Sean Faden BIOGRAPHY
Sean has just completed work supervising the VFX for Lions Gate’s Power Rangers, working for months in prep, previs, and on-set. In addition Sean contributed several weeks as an additional 2nd unit director for the film (this most recent work enabled him to join the DGA).
Prior to Power Rangers, Sean worked for over three years at PIXOMONDO, supervising VFX work on Fantastic Four, A Good Day to Die Hard, Fast & Furious 6, as well as several episodes for Game of Thrones: Season 3. A Good Day to Die Hard saw Sean on set in Budapest for two months helping to plan and shoot the movie’s climactic ending. In 2012, while at Method Studios, Sean co-directed three long-form live-action spots for XBOX Kinect Star Wars titled “Duel” starring Chris Pratt, “Girly Vader” and “Xwing”- mixing HD footage from the original Star Wars with live action footage to recreate classic scenes with a modern twist.
Sean collaborated with Justin Lin to help create the dramatic airplane sequence for the pilot episode of CBS’s series Scorpion. He also was VFX Supervisor and 2nd Unit Director for Time Warner Cable’s Game of Thrones commercial “Game of Thrones. Everywhere.”
Sean has contributed as VFX supervisor for numerous high profile film and commercial projects including Let Me In, Captain America, The Girl with the Dragon Tattoo, The Purge, and The Amityville Horror. He was both the on-set VFX Supervisor and 2nd Unit Director for the feature A Nightmare on Elm Street. His commercial experience as a VFX Supervisor and on-set VFX Supervisor includes collaborating with some of the top directors in the industry, including David Fincher, Michael Mann, Mark Romanek, Noam Murro, and Tom Kuntz.
After graduating with a mechanical engineering degree from UCLA, Sean began in the industry by creating CAD-designed miniatures for The Fifth Element and Titanic at Digital Domain, before transitioning to their digital artist team.
In addition to his directing and on set supervision skills, Sean draws from his experience as a CG Supervisor for features such as Terminator: Salvation, Pirates of the Caribbean: Dead Man’s Chest, The Day After Tomorrow, XXX, and Time Machine, having spent many years working in digital FX and camera animation.
Sean recently directed an aerial unit in China, shooting locations all over the country for a WANDA ride film entitled “Hubei In the Air”. Between 2014 and 2015 he directed a 4 minute, stereo 4k, live action/CG commercial promoting one of Franco Dragone’s Latest theatre shows for WANDA in China entitled the “Xi Show.” Between film projects in 2015 Sean also co-directed a spot for PS4’s “Fake Mask.”


Columbia Pictures presents; Randolph Scott in ‘Buchanan Rides Alone.’ Big Man! Big gun! Big Excitement! Grab a bag of popcorn and Watch it now! Today we go behind the scenes of the 1958 Western, Buchanan Rides Alone, starring Randolph Scott. Much of the movie was filmed in Old Tucson, which is a famous movie location just west of Tucson, Arizona.
Anyhow, My Dad took his Aires 35-IIIL along for a random studio/location tour, and it just so happens that some of the scenes for the movie were being filmed that day. By looking at the pictures and shadow angles, it appears the morning was cloudy, and it cleared up in the afternoon.
The Movie Poster lists Craig Stevens, Barry Kelley and Jennifer Holden as supporting actors, but after the cutting room, Jennifer Holden had about 1 minute of airtime, if that much, so it looks like she was the ‘hook’ for the younger male crowd; they even made it appear she had a love scene by the graphic on the right side of the poster, but that never happened.
Randolph Scott was a big star back in the day, and called Fred Astaire and the reverend Billy Graham friends, along with Cary Grant, in which he shared a Malibu beach house with, calling it ‘Bachelor Hall.’ Scott also had a brief marriage to Heiress Marion DuPont, of DuPont de Nemours, Inc.
The somewhat faded images below were taken on Kodak Ektachrome in February 1958, and the movie was released in August of that year, so a quick production turn around back then.
This is the entrance to ‘Agry Town’ where Buchanan rides in at the very beginning of the movie, and at the end where the bag of money is laying in the middle of the bridge. Judge Simon Agry gets shot by his brother Lew here too. The Sheriff’s office is the brick building to the right.
This picture was taken by the left side of the building that you see in the broader view above.
Panned to the right and a few steps back, from the image above. It looks like they’re shooting a mob scene at the Sheriff’s office.
A couple of actors can be seen here, Carbo, (Craig Stevens), has the black vest and hat left of center, and the town cryer is just over his shoulder, with the blue shirt. Notice the ‘Agry Town Hotel’ sign on the right, above the guy’s head.
This is the part of town where Buchanan and Juan almost get hanged; see the log over the walled entry, to the left of the church. The bushy tree on the left background is where they tied up the horse and buggy a couple of times.
Judge Simon Agry saves Buchanan and Juan from being hanged, screen grab.
The bushy tree they tied up at, 1:08:06 in the movie.
Tom Buchanan Rides alone, (Randolph Scott).
A fake Saguaro Cactus that shows up in several scenes. Cowboy unknown.
This is the scene at about 55 minutes in, where Juan, Pecos and Buchanan are headed to Mexico to intercept the ransom money; it’s depicted in the movie as night time by using a darkening filter over the lens.
Probably Buchanan’s black Cadillac Limo parked near the shooting that takes place this day. The adobe hut on the right is the ‘old shack’ they used for hiding out at the 48 minute mark.
The ‘old shack’ as it appeared in the movie.
This is looking down mainstreet towards the bridge in the opening scene with Buchanan riding into town. A cloudy morning it appears.
How it appeared in the movie, obviously the sun made an appearance for this scene.
Well, that’s all folks, hope you enjoyed the ‘behind the scenes’ from Buchanan Rides Alone. It’s actually a good movie, see it here.


Musical Theatre Performance Camp
Grades 7th – 10th (in the fall of 2017)
This performance intensive camp will prepare you for the professional track. Rehearsal to stage in three weeks in a full production of Beauty and the Beast Jr. Directed by Zach Gray & Stacey Flaster with Musical Direction by Liz Fauntleroy this will be the experience of the summer! All performances will be held at Skokie Theatre and each student will receive two comp tickets to a show.
Cost: $1950 (Three Weeks + Performances) Audition Required.
Audition: Video tape submissions Please prepare and videotape a 32 bar cut of a musical theater song with accompaniment (piano or instrumental track). We should be able to see you and hear you clearly on the video. Please email the video or video link (Youtube or Vimeo) to firstname.lastname@example.org. We will email acceptances.


