enjoyable.
There will be two pre-show discussions with our new Scholar in Residence, Dr. Daniel Pollack-Pelzner, Assistant Professor of English at Linfield College. At these discussions, you will have an opportunity to learn more about the play before you see it. These pre-show discussions will take place as follows:
The Taming of the Shrew: Wednesday, July 17, at 6:30 pm
The Tamer Tamed: Wednesday, July 31, at 6:30 pm
There will be post-show discussions with the actors and the directors following the matinee performances of The Taming of the Shrew on the following Sundays: July 14, 21, 28 and August 4, and The Tamer Tamed on Saturday, July 27 and Saturday, August 3.
Watch the Show Like A Shakespearean Scholar:
Before The Taming of the Shrew performance on Saturday, July 13, we will host a discussion program in which our directors and instructors will share with you their ideas and suggestions for how to get the most out of the performance you are about to see. This program will run from 3 pm to 5:30 pm. There will then be a break for dinner, and then you will be able to join the presenters at the July 13th performance and enjoy the show with them.
Two Shows and A Dinner:
On Sunday, July 28, we will be doing The Taming of the Shrew and The Tamer Tamed back-to-back (one show as a matinee and one as the evening show). Between the shows, join our Scholar in Residence, Dr. Daniel Pollack-Pelzner, Assistant Professor of English at Linfield College, and Artistic Director Michael Mendelson and Associate Artistic Director/Education Director Michael Nehring for a delicious picnic-style, buffet dinner. Dr. Daniel Pollack-Pelzner and Messrs. Mendelson and Nehring will discuss the shows and answer your questions. Dinner will be served at Artists Repertory Theatre and will be catered by The Vibrant Table. If you are attending both shows on July 28, the price of dinner will be $24 and will include wine, beer and other beverages. If you would like to join us for dinner only on July 28, the price of dinner is $30.
Please Welcome Our New Scholar In Residence:
Dr. Daniel Pollack-Pelzner, Assistant Professor of English at Linfield College, received his Ph.D. from Harvard, where he helped to edit the Norton edition of Shakespeare’s complete works. He has published and lectured widely on Shakespeare and British literature and is currently writing a book about Shakespeare adaptations. A Portland native, he also trained as an actor with Tygres Heart, the Oregon Shakespeare Festival, and the Yale Shakespeare Company. He loves talking about Shakespeare with newcomers and aficionados alike. Dr. Pollack-Pelzner has started an entertaining four-part series on Oregon ArtsWatch about this summer’s productions of The Taming of the Shrew at Portland Shakespeare Project and Oregon Shakespeare Festival. Follow his observations at http://www.orartswatch.org/summer-of-shrew-part-1-a-tale-of-two-cities/.


Playwriting from Scratch: New Works Intensive is a new program that provides young playwrights [13-18 years old] a free two week playwriting intensive. Playwrights will write an original 10-minute play to be rehearsed and performed by professional artists in two staged readings as well as participate in skills building workshops with professional mentors. Participants will also receive access to the entirety of The Scratch: Seattle Workshop Series. This program is designed to artistically and professionally support young writers eager to learn more about playwriting.
RSVP Information Coming Soon


For obvious reasons, Pain and Glory should interest anyone interested in addiction and recovery. It’s reminiscent of Ingmar Bergman's best movies, like Winter Light and Wild Strawberries, in which reflective, intelligent people grope in the dark for meaning, and try to form lasting and valuable connections with other people who are as damaged, anxious, and confused as they are.
Addiction vs. Attachment in Almodovar's Latest | Addiction Onscreen
Pedro Almodóvar's new Pain and Glory is rare in a number of ways.
It explores substance abuse and addiction without sensationalism or tragedy. In that sense, it's nearly the opposite of a movie like Trainspotting, which glamorizes heroin for an hour and then shifts into insincere-moral-panic mode for thirty minutes.
Pain and Glory makes distinctions between substance use, substance abuse, and substance addiction. It acknowledges the physical aspect of addiction without reducing its characters to addicted brains. As Stanton Peele notes in Psychology Today, Almodóvar's movie presents "work and purpose"—we could also say "attachment"—as essential in recovery.
As the title suggests, it's also a movie about chronic pain, and about the relationships between pain and addiction and between pain and attachment.
The movie's protagonist, Salvador Mallo—a legendary Spanish director whom we understand to be an avatar for Almodóvar—is, to use his own word, "paralyzed" by cluster headaches and back pain. This chronic pain has separated him from the creative work that was his primary reason for being. When we meet him at the beginning of the movie, he's fairly isolated. A gallery is interested in borrowing and displaying his art collection; he declines, referring to the paintings in his home as his only friends.
Salvador is not dependent on street drugs like cocaine or heroin, but we see him mashing up a daily cocktail of pharmaceuticals, which includes painkillers. These drugs allow him to better endure his solitude; they don't restore his freedom.
Early in the movie, the 30th anniversary of one of Salvador's 1980s classics prompts him to reach out to a former colleague, Alberto, with whom Salvador had a much-publicized falling-out.
Alberto is a high-functioning heroin addict: maintaining a successful acting career while struggling to manage his use of a drug he can't seem to quit. (When Alberto gets a new stage role that he values, he vows to stay sober while he learns and plays the part.)
We learn, later, that it was Alberto's heroin addiction—his inability or unwillingness to be sober and focused on set—that caused the professional rift between Alberto and Salvador. And heroin dependency, we will discover, is what destroyed Salvador's relationship with another man, Federico, who was the great love of Salvador's life.
Alberto and Salvador collaborate on a stage production entitled Addiction, which tells the story of Salvador's doomed relationship with Federico. As Salvador and Alberto rebuild their friendship and creative partnership, something else is happening: Salvador—perhaps feeling that he has nothing to lose—begins experimenting with, and then increasingly relying on, heroin.
All three of these men, then—the director suffering from chronic pain, the actor, and the director's absent ex—have important, but different, relationships with heroin.
Some critics have written that Salvador is creatively inspired by heroin. That's debatable, but the film, by the end, explicitly positions Salvador's heroin use as the alternative to healing, attachment, creation.
Pain and Glory's portrayal of recovery is optimistic: for one character in particular, maintaining sobriety is difficult and continuous, but enriching, work.
Even the description I've given ignores important dimensions of the movie, like Salvador's relationship with his dead-but-still-very-present mother. In his childhood, she was his fierce advocate, seeing and valuing what was unique about him. In adulthood, his sexuality made him unacceptable to her; he tells her in one flashback sequence: "I failed you simply by being as I am."
Salvador, then, is trying to reconnect with his community, and to become sober and productive, while coming to terms with chronic pain that may worsen with time, and while trying to make sense of his abandonment by the two most important figures in his life: the mother who didn't want a gay son, and the boyfriend who chose heroin over him.
For obvious reasons, Pain and Glory should interest anyone interested in addiction and recovery. Those themes aside, it's a beautifully constructed, affecting film. It's drawing a lot of comparisons to Fellini's 8 1/2, another great memoir of filmmaking, but it reminded me more strongly of Ingmar Bergman's best movies, like Winter Light and Wild Strawberries, in which reflective, intelligent people grope in the dark for meaning, and try to form lasting and valuable connections with other people who are as damaged, anxious, and confused as they are.
The performances are note-perfect—in particular the lead performance by Antonio Banderas, who has always done his best work with Almodóvar, a director Manohla Dargis rightly calls "a genre unto himself." Its excellent Alberto Iglesias score and its bright, colorful production design make Pain and Glory a movie worth seeing on the big screen, if you get a chance.
- MATT WILLIAMSON


Joel Asher – Directors on Acting – Actors At Work Series
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The relationship between Actor and Director is crucial. When it works well, “Magic” can happen on the screen. When it doesn’t, careers can be ruined. Here are five prominent film and television directors who explain how this collaboration works. How Actor
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Do you know how many women produce, direct or even star in films? You would be shocked by some of the statistics. According to The Celluloid Screen Report, Women make up just a small proportion of film-making professionals. They found the following:
- 9% of directors are women
- 15% of writers are women
- 25% of producers are women
- 17% of executive producers are women
… and according to a study released by the USC Annenberg School for Communication and Journalism:
- 28% speaking roles are for women
Pretty shocking. And no it’s not because women are rubbish at film-making, and not because people don’t want to see films about women. When women do appear as lead characters (Pretty in Pink, Devil Wears Prada, Thelma and Louise, Bridget Jones…) these films are box office hits. Partly because women buy 50% of the cinema tickets.
Here at Fireworks, we didn’t set out to make a female film, or to give on or off screen opportunities to women. We just set out to make a great film. It just so happened that our Director, Producer, Exec Producer, Digital Developer, and one of our two Co-writers, are all female. They’re all just great at their jobs.
You want more films to be by women, right? You want to see more bright, strong, funny women playing leading roles in feature films? You want talented female film-makers to inspire the next generation of young women to do just whatever the smunt they want, yes? Any you want some choice when you go to the cinema?
Please show your support for women in film by helping make one film (largely) by, and about, women. We really need your support to make this happen, so pledge a few pounds or pennies, share our IndieGoGo page on Facebook and Twitter, and leave us a nice comment. Thank you!
Fireworks on IndieGoGo: http://www.indiegogo.com/projects/fireworks–4/x/351097


Music Theatre Classes
If you like acting, singing, and having fun whilst continuing to improve performance skills, then this musical theatre class is for you!
Our sessions are packed full of drama improvisation, solo and ensemble singing, character role-play, movement and dance and plenty of theatre games! You will learn a variety of performance techniques and styles which you will have the opportunity to show off to friends and family in our end of term performances!
Venue: Waterside Arts Centre, Sale, M33 7ZF
Times: Every Wednesday(term time only)
NEW CLASS: Ages 4-6 4-4.45pm (Starts in September)
Ages 7-11 4pm-5pm
Ages 12-16 4.45-5.45pm
Contact us to book a place : email@example.com or 0161 438 2021
Summer Term Dates 2017
Term starts: 19th April
Half term: 31st May and 7th June
Term ends: 12th July
Artful Playground Tots
Music and Drama sessions full of stories, songs, characters, imaginative play and fun!
The sessions are specifically designed for the early years and are aimed to develop lots of important key skills in children such as: Concentration, Listening, Creativity, Language and Communication and Empathy.
*Thursdays (Term Time) *9.30-10.10am *£6.50 per session
The Edge Theatre & Arts Centre, Manchester Road, Cholton, Manchester, M21 9JG
Email firstname.lastname@example.org or call 07932 674 962 to book a place
(We’re currently taking bookings for September)


Jackie Appiah (born 5 December 1983) is a Canadian-born Ghanaian actress. For her work as an actress, she has received several awards and nominations
John Dumelo is a Ghanaian actor. He was nominated for categories Most Promising Actor and Best Actor in a Supporting Role at the 6th and 7th Africa Movie Academy Awards respectively.
The concept you have about me won’t change who i am, but it can change my concept about you.
Kwadwo Nkansah (Lilwin)
Kwadwo Nkansah is a Ghanaian comedian and actor who has featured in over 100 films. He won the "favourite actor" category at the 2015 Ghana Movie Awards
Joselyn Dumas is a Ghanaian television host and actress. In 2014 she starred in "A Northern Affair", a role that earned her a Ghana Movie Award and an Africa Movie Academy Award nomination for Best Actress.


Set in Verona, Italy, this tragic love story ends with bloodshed caused by an age-old vendetta between two families. Romeo and Juliet, the children of rival noble families the Montagues and the Capulets, meet by chance and instantly fall in love. They are prepared to risk everything to be together. A gripping combination of dazzling passion, fierce hatred and star-crossed lovers, Shakespeare’s legendary play dates from the 1590s and was so popular during his lifetime that it was published twice.
Just one title in our Jigsaw Library, this 252-piece double-sided puzzle features a beautiful illustration from an iconic scene on one side, with an extract from the play on the other, making it the perfect gift for book and theatre lovers and for puzzlers alike.