Posted July 22, 2013 by Takeshi
Want to star in a reality TV show? Here’s your chance! An TV production company is working on a reality TV show based around competitive salsa dancers in the Bay Area. Sound interesting? The details are below:
CASTING: Major Los Angeles Based Production Company, with Latin Dance Competition Show in Development, seeks potential cast members.
If you are into Salsa/Latin Dance, have a *BIG* personality and know you can bring drama and fun to the screen, you are who we are looking for. Bilingual Spanish is a huge plus. Think Dance Moms, for adults. If you are a TEACHER, LEADER OF A TEAM or JUST A STUDENT/COMPETITOR, we are looking for it all. Also, same sex dance partnerships featuring gay men is also something we’d like to bring to television to help break down barriers.
Contact the lead producer of the project, Jason Panick at firstname.lastname@example.org (More details on the production company, references, etc. can be provided upon reply)


Media Production Co-ordinator EPA
The Media Production Co-ordinator is a 'core and options' apprenticeship standard.
All apprentices undertake the core element of the apprenticeship and then choose to specialise in one of two key creative production areas:
1. Post-production, VFX/CG and animation
2. Film, TV, commercial, short form radio and audio production
A Media Production Co-ordinator works within the creative media industries, as part of a production team delivering a film, TV or animated series, commercials or in specialist post-production departments. These professionals can be employed by a range of businesses including television, film or radio/audio production companies or VFX or post-production facilities. Their work on a project can range from a single or a series of productions, seeing them through from pre-production through to post-production, or through a specific part of the process.
The broad role of the occupation is to co-ordinate productions using specialist production management skills, knowledge and experience. A production co-ordinator is not limited in their potential roles as they can work across all genres in film, television, radio/audio or commercials; they may work in the production office, on set, in a studio or on location, in the UK or internationally. Their responsibilities can include supporting and delivering the operational elements of productions in film, TV, commercials, short form production, radio/audio, post-production, animation and VFX. This may include logistics, finance, personnel, equipment and/or content for productions, both on and off set, studio or on location. However, this can vary from role to role.
The Media Production Co-ordinator is a core and options Apprenticeship Standard, to reflect the varied roles that come under the production co-ordinator occupation in the creative media industries. All learners will undertake the core element of the apprenticeship, and then they will choose to specialise in one of the two production options.
Option 1: Film, TV, Commercial, Short Form Radio and Audio Production – The Production Co-ordinator working as a member of the Production team will provide operational support to the Production Manager. They will help the team deliver the needs of the production, including obtaining rights and legal clearances to production content, producing and maintaining production documentation, organising resources and logistics including transport, accommodation and equipment and scheduling productions. Production Co-ordinators will have a clear understanding of the production process and the changing needs and demands of the production team.
Option 2: Post-production, VFX/CG and Animation - The Production Coordinator or Junior Bookings Producer working in post-production, VFX/CG or Animation areas is responsible for assisting their team with the day-to-day running of a single project or multiple projects. They act as the first point of contact for the productions they are working with, dealing with specific post-production workflow queries, staffing and facility schedules, post-production deliverables and cost reports. This can include managing the reviewing of work and ensuring that appropriate notes and records are kept, liaising with clients over ingest of content, deliverables and client attended review sessions, scheduling and assisting with other logistical tasks as requested. They work with the Producer, Leads and Supervisors to track and manage the workflow through the departments meeting internal and external deadlines.
the apprentice is working at or above the occupational standard
apprentices must have achieved English and mathematics Level 2
the apprentice has collated a portfolio of evidence to underpin the professional discussion
apprentice must have agreed a project proposal with AIM Assessment
Production project report, presentation and supplementary questioning
Professional discussion underpinned by portfolio
Find out more on the Institute for Apprenticeships & Technical Education website and be sure to read our story about the first media prodution co-ordinator apprentice to pass via an AIM EPA.
We are members of the Association of Apprentices which unlocks access to a host of free resources and peer support aimed at helping apprentices maximise their apprenticeship.
If you would like to speak to our team about AIM end-point assessment services, please email email@example.com.


23 & 24 Sep
Extra show on 23 Sep (courtesy of EUNIC)
6:00 p.m. - Cancelled due to unforeseen circumstances. Apologies for any inconvenience caused.
Limited to 90 people per show, on a first-come, first-served basis.
Inspired by the journey of the “Orient Express” that originated in France and reached Eastern
European countries, Theatre de la Cour and The Jumping JellyBeans present three travelers
from different countries who try to communicate with each other despite their cultural and
linguistic barriers. The comic performance uses mime and clown techniques to interpret the
characters’ slow change into their own animal metamorphosis. Audience participation included!
This performance is suitable for all ages, culture and language, and will be performed on the
platform of the historic century-old Keretapi Tanah Melayu (KTM) Berhad station.
The actors will also be conducting workshops with selected schools within the city center.


Having recently seen Tron: Legacy, I find myself with some questions, and I was hoping you could answer them.
Who was your target demographic for this film? “Guys” was a no-brainer, but what age range? I’ve been trying to figure it out, but the clues go in all directions. Legacy, the title of the movie itself, sounds like a topic for us middle-aged and older viewers, the ones likely to remember Tron. What kind of world have we shaped, how will our kids remember us—you touched on those questions if only briefly. Although Sam Flynn has all the spiffy action scenes and gets the girl, Kevin Flynn haunts the movie well before his reappearance and what plot there is really does center on him and the results of his deeds and decisions all those years ago: a son, an evil alter-ego, a virtual world he helped create—all of it boiling down to Kevin’s identity disk, the sum total of who he is on The Grid and the key to victory for whoever can claim it. But then again, Sam Flynn is 27, he’s presumably the protagonist, and he’s being paired up with a woman who is whatever the computer equivalent is of 20-something. They’re supposed to be the characters the younger members of the audience identify with, right? The whole bit with sexy women in skintight bodysuits doesn’t tell me anything; they’re designed to appeal to any straight man who’s made it past puberty.
Overall, I’m a bit lost as to why you made a sequel to a movie that’s almost thirty years old and then were a bit stingy with the backstory. Based on a completely non-scientific random sampling of WordPress blogs, I could say that most people hadn’t seen Tron. For those people, the movie’s title won’t make a lot of sense, which isn’t an auspicious beginning. Even when we find out Tron’s fate, he ends up on the periphery of a movie that’s named after him. (Okay, he wasn’t the real star of the original film either, but he got significant screen time.) And despite my critical tone, folks, I do understand your dilemma. A program, like a dragon, may live forever, but not so little boys: Bruce Boxleitner has aged just as Jeff Bridges did. Using all the tricks of modern cinema to make one character look forever young could maybe slip by; doing it to two characters would’ve been pushing it.
Also, why include Edward Dillinger? Seriously, only those of us who saw Tron will have any idea as to what his connection to ENCOM is, and there’s no description of his father despite the elder Dillinger’s key role in Tron. But then, having gone to all the trouble to create this character, you fail to use him beyond a few throwaway lines at the start of the film. Since you named the film Tron: Legacy, I can only assume that inheritance, father/son relationships, etc. are a theme you wished to explore. There were several directions you could go, what with having both Kevin Flynn’s son and Ed Dillinger’s son needing to come to terms with their fathers’ legacies. Having two sons to work with, you could have looked at different choices. And yet, you dodged the entire issue. It’s a option, yes, I’m just curious as to why you chose it.
Indeed, since a lot of the trouble with this movie is the rough transition between it and the original, why make a sequel at all? Why not remake Tron instead? Of course, remakes are a challenge in their own right. Some, like the current True Grit, earn great reviews but it’s true that many of them don’t. (I will itemize my complaints about Race to Witch Mountain under separate cover if I can ever bring myself to watch it again. But even then, the remake idea, however imperfectly realized, was still better than a thirty-years-delayed sequel to the two previous Witch Mountain films.)
I suppose what it all boils down to is this: why did you pour millions into special effects, salaries, promotion, and so on, and let it all go out with a less-than-stellar plot and writing? Certainly yours is not the only film I could ask this about; Avatar is an infamous example of this problem. I mean, wouldn’t good writing benefit you in the end? Does it cost more than bad writing, or something? See, I just saw your movie Tangled. I’m considering buying it when it comes out. Now overall, I think Avatar is much more impressive visually, but Tangled was the better-written movie. The thought of buying Avatar has never crossed my mind. Unfortunately for your bottom line, however minute that unfortune, I have no intentions of buying Tron: Legacy either. If it had had a plot to match its special effects, it might also be up for serious buying consideration. Just saying.
I went into Tron: Legacy with high expectations for the special effects, low expectations for the story itself, and that’s pretty much how it played out. I really did hope I’d like this movie more than I did, although I would’ve regretted not seeing it. Anyway, any light you can cast on these questions would be most appreciated. Thank you.
P.S. Thank you for eventually making it clear what the relationship was between Kevin Flynn and Quorra. I was having nasty thoughts that he’d created a little male-fantasy program to ease his loneliness through the years, and I never wanted to think of Flynn in that way. Nor did it seem like something normally associated with your brand. Clarifying their relationship did improve my opinion of the film.
P.P.S. No Yori? And you killed off Lora? That leaves Quorra and Gem as the only significant female characters in the movie, and calling Gem “significant” is pushing it.


Los Angeles Based Music Composer & Producer
Joanne Higginbottom is a Welsh music producer and composer for TV, film and video games based in Los Angeles. She is most known for her score for Emmy Award winning Genndy Tartakovsky’s PRIMAL — a violent yet heartbreaking animated series with no dialogue. She previously worked with Tartakovsky on his hit show Samurai Jack and is the composer of his new steampunk fantasy series Unicorn: Warriors Eternal.
Joanne works closely with Tyler Bates and produced the scores for Day Shift & The Spy Who Dumped Me — recorded at Abbey Road. She also boasts a long list of additional music credits including John Wick I, II III & IV, Deadpool 2, The Punisher, Guardians Of The Galaxy, Fast & Furious: Hobbs & Shaw, The Exorcist, Atomic Blonde & Criminal Minds.
Outside of film and television Joanne has worked on a number of high-caliber titles in the video game industry. She has also co-scored the California Adventure Theme Park attraction Monsters After Dark which plays during Halloween on the Guardian’s Of The Galaxy: Mission Breakout rollercoaster.
Joanne’s unique musical voice is one of experimental electronics blended with classical instrumentation. Paired with her unbridled dedication, this has dubbed her ‘one to watch’ in the industry as well as being an advocate for women in film.
- Music Production
News + Features
Joanne Rocks Comic-Con with Live Orchestra at Adult Swim Festival
A huge crowd at Comic-Con experienced a live orchestra performing music by Joanne Higginbottom from Genndy Tartakovsky’s PRIMAL, Samurai Jack and Unicorn: Warriors Eternal.
As part of the Adult Swim Festival, Joanne was featured playing drums and percussion alongside Tyler Bates in the Genndy Tartakovsky Musical Experience — with an introduction by acclaimed creator Genndy Tartakovsky himself.
• WATCH PERFORMANCE CLIP •
'Unicorn: Warriors Eternal' Now Streaming on MAX & Adult Swim
Unicorn: Warriors Eternal features striking fantasy animation from Genndy Tartakovsky underscored with epic musical themes by Joanne Higginbottom — as we follow a group of heroes who are reborn throughout time and awaken as teenagers in 1890s steampunk London.
Set amongst the backdrop of an evil force looming across the smoggy streets of London, the first episode includes a powerful scene that introduces us to Melinda's grand theme. Joanne took particular care scoring this scene to complement the profound inner power-struggle that follows Melinda throughout the series; this is the first of many times the melody will be reprised through Melinda's story arc in Season One.
• WATCH MELINDA'S SCENE •
'Criminal Minds: Evolution' Renewed for Season 2
Good news! Paramount+ has renewed Criminal Minds: Evolution for another season.
Here's one of Joanne's favorite scenes she scored from Season 1. This musical cue is jam-packed with action, shock, and emotion — it's an opportunity for the score to shine as Bridget realizes her husband is the serial killer the FBI have been searching for. This moment had been highly anticipated through the entire season and doesn't disappoint.
• WATCH THE SCENE •


A friend sent me the link to this wonderful and powerful song and video probably several years ago. I thought it appropriate to share during this Holy Week.
The song is sang by two of my very favorite country artists, Brad Paisley and Sara Evans, and as is typical, they do a superb job.
The video is primarily excerpts from Mel Gibbson's Passion of the Christ. If you have not seen the movie, be mindful that some of the scenes in the movie and this video are very realistic of the crucifixion and may not be something that everyone may want to watch, although I personally think everyone should watch Mr. Gibbson's movie.
I heard it said that when the Pope was given a private screening of the movie, he reportedly said, "It is as it was." And indeed, it does follow the Word of the Lord as recorded in the Gospels.
May God bless all people this Holy Week!


Top 10 High School Sports Movies Programs
There have been many movies involving high school sports. Some are too old for me to remember, and some are just ridiculous, which why I love them and include them on this list. Being from Indiana, the pinnacle of high school sports movie is an easy number one. Let’s just say it involves basketball, Coach Norman Dale, a drunken Dennis Hopper, and the picket fence. To the list!
10. Johnny Be Good (1988): While this football movie is far from a classic, I remember seeing it at the movies and coming away thoroughly entertained. I was also 10 years old. Equal parts of Anthony Michael Hall, Robert Downey Jr., and Uma Thurman deliver a mind numbingly fun movie. Also, every athlete wishes they had Johnny Walker-like recruiting trips.
9. Varsity Blues (1999): A lighthearted take on the high school football scene in Texas, James Van Der Beek plays a backup quarterback shoved into the spotlight, when the starter goes down to from an injury. He also turns downs a whipped cream sundae in the form of Ali Larter. That was inexcusable.
8. Bring It On (2000): Put a group of gorgeous cheerleaders on the big screen for 90 minutes, and that qualifies as sports movie for me. This movie is surprisingly watchable.
7. Friday Night Lights (2004): A great Peter Berg movie, focusing on the powerful grip high school football has on a West Texas town. High school kids being treated as celebrities, is always an interesting sociological experiment. As good as the movie was, the television show is much better. Do yourself a favor and watch both.
6. Lucas (1986): A nerdy high school kid falls for a girl, who then falls for his much larger football star friend. Ok, he was more like an older brother figure, but we’re still talking about a movie with Corey Haim people!
5. He Got Game (1998): Who saw this performance coming out of Ray Allen? He won’t be looking for work long when he retires from the NBA. Oh yeah, some guy named Denzel Washington plays his father, who is looking to get his prison sentence shortened by pushing his basketball prodigy son toward Big State.
4. Hoop Dreams (1994): This is a documentary that focuses on two Chicago area basketball players looking to earn college scholarships. The family backgrounds and inner drive that are brought to light make this documentary riveting.
3. Karate Kid (1984): While karate is not really a high school sport, when an 80 pound high school kid teams up with a 60 year old Okinawan handy man to dismantle the Cobra Kai’s, you include them in any list you can.
2. Teen Wolf (1985): Let’s say the below average 6th man on your basketball team morphs into a werewolf. He then begins averaging 50 points a game, gets the hottest girl in school, hangs out with Styles and fat guy named Chubs, and wears a white suit to prom. Sound cool? If not, please check your pulse.
1. Hoosiers (1986): Hands down the best high school sports movie ever. Gene Hackman, Dennis Hopper, and the rest of the cast have you pulling for the Hickory High basketball team like you have money riding on each game.
Know more about New York Giants Youth Football Camp today!
find sports camps near you