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1.1 Background to the Study
Drama is one of the three genres of literature. It occupies a very vital position in the society. It functions as a mirror through which an individual or the general public see what happens in the society. Life gives substance to drama; it does not exist in a vacuum. Drama imitates the life of the people, their history, beliefs, traditions, cultures and others. Through drama, one acquires the knowledge of the history, tradition, belief and custom of the people.
Drama is of great significance; it divulges the events in the society and aids the people to have a better and more comprehensive understanding of what goes on in the society.
The contemporary society is characterized by numerous societal vices namely murder, political instability, economic hardship, bribery, corruption, bad leadership, bad followership, and prostitution. Others include abortion, political thuggery, rigging of election, examination malpractice, lobbying, kidnapping, embezzlement of public fund, rape et cetera. Drama therefore exposes these societal anomalies to the masses with a view to arousing them to take action as well as helping in preventing the societal ills. From the above explanation, it is obvious that drama pictures the society. This is because for it to effect a positive change or put an end to the abnormalities in the society, it should mirror the society exactly the way it is and seek a way of resolving some issues consequent upon which a better lesson could be learnt.
For the purpose of this study, two texts namely: A Parliament of Vultures and War Without End will be critically studied to show how drama features as a mirror of the society.It would however be necessary to discuss the basic concepts that will enhance the reader’s comprehension of the work.
1.2 Definition of Concept
The basic concept in this topic is drama. This concept will be discussed in details below.
World Book Encyclopedia 5. (Page 324-325) defines drama as an art form that tells a story through the speech and action of the characters in the story. Most drama is performed by actors who impersonated the characters before an audience in a theater. Although drama is a form of literature, it differs from other literary forms in the way it is presented.
Forms of Modern drama includesː
• Tragedy ː maintains a mood that emphasizes the plays serious intention though there may be moments of comic relief. Such plays feature a tragic hero an exceptional yet flawed individual who is brought to disaster and usually death. The hero’s fate raises questions about the meaning of existence, the nature of fate, morality and social or psychological relationships.
• Serious dramaː which developed out of tragedy, became established in the 1800ˈs. It shares the serious tone and often the serious purpose of tragedy, and like tragedy it concentrates on unhappy events. Serious drama can end happily, and it’s heroes are less imposing and more ordinary than the tragic hero.
• Melodrama ː involves a vivan who imitates actions that threaten characters with whom the audience is sympathetic. Its situations are extreme and often violent, though endings are frequently happy. Melodrama portrays a world in which good and evil clearly distinguished.
• Comedy ː tries to evoke laughter, often by exposing the pretentious of fools and rascals. Comedy usually ends happily. But even in the midst of laughter, comedy can be both critical and playful, and it may arouse various responses.
The structure of drama includes plot, character, thought, diction or dialogue
The academic American Encyclopedia (1989:257) defines drama as “actions or deeds as they are performed in a theatrical setting for the benefit of a body of spectators”. It states that the word drama is derived from the Greek verb “dran” which means “to act” or “to do”.
The World Book Encyclopedia (1997:284) defines drama as “an art from that tells a story through the speech and actions of the characters in the story”. It further explains that “most drama is performed by actors who impersonate the characters before an audience in a theatre or before television cameras for an audience in their homes”. It asserts that “although drama is a form of literature, it differs from other literary forms in the way it is presented. For example, a novel also tells a story involving characters. But a novel tells its story through a combination of dialogue and narrative and is complete on the printed page. Drama achieves its greatest effects when it is performed.
Martin Esslin in Anatomy of Drama has the following definitions of drama:
1. Drama can be seen as a manifestation of the play instinct as in children who are playing mother and father.
2. Drama is something one goes to see which is organized as something to be seen.
3. It is an enacted fictional art, from elegant expression of thought nearest to the truth (reality).
4. It is the most concrete form on which art can recreate human situation, human relationship.
The Oxford Advanced Learner’s Dictionary (2005:443) defines drama as “a play for theatre, television or radio”. Funk and Wagnalls New Encyclopedia volume 8, defines drama as “a literary composition either in verse or prose that tells a story through action and speeches and is usually intended to be performed by actors before an audience.
Jacobus (1989:1) opines that drama is “the art of make-believe. Make-believe consists in part of acting our events that happened or that we imagine to happen”. He says that “the primary ingredients for drama are characters represented by players, action described by gestures and movements; though implied by dialogue and actors; spectacle represented by scenery and costume; and finally, audience who respond to this complex mixture”.
Aristotle refers to drama as “mimesis that is representation of life or the imitation of an action”.
From the above definitions, drama is obviously the presentation of an action on stage before an audience.
1.3 Origin of Drama
According to The World Book Encyclopedia (1997ː284) drama is a universal art. Nearly every civilization has had some form of it. Drama is also an ancient art. Staged performance using actors took place as long ago as 500B.C and probably occurred even earlier. But scholars have insufficient evidences to state definitely when drama first began. Nor do they know for certain what led to the creation of drama. However, they propose a number of theories. One theory suggests that drama may have developed from ancient religious ceremonies that were performed to win favour from the gods. In these ceremonies, priests often impersonated supernatural beings or animals, and sometimes imitated such actions as hunting. Stories grew up around some rites and lasted after the rites themselves had died out. These myths may have formed the basis of drama.
Another theory suggests that drama originated in cultural hymns or praise sung at the tomb of a dead hero. At some point, a speaker separated from the choirs and began to act out deeds in the hero’s life. This acted party gradually became mere elaborate and the role of the chorus dimished. Eventually, the stories were performed as plays;
According to the third theory, drama grew out of natural love for storytelling. Stories told around campfires recreated victories in the hunt or in the battle, or the feasts of dead heroes. These stories developed into dramatic retellings of the events.
According to lgiligi and Ogenyi (2002:38), the cradle of drama like poetry, has been traced to ancient Greece. Two important facts attest to the veracity of this claims. Firstly, the word drama had its etymology from the Greek Word, dran meaning “to do”, or “to act”,or “to perform”. Secondly, the widely accepted ancient ritual ceremonies from which the root of drama has been traced is believed to have first started among Greece in about 4th and 5th century B.C. The account has it that the ancient Greek society has choral songs, chants, incantations and ritual dances during the celebrations of their deities and other gods. For example, the earth goddess. Hence the conclusive view that “Ancient Greek drama never lost its connection with the cult of Dionysus”, Encyclopedia Americana, 1995:332.
It is believed that during these ceremonies the priests and other adherents perform some ritual activities, that is, the Dionysian ritual. Dionysus, according to history of theatre, was the vegetation spirit/god whom the Greece first appeared before the cultivation or their soil. During one of such ceremonies, a man named Thespis walked out of the group and instead of singing about the gods sang like them. Consequently, Thespis from thence was regarded as the pioneer actor and of course the founder of the first generation drama.
Onuigbo (2006:206), states that the history of European drama dates back to the Greeks, a highly religious people who can say had as many gods as there were human activities: Two of the Greek dramatic forms, the tragic and the satiric, originated in the worship of Dionysus, the diety of wild vegetation, agriculture, sexuality, fertility and wine. In his honour at the opening of spring the Greeks performed dithyrambs, hymns rendered by a chorus who dressed like satyrs, the legendary followers of Dionysus. They presented the stories of the adventurous life of the god whole on earth through songs and mimic dance. It is from these dithyrambs that both tragedy and satiric drama sprang. All of this took place at the threshing floor of the Greek communities.
The movement from the threshing floor where the fertility rates were performed to the foot of mount Olympus where the national festival Dionysus was born was a gradual but steady one. It is reasonable to conclude that increased attendance at the festival either as a result of increase in population or because many guests were invited from other cities or centuries could have contributed to the search for a more central, more spacious venue for a festival that would unite the often divided Greek people. And the choice of Mount Olympus was only natural: first, the gods live on top of the mount; and second, a gama that involved all the Greeks was already taking place there, the Olympic Games.
It was Aaron of Corinth who made the first move that suggested the ideal of drama. He detached himself from the fifty satrys singing dithyrambs and mounted the sacrificial table from which he explained to the audience the significance of each action taken by the satyrs and what part of the sacred history of the life and activities of Dionysus they were watching. He also answered their questions; that must have necessitated the early Greek name for the actor, hypocrites, meaning “the one who answers”. But since the presentation was basically narrative, albeit active narrative, it cannot, strictly speaking, be called drama at this stage. The inebriated chant of the goat skin-wearing satyrs had pomp and gaiety in it, but these alone cannot make a drama. It was purely a religious ceremony even if some people derived some intellectual edification from it. One great change was necessary before we could really call it drama; the use of impersonation, for really without impersonation, there cannot be drama.