Dana E. GoldAssociate
Dana Gold concentrates her practice in real estate, construction and landlord tenant litigation, both residential and commercial. Dana handles all aspects of a broad based litigation practice, from inception through trial. Drawing on her extensive courtroom experience, Dana has successfully argued motions and tried cases before various courts and administrative agencies.
Dana also teaches a course at Columbia University entitled Legal Issues in Building Construction, a required court for students pursuing a Master’s Degree in Construction Administration.
A movie buff and a fan of the classics, Dana majored in film at Columbia University, where she set out to become a screenwriter and director. After taking a class on the First Amendment, Dana realized, however, that her calling was law. Dana was once a contestant on Who Wants to Be a Millionaire.
Dana was named a 2019 Rising Star in Real Estate Weekly.
926 RXR Plaza
Uniondale, NY 11556-0926
Brooklyn Law School, Juris Doctor
Columbia University, B.A.


I’m a late horror movie enthusiast, avoiding them like the plague when I was younger but now loving a good scare. In an old blog post, I summarised what I thought made a good horror movie and put forward an arguement for why The Strangers is one of the greatest modern horrors in terms of plot, pacing and suspense. The Strangers was an unexpected delight by first-time director Bryan Bertino who understood how not to blow his load too soon in terms of cramming in the scares.
The film was a slow burner until THAT scene where Kristen stands oblivious in the kitchen which still gives me chills. The antagonists give no reason for their actions, the protagonists struggle to survive with heartwrenching conviction and the ending is bleak with no heroes. As a unique entity, I was quite content to leave the story of The Strangers untouched so my eyebrows raised so high that I was renting them out for advertising space when I saw a sequel was in the works. My highbrows became furrowed when I then saw that the cinematic release of The Strangers: Prey at Night was limited to the U.S. with a straight-to-DVD release worldwide.
My Mam loved the first movie. What she loved less were my antics of hiding behind her bedroom door, wearing a pillowcase on my head and weezing at her that evening. She clearly hadn’t learned her lesson when she bought me the DVD this Christmas.
Dollface, The Man in the Mask and Pin-Up Girl, ready to take you to church, Miss Thing.
To give you a spoiler-free summary, The Strangers: Prey at Night is a very different being to the first The Strangers, bringing a different, self-aware, 80’s slasher atmosphere to some familiar killers, not afraid to poke fun at itself though at the expense of some genuine scares.
Spoilers continue below, if you get sniffy about that sort of thing.
Remember how I described the first movie as a slow burner? As a pick-up truck blasting Kim Wilde’s Kids in America crawls through a misty trailer park, stuff gets messed up within the first five minutes in P.a.N. with Dollface breaking into the mobile home of an elderly couple. Their bedroom door slams shut and a title card in swirling blood that wouldn’t look out of place in a Stanley Kubrick or John Carpenter movie fills the screen.
The action jumps to our antagonists; the quintessential American family of a mother, father, older brother and a troubled younger sister. The family are going to visit some relatives at a trailer park camp (hmm, I wonder which one) on the way to taking their daughter, Kinsey, to a boarding school. During the drive, way more character background is established with this family than the initial mystery between Jamie and Kristen in the first film, making the audience warm to the characters much faster and their inevitable peril something to rally against. There was some bad writing during a diner break between Kinsey and her mom, Cindy, with Kinsey passing off her failing grades and bad attitude as “I’m a teenager” which I felt was bullshit. When I was a teenager, I achieved good grades, had a long stint of cross-dressing when I was definitely not gay and eventually hit some mental health issues – being a teenager is easy; she’s just being extra.
The family arrive at the park late into the night and try to get comfortable before a knock at the door and a strange woman asking “Is Tamara home?”. I did take some issue with this as we know what’s about to go down based on the first movie and horror has already been established before the credits but the act does work to unnerve the family.
Following some tense interactions in the trailer, Kinsey storms out for some fresh air, setting up the divide motif of the standard horror. Cindy sends Kinsey’s brother, Luke, to find her, leaving Cindy and Mike, the dad, alone until the mysterious girl comes knocking for Tamara again. The parents wisely go searching for their kids.
Luke and Kinsey find the relatives they were visiting in an unlocked trailer, mutilated. Grisly shock established, the teens bump into their parents and group splits again with Mike and Luke returning to their butchered family whilst Cindy and Kinsey go back to their trailer to find all of their phones smashed and Dollface waiting for them with a big knife. Cindy and Kinsey take refuge in the bathroom whilst Dollface pursues and Live It Up by Mental As Anything plays in the background, reminding us that this venture isn’t as straight faced as it’s predecessor.
I did however shift uncomfortably at Cindy screaming “Leave us alone” which, whilst a fair request, was a line that Liv Tyler delivered more harrowingly in the first movie. Cindy helps Kinsey escape through a skylight but her “leave us alone” request goes unnoticed as Dollface breaks through the door and stabs her to death. In case you weren’t sure, this is definitely a slasher.
Mike and Luke, after a few spooks, head back to their now empty and bloody trailer, finding Cindy. When they search for Kinsey in their car, a brick that misunderstood how to properly fly hits their windscreen, causing them to crash into a trailer with a fence post impaling Mike into his seat. Mike sends a tearful and traumatised Luke to find Kinsey. Trapped in the car, the prowling Man in the Mask – henceforth known as Sackboy – sits next to Mike and turns on the radio to Kim Wilde’s Cambodia. As Mike pleads to be spared, Sackboy brandishes a thin knife and slowly stabs Mike in the neck, waiting until he bleeds out before switching off the radio and going back on the hunt. The eerie control of Sackboy’s actions feels like a nod to the late kitchen scene in the original film when Kristen hid silently crying in the pantry, watching him sit at the table, look straight to where she was hiding and then calmly leave the room. It didn’t end well for her either.
Kinsey hides from Sackboy in a kids playground but is spooked by the hitherto unseen Pin-Up Girl (who I shall incorrectly call Betty Boop) who says they, the killers, are doing this simply because they can.
Prey at Night becomes a true winking-to-the-camera delight shortly thereafter, as Luke, cut off from phoning for help, tries to escape through the trailer park pool. All of the neon lights switch on as Total Eclipse of the Heart starts blasting. Luke confronts Betty Boop and stabs her to death before challenging an axe wielding Sackboy, shouting “I’ve killed one of yours, how does that feel?” Sackboy loses his compsure and starts swinging his axe like a, well, crazy axeman at Luke. The fight falls into the pool and is a near victory for Luke before he takes a knife to the back, all while Bonnie Tyler’s banger continues playing. Luke is pulled from the pool by Kinsey and hidden from danger as she plans to get out of the park and get help.
A patrolling officer arrives but gets his throat slit by Dollface. Kinsey leaps into the empty patrol car and shoots Dollface in the chest with the officer’s shotgun. Kinsey removes the mask and asks Dollface why they were doing all this, to which she laughs “Because why not” before taking a skullful of shotgun shell. “Because why not” and the earilier “because we can” may seem like a writing cop-out but that was the deadly trio’s intention in the first film and the for-shits-and-giggles ethos mixed with the gory slashing works really well. Not every villian needs to be an abandoned sibling or the kid you publicly kinkshamed; they can just be a sick nutter.
Sackboy makes his presence known by crashing his truck into the patrol car, multiple times. As his petrol tank starts leaking, Kinsey takes out her lighter (because she’s a rebellious teen who smokes) and throws it at the petrol. One cool background explosion later and Kinsey is limping towards the exit with Sackboy dead.
Juuust kidding, the flaming truck starts driving after Kinsey but gets stuck on a bridge. Sackboy, badly burnt, gets out of the vehicle and stumbles towards Kinsey before hitting the ground. Kinsey manages to stop a passing car, begging for help for Luke, safe that Sackboy is dead.
Juuust kidding again; he gets back up and follows her but one final golfclub to the head sorts him out for good.
I mean it this time. I think.
The unstoppable killer is a classic B-Movie horror trope that ends the gorey events very nicely with that level of self-awareness that is a pleasure to behold in a formerly so dry, I tentatively call, franchise.
Occasionally reused dialogue and at times plain bad dialogue aside, The Strangers: Prey at Night is a satire of both slasher horror and of it’s past self without wallowing in it’s heritage by trying to recreate it’s more effective moments. Prey at Night is well worth watching for any classic horror and/or 80’s soundtrack enthusiast.


About "American Quilt" and Anne Bancroft: Do women’s movies have a common thread?
[…] Based on Whitney Otto's best seller, "American Quilt" recounts the romantic travails of a group of older women (played by Maya Angelou, Anne Bancroft, Ellen Burstyn, Kate Nelligan, Jean Simmons, Lois Smith and Alfred Woodard) who gather together to make a wedding quilt for Burstyn's granddaughter (Winona Ryder). A little conflict, a bit of bawdiness, some tears, much nurturing and forgiveness are spread over an episodic course of intimate conversations and illuminating storytelling.
Not all these elements and patterns appear in every woman-centered film of 1995. But a surprising number pop up again and again, even in such unexpected places as the teen-age comedy "Clueless." And none of these pictures even flirts with the unpredictability and edginess of what many recall fondly as the best "women's movie" of recent vintage, "Thelma and Louise."
Of course, it must be said that this genre in the making is nowhere near as rigidly uniform as the hundreds of male-centered action movies Hollywood has churned out in the past dozen years. And even if the newer women's pictures do share a certain sensitivity, their creators are aiming to make them no less tough than all that guy stuff.
"We wanted edge, intelligence and wit. We really didn't want this movie told through gauze," says "American Quilt" producer Sarah Pillsbury, whose previous films with partner Sanford include such flavorsome fare as "Desperately Seeking Susan," "River's Edge" and "Eight Men Out." "We don't think of women's stories and women's lives as soft. Actually, most women's lives are pretty damn hard, and the idea that there's not a hard edge to a women's story because no one pulls out a gun and shoots somebody is really offensive to us.
"Our concern about all of these women's movies that are coming out," Pillsbury continues, "is people who see something that is emotional and will call it sentimental and manipulative. Because it might have provoked some feeling in them, they think they were manipulated as opposed to, maybe, they saw something that moved them. We made a point of emphasizing that life hurts, but you can triumph over that with the power of forgiveness."
Pillsbury and Sanford hired director Jocelyn Moot-house precisely for the tough-minded spirit they'd seen in her work. The Australian filmmaker, however, actually viewed "American Quilt" as softer than her astringent feature debut, "Proof" and the raucously illuminating "Muriel’s Wedding," which she produced for her husband, P.J. Hogan.
"I wanted this to be a very gentle film, very loving," Moorhouse says. "That was selfish on my part, I guess, because I'd made a rather vicious film with “Proof.” But the script that won me over was very loving and tender, but at the same time not sentimental. It does explore those areas of how women love men and women deal with certain emotions ? especially if they're cerebral women - how they deal with the more primal urges. Intelligent women can often be completely confused by their hormones taking over.
"That’s one of the little secrets about women that often aren't explored in movies," Moorhouse continues. "Maybe it's good to show some of those secrets, maybe that's why there are all these new films coming out about women. Perhaps what will happen is that it will continue along this path. But when you have films with a lead female character, we'll get to know her through a more truthful side. What I certainly want to do with future films is show more of a female's self in reaction to things, as opposed to what men might expect a woman to do."
The intimate, verbal and open-hearted nature shared by many of the current films seems natural enough to actress Alfre Woodard. "There probably are reasons why they're happening right now, but they should have been made all along," says the double Emmy-winner and star of "Crooklyn" and "Passion First" as well as TV's "The Piano Lesson." "It's the absence of them in the past that we should note. This is what women do when they're together. You sit two women in an office, waiting for more than 10 minutes, and they will start to share stories. And even if they're strangers, women don't listen casually; they start to comfort or give advice or empathize. It is something that's very natural, What's very unnatural is that if it has not been in the cinema before."
Anne Bancroft is not surprised by that. She is arguably the lasting and most prolific movie actress in the entire "American Quilt cast, this Oscar-winner for "The Miracle Worker" and indelible Mrs. Robinson from "The Graduate." An she has an unexpected answer to the age-old actress’s lament that there aren’t just aren't enough good roles for women in movies.
"Listen, it's tough for women to get good roles in life - the hell with Hollywood," Bancroft says laughing but not joking. "Is it not true? Look at the president's cabinet. Look on the list of doctors at any hospital. Look at the astronauts. Aren't there far more men than women doing the dramatic work in the world? That’s why I’ve always been interested in the world and not the movies." But things do change, and change again. Bancroft, herself prospered during an era when an emergence of feminism inspired all kinds of new and challenging female roles. And that wasn't the first time that women made lots of terrific movies.
"It's cyclical," says Samantha Mathis ("Little Women"), who plays a younger version of one quilter in one of the new movie's flashbacks. "If you look at the movies of 1930s and '40s, God, there were great women's roles. Katharine Hepburn, Bette Davis, the list goes on and on. As for where it's going, it'be really nice if we get to a point where a movie like this isn't considered a 'Woman's movie.' It would be good to get beyond those perceptions that something is male and female, just human. I think this movie ["American Quilt"] is very human; it's not just a 'chick flick,' if you will." © The Boston Globe


This is a good, but disturbing, movie. The cover makes it look like a comedy, and, while there are funny moments, it’s dark. There’s a lot of threats of domestic violence, and as I watched it, I wanted Russell’s character to leave the area and get to safety.
That was my expectation of the movie, but, that was, and is, an unrealistic longing constructed from viewing so many TV shows and movies where women are quick to take decisive action to leave bad relationships.
How often is it that the story revolves around a person leaving a bad relationship? How often do we see a person, usually a woman, in a bad relationship, who is getting extracted from it by some savior character?
That happens, and it’s the story people want to see, and if they happen to live that story, it’s the story they tell. But, probably more common, is the story of someone getting through their difficult situation and escaping slowly, getting to safety, and some kind of contentment.
This movie is about a woman making a slow escape, having the effort thwarted, and then having a happy ending. The happy ending looked so “tacked on”, as some kind of Hollywood Movie Requirement, so it might be a good idea to ignore it.
The director, Adrienne Shelley, was murdered before the film was released. It’s such a tragedy.