One great change was necessary it was not playwright who is impersonated, but the characters appearing in the story and they must perform even if the performance is just speaking for drama is taken from the Greek Word “Dran” which means “ to do “ or “to act”. That invention attributed to Thespis makes him the founder of European drama. Thespis was also said to have discarded the crude dithyrambic make-up by making use of unpainted linen masks. By the use of the Thespian mask, a differentiation could take place; the king would wear the helment along with his own mask. The Thespian character instead of narrating the events of the scared history, the legendary activities or Dionysus would speak in his own person, as Dionysus as an eye-witness to his heroic action. By retiring to the book while the chorus performed, he could change his mask and costume and reappear as another person. By hearing and discussing what was said by his supposed predecessor, he could exhibit the play of emotion or the construction of a plan. It was Thespis invention of the first actor that set the ball rolling down the theatre to our day.
Like many innovations, even in our time, the birth of the actor met with some distraction. One recorded distractor was named Solon, who opposed it on moral grounds. He went to Thespis after one of his earlier performances and asked him if he wasn’t ashamed to tell so many lies before such a number of people. Thespis replied that it was no harm to do so in a play. The old legislators reply was this: “if we honour and commend such play as this, we shall find it someday in our businesses” (Nagier 1952ː12)
Further contributions were made by Aeschylus. He introduced the second actor and reduced the number of the chorus from fifty to twelve, and assigned leading part of dialogue consequently demolishing the importance of the chorus. Without a doubt, the introduction of dialogue laid the groundwork for the development of sustained conflict. The Thespian character had to come back in order to learn what was said by his predecessor. But the Aeschylian character would argue out a point and act out their grievances on stage. Sophocles added the third actor and increased the number of the chorus from twelve to fifteen, and added scene on painting. Sophocles’ use of Periaktoi and Pinakes heralded the modern use of painted flats and painted background curtains. Different settings could now be depicted differently by adding to the aesthetics of the theatre and emotional appeal. Polyhadrons brought on the first female actor, the role previously played by men. Patinas invented the satiric play. This should not be confused with satiric play to which it gave birth. Satiric works, though always showing playful characteristics and a touch of obscenity, was never confounded with comedy. Stately figures of legend and theology regularly appeared in it. It was added to the trilogy, which each playwright must present at the drama competition of the 5th century, B.C.E making a tetralogy, mainly as a tribute to the divine sponsor of the festival, Dionysus. Euripides, who wrote mainly trigger- comedies, also contributed to the development of drama by his use of the prologue. Unlike the other playwrights, Euripides used a non-dramatic prologue or narrative enabling the spectator to understand at what point in a legend the action is to begin. It is from the Euripidean use that the modern meaning of the word is derived.
1.4 Statement of Problem
The pursuit of drama to achieve its main aim or serving as a mirror to the society has been greatly hampered within the last decades as a result of decline in the practice of dramatic performance.
When the federal government mooted the idea of giving away the national theatre in 2007, it was a reflection not just of the decay of that architectural master piece but also of the decline of the stage drama in Nigeria.
Ahmed Yerima,(2007ː12) blames the decline on stage drama on the emergence of video and the huge sums involved in putting up plays these days. Venue, costume, and publicity cost much. He also cites poor remuneration for stage actors as well as their low social status in the society as other reasons for the decline.
Femi Osofisan,(2007ː23) theatre producer and director is also of the opinion that live dramatic performance before live audience are in dire straits. “ it has lost its appeal and is rapidly on the wane”. Also among the many problems which had hindered drama from mirroring the society and reaching out to the audiences are:
1. Poor theatre going attitude on the part of the people or audience.
2. Lack of government sponsorship.
3. Low patronage of the theatre.
4. Poor publicity of dramatic performance.
5. Mass apathy towards the importance of drama and theatre.
1.5 Purpose of the Study
This research or study is embarked upon with the following objectives:
i. To study the effects of drama in the society.
ii. To examine the uses of drama in highlighting happenings in our society.
iii. To assess the place of drama in shaping of the future of the society.
iv. To suggest or recommend ways of improving drama performance in the society.
1.6 Significance of the Study
The major goal of this research is to bring to lime light the importance of drama as a mirror of the society. It is believed that this work would go a long way in educating the public especially students on the importance of drama in the society and how drama could be used to mirror the society. Drama provide platform for assessing the positive sides of events in society which could be preserved and the negative aspects of the society which ought to be discarded.
1.7 Scope of the Study
The issue of drama is already a global concern. Right from the 5th century B.C to date, a lot of writings have been done on the issue of drama. So many scholars both the ancient and the modern scholars have written a lot of books, and journals on drama.
Drama have also been elaborately discussed in Mass media, such as in the print media and in the electronic media. Efforts will be made to focus on highlighting the themes of drama in mirroring the society and in educating the populace.
This work also tries to examine the origin of the drama, its overall importance or significance to man and his society, and the use of drama as a tool for social change. In other to effectively analyze this topic and to bring out a convincing argument that drama is indeed a mirror of the society, an indept analysis will be carried out on the play of these notable Nigeria play writers Nwabueze’s A Parliament Of Vultures and Igiligi’s War Without End.
1.8 Research Methodology
For a clear and competent analysis of the texts for this research it will be appropriated to adopt the sociological theory. Sociological theory will enable sufficient analysis of drama and its impacts on the society, societal norms, and belief system.
1.9 Theoretical Framework
The theoretical framework is the structure that can hold or support a theory of a research study. The theoretical framework used in this research is sociological theory. Sociological theory is statement of how and why particular facts about the social world are related. They range in scope from concise descriptions of a single social process to paradigms for analysis and interpretations. It explains aspects of the social world and enables prediction about future events.
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Once upon a time, when Walt first opened the doors to his new Disneyland Park, a day in Disney was a big deal for families that warranted wearing your Sunday best. Women could be seen wearing dresses, heels, and gloves, and men wore their vests and bow ties and polished shoes. Of course today that sounds terribly impractical, and most park guests opt for comfort rather than style. But what if for one day the parks were transformed back to their original dapper glory? That’s the whole idea behind Dapper Day! It’s a day where Disney enthusiasts have an excuse to fill the park with beautiful vintage fashions and celebrate Disney’s history in style. Dapper Day is an unofficial event not sponsored by Disney, but it has developed a huge following over the years, and has spanned the globe from Anaheim, California to Paris, France. It takes place twice a year, once in the Fall and once in the Spring, and as such I’ve never been able to attend because I’m rarely in Florida at those times of the year. So this year I seized the opportunity to take a day off and join thousands of other Disney fans in taking Hollywood Studios by storm in old fashioned glory.
Why Hollywood Studios, you ask? Hollywood studios is a celebration of Hollywood in its prime, when movies were new and exciting and oh so glamorous. The Great Movie Ride celebrates the old classic movies which were the hallmarks of their era, and the Hollywood Tower of Terror has a 1930’s theme to its decor and storyline. Hollywood Studios is also home to the Backlot Tour, which was an opening day attraction that brought guests behind the scenes and demonstrated how special effects are filmed, in addition to displaying a warehouse of old props, a fabulous tour through the “boneyard” of old movie vehicles, and a glimpse into the creative costuming section of the parks. This attraction was set to close the day after Dapper Day, so we had to give it a farewell to remember in dapper style.
But going to the parks all dressed up wasn’t for everyone. There were plenty of guests who had never heard of Dapper Day, nor had they any idea of why so many people were dressed up. Whether it was my outfit, or the fact that I give off a cast member vibe, I certainly got asked lots of questions:
“Why are you all dressed up? Does it get you a discount on tickets?” (Um, what?)
“Did you all just finish filming a movie here or something?” (No ma’am, no one has actually filmed a movie here in decades . . . )
“Are y’all dressed up for the Halloween parties at Magic Kingdom?” (No, there is no Halloween party tonight, that was last night . . . )
But in addition to all the ridiculous questions and strange stares we received, we also saw quite a number of fellow Dapper Day goers, and to me that was the best part. I loved seeing everyone all dressed up, and wishing them a “Happy Dapper Day!” There is a certain thrill in dressing up, especially in a place that celebrates the golden age of glamor and acting. I did truly feel like we were caught up in the filming of a movie, which is exactly what Hollywood Studios was designed to be.