Christmas in July: Favorite Movies July 19, 2009Posted by texasheartland in Christmas, Christmas in July, Feelings, holidays, Movies, thoughts.
Tags: Christmas, Christmas in July, Christmas movies, Claymation Christmas, Feelings, garfield, How the Grinch Stole Christmas, Movies, National Lampoon's Christmas Vacation, Nightmare Before Christmas, thoughts, White Christmas
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Everyone has their favorite Holiday movie they enjoy watching year after year. Everytime Christmas rolls around, they are excited that they will once again see a movie they love for what seems forever. In fact, there are some Holiday movies that I don’t even put in storage after the Holidays are over with. When a Texas Summer can easily reach over 100* for days (or even weeks) on end, you do what you can to stay cool, even if it’s just wishing for snow. So what do I watch year-around, especially at the Holidays?
Even though they don’t play it on television anymore, I still enjoy National Lampoon’s Christmas Vacation because in some way, I can relate to them.
I am so glad they play this at Halloween and again at Christmas. It has become one of my favorite movies. It was this movie that I deemed Tim Burton to be a genius.
This HAS GOT TO BE one of my most favorite Holiday movies of all time. I remember watching it as a kid and just wishing for a White Christmas. That’s when I feel in love with Bing Crosby.
This is such a funny movie, yet heart-warming. The first time I saw this was actually when Mom bought it for all of us to watch when it came out. I still watch it during the year, even when it isn’t Christmas.
I love watching this every chance I get. I watched this when I was just a tot and fell in love with the whole claymation idea!
I love Garfield, need I say more?


Prize: Trip to London for four
To promote the epic action adventure Jack the Giant slayer, Best Western has teamed up with Warner Bros to give you the chance to win a GIANT adventure in London. This includes;
A VIP cinema screening
£200 spending money
Overnight accommodation for a family of four
In Jack The Giant Slayer, this actor stars as Elmont. He is best known for his iconic role as Obi-Wan Kenobi in Star Wars: Episode I,II & III, and has also starred in Moulin Rouge and Big Fish. Name this actor.
For terms and conditions, see website.See more competitions in Going Out Click Here to see Competition


How to Download Movies on a Laptop / HP for Free!
Jaka is sure there must be many friends who like watching movies. And Jaka is also sure, many friends can’t come to the movies because they’re busy.
How do you watch movies without coming to the movies?
Easy question, that is, just download the movie. So you can watch anywhere. Because it turns out, how to download movies on a laptop or cellphone is easy and free!
How to Download Movies on an Android Phone
Photo source: Image: ShutterStock
Easy because Jaka uses the movie download application. No need to bother looking for a movie download site that must be accessed through a computer. Plus, there are notifications when there is a new movie, so it’s up to date. Once there is a new movie, just select it and click download. Easy as that!
The choice of films in the application itself is very complete. Both old and new films, almost all are there. It’s just for a new movie, sometimes the quality is not 1080p Blu-Ray . So what, you want to know how to download movies with applications on your cellphone? See the following for the complete method …
Steps to Download Movies on an Android Phone
Step – 1
First of all you have to download and install the application called ‘INDOXXI‘ first .
Step – 2
Open the application that you just installed, then look for the movie you want to watch. To make searching easier, you can search by using the ‘Search Box’ or ‘Film Category’ feature .
Step – 3
If you have selected the desired movie, click ‘Play Button’ as shown below. Then the following three options will come out:
- Trailer: To see the movie trailer first.
- Play: To watch movies online or streaming.
- Download: To directly download the movie.
How to Download Movies on a Windows Laptop
Indeed, frankly it’s a bit complicated, downloading via HP keeps moving to a laptop to watch. It’s better to just download directly through the laptop. Once finished downloading, just watch it. To download movies via a laptop or PC, we can use the best movie download sites.
This best movie download site presents a variety of films that are very complete. In contrast to most movie download sites that have lots of annoying advertisements, this site does not. Minimalist and professional. So, how do you download the movie? Check out the following steps …
Steps for Downloading Movies on a Windows Laptop
Step – 1
First of all, you have to visit the site to download a movie called ‘Movie Gan’ . You can visit the site via the link that Jaka has provided below:
Visit: Movie Site Gan
Step – 2
Go directly to the site that Jaka has recommended, then search for the movie you want to watch and download. For simplicity, you can use the ‘ Search ‘ feature .
Step – 3
After finding the desired movie, click the ‘Download’ tab . Continue downloading ‘Subtitles’ , then download the movie according to the desired quality. See the picture to be clearer.
Well who would have thought, it turns out the way to download movies on Windows laptops and Android phones is enough with three easy steps. Moreover, this is all done for free! All this thanks to the best sites and movie download applications, making things easier. Good luck!


MUMBAI: Bollywood producers heaved a sigh of relief on Monday after the Supreme Court granted Sanjay Dutt interim bail. However, they have decided to keep the champagne on ice till the final verdict.
Nearly Rs 500 crore is riding on Dutt, if one takes into account the upcoming films and brand endorsements, and his sentencing last month had cast a big question mark over its future.
With the interim bail, pending projects such the Rs 50-crore home production with producer Sanjay Gupta, Alibaug; Sanjay Gadhvi’s Rs 35-crore Kidnap; and the Rs 35-crore Mehbooba, directed by Neeraj Vohra and co-starring Ajay Devgan may get priority.
Dutt will have to work overtime to complete them before a copy of the final judgement is delivered to him. There are also films like Mr Fraud, for which producers are unwilling to begin shooting until the final judgement is out, and it was clear how long the actor would remain out of jail.
“Even though he has got bail, much depends on what happens in the final judgement. After all, this is just an interim bail,” film trade analyst Taran Adarsh said. “Whether or not his projects will be completed depends on how long he is out on bail. He has some major projects like Abbas-Mustan’s next, and he would require some time before he can complete them,” he added.


2013-2014 SEASON AUDITIONS
-Announcing the 2013-2014 Season of Plays-
Our Town by Thornton Wilder, directed by Nick Turner Sept-Oct, 2013
Over the Tavern by Tom Dudzick, directed by Jonathan Farwell Nov 2013 - Jan 2014
Becky's New Car by Steven Dietz, directed by Sarah Zwick-Tapley Feb-Mar 2014
I, Claudia by Kristen Thomson, directed by Dulcie Willis April-May 2014
The Woman in Black adapted by Stephen Mallatratt, directed by Judd Farner June 2014
All auditions will be held at Bas Bleu Theatre Company,
Saturday, April 27, 2013 – 9:00am to 5:00pm
Sunday, April 28, 2013 – 6:00pm to 9:00pm
(sign up for 5 minute slot)
Callbacks: April 29-May 1, 7-10pm as called
What to Prepare: a brief monologue is encouraged, but not mandatory. Cold readings are available. Scripts are available at the box office for a 48 hour check out. Bring a resume and headshot (if available.) Be prepared to provide schedule conflicts.
Bas Bleu is also seeking Technical Personnel: Designers: Sets, Costumes, Lights, Props, Sound, and Make-up/Hair
Crew: Asst. Director, Stage Manager, Sound Operators, Stagehand, House Manager; volunteer positions include set construction, light hang, docents, poster distribution, etc.
Acting and Technical Stipends: Upon committing to a production, you will meet with the Production Manager to complete a Personal Services Agreement detailing your responsibilities.
Bring a resumé if available (and photo for actors). Be prepared to provide schedule conflicts. Auditions are held at Bas Bleu Theatre Company, at
Show & Character Descriptions (for auditions)
"There’s something way down deep that's eternal about every human being." Stage Manager.“Our Town” is the quintessential American play with levels far beyond a slice of idyllic small town life. It is an actor’s play, focusing on depth of character and relationships and an ensemble dynamic.
Stage Manager – The Voice of Grover’s Corners. A demanding role played by such luminaries as Paul Newman, Spalding Gray and Helen Hunt. Mature.
Mr. Charles Webb - The editor and publisher of the local newspaper.
Mrs. Myrtle Webb - She is a devoted wife and mother, though at times overprotective.
Emily Webb - Their daughter. Marries George Gibbs. 18 – 26.
Wally Webb - Emily’s younger brother. 12 – 17
Frank Gibbs - The town doctor. A caring father and husband.
Mrs. Julia Hersey Gibbs – Wife and mother. Her world revolves around her family.
George Gibbs - Son of Frank and Julia. He marries Emily Webb. 18 – 26.
Rebecca Gibbs - George’s younger sister. 12 – 17.
Howie Newsome - The milkman. 30 – 50.
Joe Crowell, Jr. - The newspaper boy. 12 – 15.
Si Crowell - Joe’s younger brother who replaces Joe as the paperboy. 12 – 15.
Samuel ‘Sam’ Craig - Emily’s cousin on her mother’s side. 20 – 30.
Mrs. Soames – Member of the choir and a gossip. Mature.
Stoddard - The undertaker. Mature.
Bill Warren - The constable. Mature.
Professor Willard - A faculty member of the state university. Expert on the area. Mature.
Simon Stimson - The organist of the Congregational Church. A tortured soul. 30 – 50.
The Audience Members/The Dead – Varied
OVER THE TAVERN
In the nostalgia-laden Eisenhower years of the 1950s, the large Pazinski family has a lot going on in their cramped
CHET PAZINSKI, Mid-40s. Loving dad, but bitter and angry over having missed a career in baseball due to an injury, and can appear cold. His kids fear him because of his "moods."
ELLEN PAZINSKI, Early 40s. Terrific no-nonsense mom who adores her kids but pulls no punches and says what she thinks. Puts up with Chet, loves him, and really runs the family.
RUDY PAZINSKI, 12. Endlessly curious and inventive, questions authority, but with charming innocence; largest role in the play. Does Ed Sullivan imitations to amuse Georgie.
GEORGIE PAZINSKI, 13. Mentally challenged or Downs Syndrome. Speaks with very limited vocabulary, loves to laugh. Loved and accepted by all the family. Key role, not a bit part.
EDDIE PAZINSKI, 15. Wrestling with puberty and guilt. Reads Playboy on the sly. Hung up on all the rules of the church. Knows Rudy is smarter, but bullies him a bit.
ANNIE PAZINSKI, 16. Growing into her sexuality, and confused about it. Somewhat overweight, and addicted to Twinkies. Tends to burst into tears when confronted by Ellen.
SISTER CLARISSA, 70-ish. A nun and one of Rudy's teachers. This role will be played by Deb Note-Farwell.
BECKY’S NEW CAR
Have you ever been tempted to flee your own life? Becky Foster is caught in middle age, middle management and in a middling marriage—with no prospects for change on the horizon. Then one night a socially inept and grief-struck millionaire stumbles into the car dealership where Becky works. Becky is offered nothing short of a new life…and the audience is offered a chance to ride shotgun in a way that most plays wouldn't dare. BECKY'S NEW CAR is a thoroughly original comedy with serious overtones, a devious and delightful romp down the road not taken.
Becky (Rebecca) Foster: A woman in her late 40s
Joe Foster: Becky’s husband, a roofer, late 40s
Chris Foster: Their son, a psychology student, 26
Walter Flood: A very wealthy business man, widowed, 60s
Kensington (Kenni) Flood: Walter’s daughter, 23
Steve: Becky’s co-worker, widowed, 50
Ginger: A neighbor of Walter’s, single, 50s
Claudia is "an official pre-teen" still reeling from her parents' divorce. Her father is getting re-married, she has a science fair project coming due, and she is in the physical and emotional throes of puberty. Finding refuge in the basement of her school, Claudia discovers the pain at the center of her brimming child 's heart. Some important adults in Claudia's life -her grandfather, her father's new girlfriend and the school custodian -shed light on her situation.
CAST: one actress plays all four roles in mask. This role has been cast.
WOMAN IN BLACK
Arthur Kipps, a middle-aged solicitor, hires a theatre and the services of a professional actor to help him re-enact – and thereby hopefully exorcise – a ghostly event which befell him many years previously with horrifyingly tragic results. From the cluttered stage, Kipps begins to read his story: painfully, self-consciously and hesitantly at first, but, coached by the actor and aided by theatrical artifice, he grows in confidence and ability as he assumes a variety of roles and the play moves from narration to enactment. The actor portrays the young Kipps, sent north by his London firm to settle the estate of an elderly recluse, the late Mrs. Drablow, in whose isolated marshland house Kipps encounters the Woman in Black. This specter, seeking vengeance for the death of her young child, attaches herself to Kipps and unleashes a macabre sequence of events which culminate in a truly chilling twist in the play’s final moments.
Actor- 40-55, a plain-spoken, middle-aged man, several different British accents
Kipps- 25-30, young and enthusiastic actor, several different British accents
The Woman in Black- 30-40, a specter, dance experience is preferred
READERS' THEATRE AUDITIONS
No auditions posted for Readers' Theatre at this time. Check back for updates.
2012-2013 Main Stage Season has been cast
Auditions for all 5 Main Stage Productions occured on April 28 & 29, 2012
Congratulations to everyone who was cast!
THE LOVE OF THE NIGHTINGALE, Directed by Sarah Zwick-Tapley
Philomele -- Kiera Mulgrew
Procnee -- Katie Marshall
Tereus -- David Austin-Groen
Niobe -- Wendy Ishii
Captain/Soldier #1 -- Cary Klataske
Understudy Tereus -- Brien Fletcher
Queen Pandion/Chorus -- Briana Sprecher-Kinneer
Chorus -- Jessica Lipman
Chorus/Understudy King Pandion -- Dan Tschirhart
Chorus -- Cory Garcia
ALMOST, MAINE, Directed by Dulcie Willis
Ensemble -- Heather Johnson
Ensembe -- Jessica Lipman
Ensemble -- Cary Klataske
Ensemble -- Dan Tschirhart
MARIELA IN THE DESERT, Directed by Robert E. Braddy
Mariela -- Kate Austin-Groen
Jose -- Rich Hicks
Adam -- Dan Tschirhart
Oliva -- Deb Note-Farwell
Blanca -- Ali Scordato
Carlos -- August Slaughter
GHOSTS, Directed by Laura Jones
Mrs. Alving -- Wendy Ishii
Manders -- Bruce Bergquist
Oswald -- James Burns
Engstrand -- Cary Klataske
Regine -- Katie Marshall
WAIT UNTIL DARK, Directed by Candice Ingold
Susy -- Teal Jandrain
Sam -- Ritchie Hann
Roat -- Steven Fox
Sgt. Carlino -- Daryl Branson
Mike -- James Burns
Gloria -- Clara Pavel
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- Four Shillings Short | Jun 2, 3013
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Bas Bleu Auditions