Date: Friday, September 6, 2013
Time: 8:00 PM
9/6/2013 8:00:00 PM9/6/2013 8:00:00 PMAmerica/Los_AngelesTHE POKEMUSICAL At Theatre Asylum - The Elephant Space6322 Santa Monica Blvd, Los Angeles, CA 90038Website: http://domatheatre.tix.com/Event.aspx?EventCode=594897FalseMM/DD/YYYY
Tickets for this performance are no longer available. Please select another date.
The musical follows the first journey of Ash, Misty, Brock, Pikachu and the rest of the crew from th
Winner of the 2013 Hollywood Fringe Festival’s “Best Fringe Festival Musical Award,” this original satire follows the first journey of Ash, Misty, Brock, Pikachu and the rest of the crew from the original games and animé as they traverse Kanto — this time with a little added song and dance. Viewed through the eyes of a 10-year-old boy with a dream, their everyman journey shows us what it truly means to be the “very best.” Remember: all good things come to those that take life by the Pokéballs.


It’s been a wild ride from that first moment on the train platform to the final shot inside an empty but lived-in house. Alas, Orphan Black has concluded. Fair warning: spoilers ahead.
Also, TL;DR: Orphan Black is well worth a watch.
First, I have to say that the series finale is one of the absolute best I have ever seen. It ranks with the original finale for Buffy (the end of season 5), Burn Notice, Babylon 5, and the remake of Battlestar Galactica. I know I’ll take flak for the last one, but taken in the context of the show it is a very good finale.
What makes it so good is that they spent about half the runtime in a sort of epilogue, though it really is part of the dénouement proper as it ties up quite a few loose threads. We get to see all the main characters who survived getting on with their lives. It is a happy ending of sorts, but it isn’t all unicorns and rainbows. There are also some substantial hanging plot threads that are not resolved though the main conflict of the series is resolved.
Orphan Black got a lot of things right, not just the finale.
First, the characters develop over the course of the series. For instance, if you watch Alison in season 1 and compare her with Alison in Season 5, you can see a marked difference. And, yet, the characterisations are not so different. This is a testament to Tatiana Maslany’s acting, but it also reflects well on the rest of the production team. Anyway, even the less central characters develop some over the course of the series, even if it is in a subtle way. And that is what makes for a compelling character drama.
Second, characters, even secondary characters, have their own motivations. Sometimes those motivations do not line up with what is best for the main characters, and sometimes not even for themselves. Sometimes things go wrong because a character acts contrary to the plan or due to other motivations. That makes the overall story feel more real. Everything from S keeping Sarah in the dark about her grand plan in the final season to Alison and Donnie burying Leakie in their garage (after Donnie accidentally kills him) all serve to confound the overall plans, yet they do so in a way that makes sense when considered from each character’s point of view.
Third, when secondary action is no longer relevant to the ongoing plot, that story line is basically abandoned. The most notable instance here is the island story line, something for which we never get any sort of conclusion. Sure, we have some idea what must have happened, but they don’t show us since the action has moved back to Toronto by that point. With none of our point of view characters actually there, there is no reason to tell the rest of that story. Another such story line involves Kira’s father who we meet more than briefly when he provides some assistance. However, the mystery of his connections is never explored further once he disappears from the narrative. Again, this is a good decision (though it might be a pragmatic one if he had to be written out due to actor availability). Basically, by leaving these threads untouched, they do not waste screen time on things that do not move the plot forward at all and still leave things open for the viewer to fill in the blanks. It also works more like real life – after all, life rarely gives you anything packaged up in a nice bow.
Of course, Orphan Black is not perfect. It suffers the usual pacing problems that serial story telling often does. Some episodes feel incomplete as they have to fit the narrative into the time slot while others feel slow as they need to keep filler sequences to fill out the time slot. The usual collection of factual errors, plot holes, and general continuity problems also exists. In a couple of episodes in the final season, I remember thinking that a director’s cut with a few added scenes would clear things up nicely.
Also, the story seemed to be falling prey to the mystery accretion problem that such stories often do. That is, each season adds some villain or layer to the conspiracy without ever really progressing the narrative. Season three seemed to be moving in that direction and it wasn’t clear that they would be able to save it even at the midpoint of season four though it was clear they were trying by then.
Fortunately, the producers knew that season five would be their last. That meant they had time to plan out a concluding arc that would tie up the central storylines of the series. I think it is a mark in the producers’ favour that it was unclear if the ending would be happy, pyrrhic, or tragic until the last couple of episodes, even though it was abundantly clear that the conclusion was coming.
Overall, the compelling story telling and brilliant execution, by both the on screen and behind the scenes talent, more than makes up for the faults that remain.
Basically, if you’re looking for an epic dystopian tale of suspense, mystery, intrigue, and even action and adventure, with deeply compelling characters driving the action, Orphan Black is well worth a look. You can embark on the journey knowing that there will be a fitting payoff in the end.


Actor Cuts Himself on Stage
An actor in Shakespeare's Julius Caeser got a little too realistic. The play includes the killing of Caesar by Roman senators he knew. Caesar turned to one and said, "And you, Brutus?" But as it worked out on a stage in Aspen, Col., Brutus should have said that to himself — because he stabbed himself. Actor Ken Hudson Reed was using a real knife and cut himself in the leg. He nearly passed out before he excused himself from the stage.
Copyright 2022 NPR. To see more, visit https://www.npr.org.


||A woman finds a man in a box in front of her home and takes him in. She jokingly says she wants to keep him as her pet since the man reminds her childhood dog. The man agrees. Later the woman discovers that the man is a dance prodigy. Complications arise when her old flame from college appears..
||Keun-Suk Jang, Yu-mi Jeong, Ha-neul Kim, Tae-Joon Ryu, Jong-hun Choi, Ha-Neul Kang, Na-eun Go, Seo-won Cha, Jin Hee Lee, Ho-geun Bae


Pépé le Moko stars Jean Gabin, who is, according to all of the people who worked with him over the years, le Parisien le plus grand. In the film he plays the title character, Pépé le Moko, a criminal beloved by those with whom he cohabitates, the residents of Algiers’ Casbah. The Casbah is the perfect home for this figure because there he disappears within the labyrinthine enfolding of the ghetto. He seems beloved not out of fear but out of a genuine endearment of those around him, although, as far as the film shows, not for any philanthropic regard for his neighbors.
The film begins with French police who have arrived in Algiers to finally catch Pépé, where their French-Algerian counterparts have been unsuccessful. The latter explain, in the opening scenes, the particular difficulty that the Casbah poses for the police. In particular, the French are critical of Inspector Slimane, who sees Pépé every day, but has failed to catch him.
The reason for this is not because Slimane is a idiot of sorts, a picaresque character designed to entertain us with slapstick misdeeds, but because in order to catch Pépé you must bring him out of the Casbah. Pépé’s men would not hesitate to use their force to overpower Slimane, were he to approach them in such a way. And if Slimane brought his men, Pépé would not be able to be found.
But here we have one of the crucial concepts: in the Casbah, Pépé cannot be captured. In the Casbah he is free, not merely because of the architechtural obstacles posed by the neighborhood, but because of the network of individuals devoted to Pépé, assisting his own evasion. The only reason, we might glean, is because of their common hatred of the French police. The Casbah is the ghetto. This is one site that French colonialism has failed to penetrate. This might lead us to conclude that Pépé is a man of these people of the Casbah.
And yet this is not true. Pépé is, like the actor who plays him, a Parisien. Thus, although he has many loves in the Casbah, and Slimane famously says that at his funeral there would be hundreds of widows, the one woman who truly captures his heart is Gaby, a girl from Paris visiting with her husband and their friends. Gaby’s relationship with her husband is a practical one and not one of love, as far as we can tell. Her husband is much older than her, a bald plump fellow and theirs is a relationship of vanity. Gaby meets Pépé during a visit to the Casbah, where she and her friends have stopped, and his eye catches hers …
The dramatic tension of the film appears with the continual crossings of the Parisienne Gaby into the Casbah, from which Pépé cannot descend. She can never live in the Casbah. Even Pépé’s gang is confused why he hasn’t snatched the expensive jewelry she wears. At a crucial scene, when Gaby is leaving her husband, she puts the jewelry down on a bed and says she is through and she is leaving. Then she says, am I crazy? and returns for the jewelry, which she will take with her.
Pépé longs to leave the Casbah with Gaby, but he cannot.


Looking to watch Robin Hood (2018)? Find out where Robin Hood (2018) is streaming, if Robin Hood (2018) is on Netflix, and get news and updates, on Decider.
Robin Hood - 2018. 62,096 likes · 86 talking about this. Official Facebook page for ROBIN HOOD - Coming to theaters November 21, 2018. We lay out all the most promising and exciting things about the new Robin Hood - the epic visuals, the cast, the badass action sequences as well as some behind the scenes trivia to get audiences pumped for Robin Hood (2018) Cast and Crew. After returning home to England, aristocrat Robin of Loxley learns that the evil Sheriff of Nottingham has seized his family estate. He soon joins forces with 13/03/40 · Cast: Kevin Costner, Morgan Freeman, Christian Slater, Alan Rickman, Mary Elizabeth Mastrantonio; Robin Hood (Costner) and former cellmate Azeem (Freeman) return to England (inexplicably, given Costner's Californian accent throughout), where they must battle the terrifying scenery-chewing of the Sheriff of Nottingham (Rickman). About. A crusader and his Moorish commander revolt against a corrupt English crown by looking to steal his fortune. Trivia. Star Taron Egerton had some scheduling issues as he was set to shoot Kingsman: The Golden Circle around the same time. The studios behind the two films were able to find common ground. Looking to watch Robin Hood (2018)? Find out where Robin Hood (2018) is streaming, if Robin Hood (2018) is on Netflix, and get news and updates, on Decider. 12/03/40 · Urmareste filmul Robin Hood (2018) Online Subtitrat Gratis.Genurile acestui film sunt: Action, Adventure, Thriller. Filmul a avut premiera pe data de: Nov. 20, 2018, fiind postat pe acest website in aceeasi perioada.Poti vedea filmul Robin Hood (2018) Online sau il poti descarca pentru a il vedea offline la cea mai buna calitate doar pe site-ul acesta.
Cast. Taron Egerton as Robin Hood, leader of the revolution, Marian's love interest, John's best friend and the enemy of the Robin of Loxley (Taron Egerton) a war-hardened Crusader and his Moorish commander Cast. Taron Egerton as Robin Hood. Eve Hewson as Maid Marian. A war-hardened Crusader and his Moorish commander mount an audacious revolt against the corrupt English crown in a thrilling action-adventure packed with 3 May 2018 Robin Hood – In theaters November 21, 2018. Starring Taron Egerton, Jamie Foxx, Ben Mendelsohn, Eve Hewson, Tim Minchin, and Jamie 21 Nov 2018 You could build a suspension bridge over the gap between what "Robin Hood" could have been and what it is. Its hero is credible as a man With his true love captured by the villainous Sheriff of Nottingham, the legendary Robin Hood and his crew of outlaws execute a daring rescue to save her.
21 Nov 2018 Robin Hood steals stuff, including your money. Director. Otto Bathurst. Cast. Taron Egerton Jamie Foxx Ben Mendelsohn Tim Minchin F 23 feb 2017 De nieuwe Robin Hood cast voor de 2018 film is bekend. En er zijn foto's vrijgegeven van de set in Dubrovnik. Robin Hood (2018). Action. Rated PG-13. 116 min. Release Date. November 21, 2018. DVD Release Date. February 19, 2019 (Buy on Amazon). Director. Posted on November 21, 2018 Avatar By Metro. Taron Egerton and Otto Bathurst talk Robin Hood 2. [Image: Lionsgate]. Sign up for our COVID-19 newsletter to 18 Oct 2019 The cast (incl. Jamie Foxx, Ben Mendelsohn, Eve Hewson & F. Murray Abraham) is criminally wasted. A phenomenally miscast Taron Egerton, 21 Nov 2018 2018; US; 1h 56min; 12A. Directed by: Otto Bathurst; Cast: Taron Egerton, Jamie Foxx, Ben Mendelsohn, Eve Hewson, Tim Minchin, Jamie 'Robin Hood' Review: Revisionist History Has Never Been Dumber or More Boring Nov 20, 2018 9:00 am “Robin Hood” is ridiculous from the moment it begins, though the charisma of its cast and the absurdity of its action are enough to
8 Mar 2019 Principal Cast : Taron Egerton, Jamie Foxx, Ben Mendelsohn, Eve Hewson, Tim Minchin, Jamie Dornan, Paul Anderson, F Murray Abraham, 16 Nov 2018 Robin Hood is returning to the big screen once again with yet another to know about the blockbuster, including the cast, the release date and more. Sheriff of Nottingham in the new Robin Hood film that is released in 2018. 8 Feb 2019 There are space adventures starring Robin Hood and his band of merry men, animated stories with robin hood egerton foxx 2018. 05 06 to appreciate the finer aspects of the film, like the stunt work and its charismatic cast. The Moor character was not a part of Robin Hood folklore until the 1980's when he was created for the UK TV show; 'Robin Of Sherwood'. A few years later the makers of Robin Hood: Prince of Thieves (1991) saw the show and mistakenly assumed him to be factual, which led to Morgan Freeman's character. However the whole of the Robin Hood mythos is Robin Hood (2018) cast and crew credits, including actors, actresses, directors, writers and more. Menu. Movies. Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming Soon Coming Soon Movie News India Movie Spotlight.
13/03/40 · Cast: Kevin Costner, Morgan Freeman, Christian Slater, Alan Rickman, Mary Elizabeth Mastrantonio; Robin Hood (Costner) and former cellmate Azeem (Freeman) return to England (inexplicably, given Costner's Californian accent throughout), where they must battle the terrifying scenery-chewing of the Sheriff of Nottingham (Rickman).


November has begun with a slew of exciting films and web series. Here is the list of the best new OTT releases of the week and where to watch them.
A spin-off from the 2016 Oscar winner animation movie Zootopia, this series takes a deep dive into the backstories of some of the film’s characters including Fru Fru, the newly married arctic shrew, Gazelle’s talented tiger dancers and Flash, the sloth full of surprises.
The Crown S05
Genre: Political Drama
Imelda Staunton takes up the role of Queen Elizabeth II in this fifth series of hit royal drama. It’s the 1990s and her Majesty has her famous ‘annus horribilis’ in 1992, which sees royal divorces and a fire sweeping through Windsor Castle. Dominic West and Elizabeth Debicki are now Charles and Diana, while Lesley Manville stars as Princess Margaret and Sir Jonathan Pryce is Prince Phillip.
Falling for Christmas
Genre: Romantic Comedy
Former teen star Lindsay Lohan is back on screen in this festive romcom, her first project in a big new deal with Netflix. The 36-year-old plays a privileged hotel heiress, Sierra Belmont, who suffers amnesia following a skiing accident and finds herself being looked after by a ski lodge owner and his daughter in the run-up to Christmas.
Genre: Fantasy Drama Season: 2 Episodes: 8
Alba Baptista returns to battle more demons in the second season of the fantasy drama, which follows Ava Silva, a teenage orphan who woke up with an angel’s halo embedded in her back and a new set of superpowers. Reluctantly recruited to an ancient order of warrior nuns who are tasked with protecting Earth from demonic forces, Alba discovered that the angel Adriel was really a demon who originally stole the halo and that the order’s kindly leader, Father Vincent, had been working for Adriel all along.
Genre: Drama Season: 1 Episodes: 6
Secrets and lies within a long-term relationship are brought into the spotlight in Prime Video’s twisty comedy-drama, starring James Corden as high-flying chef Jamie. Although Jamie appears to be happily married to pregnant Amandine (Mella Krelling), a tragic event leads him to make a jaw-dropping discovery about his wife, which sparks a dark mystery.
My Father’s Dragon


MG Ramachandran Songs Free Download Starmusiq
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M. G. Ramachandran: Whole life and career in a short view-
The name you can in the headline is one of the historic person and personality of the Tamil movie industry. He spread a nice and excellent color to the industry by which the whole industry become colorful. After all, the audience come to know about an industry by the excellency of an actor. This person we are talking about is such person who help the industry to come in the place in the whole new level. At the same time, he is the person who is not only work for self but his thinking was for all the people of “Tamil Nadu” He spend 10 years of his life to serve the people of this state as a “Chief Minister”.
Personal Of Information –
Name : MG Ramachandran
Occupations: Actor, producer, director, politician
Born : 17 January 1917
Died : 24 December 1987
Age : 70
Social Media Profile : Wikipedia, Facebook, Twitter.
This person we are talking about, his birth place is in “Kandy of Sri Lanka”, from a Malayali Nair family, his father name is “Melakkath Gopala Menon” and mother is “Maruthur Satyabhama” they are from Palakkad, now known in the name with Kerala. In his early life, “M.G.Ramachandran” was a devout Hindu and a devotee of Murugan, and his mother’s favorite god was guruvayoorappan. Later on, when he joined the “DMK” which known as a pro-rationalist party, he followed the rationalist ideology but he never appearing very aggressively atheistic. In later times after he founded his own party following his expulsion from the “DMK”, he seems to have shown some leaning towards religious faith. He had asked his followers to pray for the success for his “AIADMK party”.“M.G.Ramachandran” first conjugal life was with “Chitarikulam Bargavi”, also known with the name “Thangamani” very sadly she died early due to an serious illness. Later he married for the second time with “Sathanandavathhi” there was also a sad story because she also died soon after marriage due to tuberculosis. In the year of 1965, he started his conhugal life for the third time and this time with “V. N. Janaki” she is a former Tamil film actress and there is an interesting matter that “Janaki” divorced her husband, “Ganapati Bhatt”, to marry “M.G.Ramachandran”
List Of Tamil Movies – (MG Ramachandran)
|Idhaya Veenai (1972)||Annamitta Kai (1972)||Panam Padaithavan (1965)|
|Pudhiya Boomi (1968)||Nalla Neram (1972)||Panathottam (1963)|
|Kumari Kottam (1971)||Gulebakavali (1955)||Madurai Veeran (1956)|
|En Annan (1970)||Urimai Kural (1974)||Ulagam Sutrum Valiban (1973)|
|Petralthan Pillaiya (1966)||Oli Vilakku (1968)||Neerum Neruppum (1971)|
|Indru Pol Endrum Vaazhga (1977)||Neethikku Thalai Vanangu (1976)||Nadodi Mannan (1958)|
|Dharmam Thalai Kaakkum (1960)||Thaayin Madiyil (1964)||Thanipiravi (1966)|
|Mannathi Mannan (1960)||Kalangarai Vilakkam (1965)||Engal Thangam (1970)|
|Kanchi Thalaivan (1963)||Ninaithathai Mudippavan (1975)||Kannan En Kadhalan (1968)|
|Netru Indru Nalaai (1974)||Nam Naadu (1969)||Enga Veetu Pillai (1965)|
|Vettaikaran (1964)||En Kadamai (1964)||Oorukku Uzhaippavan (1976)|
|Arasa Kattalai (1967)||Maduraiyai Meeta Sundara Pandian (1978)||Rickshawkaran (1971)|
|Mattukara Velan (1970)||Kudiyiruntha Kovil (1968)||Anbae Vaa (1966)|
|Kaavalkaaran (1967)||Nadodi (1966)||Idhayakkani (1975)|
|Ananda Jyothi (1963)||Maha Devi (1957)||Kudumba Thalaivan (1962)|
|Kanavan (1968)||Oru Thaai Makkal (1971)||Padagotti (1964)|
|Pallandu Vazhga (1975)|
It is better to mention a line in the last that there are lot more to mention when his entire career is related with this article but somehow it is not possible to gather all those at a time. So we better move our focus to the matter of awards of this great person when whole of his colored with the color of the film industry.
Awards Of MG Ramachandran-
– Filmfare Special Award South for the film Enga Veettu Pillai
– Filmfare Best Film Award for the film Adimai Penn
– National Film Award for Best Actor for the film Rickshawkaran in 1971.
– Honorary doctorate received from University of Madras and The World University in 1974.
– Bharat Ratna was conferred by the Government of India in 1988 for his contribution in the field of Films and Politics.
– Tamil Nadu State Film Award for Best Actor for the film Kudiyirundha Koyil
– Tamil Nadu State Film Award for Best Film – First Prize in 1969
So here are all the things you can see about this man and at the last part of this article that, we can mention this man as a legend why because he never left anything behind to make a place in the hearts of the root level people. From the film industry to politics and serving the people of the root level and from this point of view this person is different from all the actor and actress of the whole Indian film industry. At the same time, he is somehow a model of the modern actors when he make the way to come in the movies and make things better then it was. Thats why, we should judge a person for his/her dedication not because of the popularity or something a like.


A short arthur miller biography describes arthur miller's life, times, and work miller composed the crucible in the early 1950s miller wrote the play during the. American life in the early 1950s prompted arthur miller to write the crucible, a play about the salem witch trials which has similarities to mccarthyism the. ― arthur miller, the crucible tags: argument, suspicion, trust 12 likes like pontius pilate quotes by arthur miller play the 'guess that quote' game. The crucible arthur miller the crucible is a fictional retelling of events in american history surrounding the salem witch trials of the seventeenth century yet, is as much a product of the time in which arthur miller wrote it - the early 1950s - as it is description of.
Click on the links below to take you to the full text of arthur miller's puritan play, the crucible act one act two act three act four. The crucible - ebook written by arthur miller read this book using google play books app on your pc, android, ios devices download for offline reading, highlight, bookmark or take notes while you read the crucible. Arthur miller's the crucible returns to broadway in a new production directed by the acclaimed belgian director ivo van hove set during the salem witch trials of the 1690s, the crucible is a. The review of the crucible in the january 28, 1953 issue of the soviet-funded and directed daily worker carried the unequivocal headline, 'the crucible,' arthur miller's best play.
Arthur miller, writer: the crucible arthur asher miller was born on october 17, 1915, in new york city, to augusta (barnett) and isidore miller his family was of austrian jewish descent. Arthur miller, in full arthur asher miller, miller's next play, no small measure to playwright arthur miller's use in the crucible. As shown by arthur miller's 1953 play the crucible, figurative language can also be used beautifully in the theater for this lesson, you'll learn about four types of figurative language that can. Arthur miller evokes a hero in john proctor of the crucible good test of morality john proctor is internally conflicted throughout the entire play.
Just as the main character in the crucible, john proctor, remained silent in the face of his own death, arthur miller also remained silent at his hearing however, he was not sentenced to death as. Parallels between arthur miller's play, the crucible, and his article why i wrote the crucible, can easily support miller's reasons for writing this classic play. Arthur miller was born in harlem on october 17, 1915, the son of polish immigrants, isidore and augusta miller miller's father had established a successful clothing store upon coming to america, so the family enjoyed wealth however, this prosperity ended with the wall street crash of 1929.
The crucible, a play by arthur miller that was first produced in 1953, is based on the true story of the salem witch trials of 1692 miller wrote the play to parallel the situations in the mid-twentieth century of alger hiss, owen latimore, julius and ethel rosenburg, and senator mccarthy, if only. In the play the crucible, by arthur miller, abigail williams' behavior is not without reason her mental instability is to blame for her actions. The crucible is a 1953 play by american playwright arthur miller it is a dramatized and partially fictionalized story of the salem witch trials that took place in the massachusetts bay colony during 1692-93.
It's fire and brimstone time at the virginia theater, where the crucible is thundering across the stage nightly it could be argued that another layer of moralism is precisely what arthur miller. By arthur miller the new yorker , october 21, 1996 p 158 life and letters about the inspiration for and influence of miller's play, the crucible, a reflection of the communist witchhunts of its. The play 'the crucible', by arthur miller shows a community, which ignites and burns with the accusations of witchcraft, mass hysteria and retribution set in the show more.
Yep—arthur miller's the crucible gives us a parable that spans centuries this play is a commentary on the claustrophobic puritanical-code-of-conduct-fear-of. Arthur miller wrote the crucible in 1953, during the era of mccarthyism in the united states the play, which is a fictionalized account of the salem witch trials, is an allegory (or extended. Autoplay when autoplay is enabled, a suggested video will automatically play next up next the crucible: meet the characters - duration: 7:15 the crucible by arthur miller. One of the most frequently produced of contemporary plays but never before filmed in english, arthur miller's the crucible doesn't emerge onscreen with its full impact intact this handsomely.


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