Indie art houses with limited release, or The Life Aquatic
So the thing that makes Bill Murray great is really his ability to deadpan. Which makes his collaborations with Wes Anderson especially serendipitous, because the thing that makes Wes Anderson movies great, if you think they're great, is their deadpan take on the totally ridiculous universe in which they take place.
So last night we went to see The Life Aquatic. And the thing that was wrong about this movie is that everyone except maybe Cate Blanchett's character -- more on this later -- deadpans everything. The universe is flat despite all the wackiness that ensues within it. And the reason that's wrong -- the reason even Bill Murray deadpan doesn't entirely work -- is that there's just no relief. Bill Murray is great in Rushmore, even in Lost in Translation, because he's deadpanning reactions to characters and events around him that are anything but flat. In The Life Aquatic there's not a lot of character relief. Willem Dafoe's character makes a stab at it but he's not compelling in the way Jason Schwartzman or Olivia Williams or Scarlett Johansson manages to be. No, the closest thing we have to character relief is Cate Blanchett as a reporter, which is a nice inversion of the usual: journalist as least objective, most human.
Although I liked this movie a great deal I can't recommend it to most people. I appreciated the way in which it was highly stylized and I appreciate what he's trying to do with the flat universe and characters and all that. But this might be the film that sends Wes Anderson back to indie art houses with limited release. It's just not going to work for most audiences. It's not even going to work for most audiences of film snobs.


Katie Meinholt is a New England born, New York trained actress who is now a local hire in Los Angeles, San Francisco and New York. After achieving her Bachelor of Fine Arts from Adelphi University, Katie became a resident actress as well as director, producer and member of Round Belly Theatre Company in Oakland, CA. The East Bay Express has called them “...one of the most imaginative artist collectives to emerge in recent years." Katie also has a passion for voice-over and film and has recently made her feature film debut in "The English Teacher", that is directed by Craig Zisk. Katie had the pleasure of sharing scenes with Greg Kinnear while playing the young version of the lead who is played by Julianne Moore.
All Rights Reserved 2020


Our May 2022 production will be Taking Sides by Ronald Harwood which was due to be staged in May 2020. Rehearsals restart in January beginning with a read-through on January 20th at the Village Hall.
Unfortunately one of the original cast had to pull out, so we are looking for a male actor to play the role of American army officer Lieutenant David Wills (described as being '24-years-old' in the script).Faber Plays description of Taking Sides:
'Prized by Hitler as the cultural jewel in the crown of the Third Reich, conductor Wilhelm Furtwngler became the perfect post-war target for interrogation as a Nazi sympathiser. Major Steve Arnold, who has witnessed the horrors of Belsen, is about to cross-examine him.'
Performance dates are: 11-14 May 2022


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His debut as an actor is in theater in 1977, thus beginning to work in the show business, to later touch all the disciplines, from theater to cinema, from television to radio, through dubbing and advertising.
He collaborated with some of the most important Italian theater directors: Ronconi, Puecher, Fenoglio, Nanni and Navello. Curious and special was his interpretation of Polonio in Hamlet by W. Shakespeare directed by A. Di Stasio, who also directed him as Tiresia in a study on Oedipus Rex by Sophocles in 1997. In the 2003/2004 season, Fabio participates in the show Chiacchiere e Sangue – I fatti della Banda della Magliana, written and directed by Daniele Costantini, in the role of “er Palletta”. From this theatrical work, a film titled I fatti della Banda della Magliana has also been taken.
In the 2007 season of the Globe Theater in Rome, under the direction of Riccardo Cavallo, Fabio plays Puck’s role in W. Shakespeare’s A Midsummer Night’s Dream.
Prolific was his participation as co-star in numerous television varieties, until he played, in the mid-1990s, a huge variety of characters in TV movies and serials, such: Le ragazze di Piazza di Spagna, Il tesoro di Damasco, Gioco di specchi, Commesse 2 e La Tassista directed by José M. Sanchez; Dio ci ha creato gratis with Leo Gullotta and La dottoressa Giò, both directed by F. De Luigi.
In the 2002/03 TV season he participated in the 83rd episode of the RAI3 series La Squadra and as a permanent character in the role of Tancredi in the RAI2 26 episode series Cinecittà directed by Alberto Manni. In 2004, directed by Carlo Vanzina, Fabio was in the television series Un ciclone in famiglia. In 2005 he took part in the Spanish Antenna Three production Los Borgias (The Borgias) directed by Antonio Hernandez, playing the role of Cardinal Riario. In 2008, the TV film ’O Professore, directed by Maurizio Zaccaro, in which Fabio plays the role of Picone, is broadcasted on Mediaset networks.
His experiences in cinema include Vajont by R. Martinelli. In 1988 he worked with Nanni Loi in the movie Scugnizzi, thus beginning a collaboration with this director and participating in his Candid Camera Show.
He also took part in Paolo Sorrentino’s The family friend (L’amico di famiglia).
In recent years, though still acting, his interests turned to theatrical scriptwriting and directing.
His first literary production was a sacred representation of the passion, entitled Ecce Homo and built on an Umbrian laude from 13th/14th century, enriched by an extraordinary musical score by Master Davide Remigio. In 2000, at the Teatro Piccolo Eliseo in Rome, a dramaturgical construction was performed on the sofoclean tragedy of Oedipus and Jocasta entitled Son of a Widowed Mother, in which he dealt with both stage direction and scriptwriting.
In June 2003 he wrote and directed Lapilli – Voices and sounds from the island, featuring Leo Gullotta as well as Al Qantarah musical ensemble. Yet in 2003, he collaborated as an assistant director for the Italian stage of the musical Fame produced by the “Artistica” company of Pavia.
In the summer of 2004, he took care of Giuseppe Manfridi’s theatrical performance Before the War, creating the multimedia project which saw its debut in the archaeological site of the Trajan’s Markets museum.
His next theatrical work is Gender Gangup Here, a new play inspired by H. Ibsen’s Ghosts, which carries to the eighties the same hypocrisy of the beginning of the century, read with an eye to modern society. This text has been read in the 2007/08 season of Artisti Riuniti under the auspices of the Teatro Eliseo.
In the autumn of 2004 he directed the performance on C. E. Gadda’s literary work, starring on stage Leo Gullotta and Master Luis Bacalov.
In the 2005/2006 season, Fabio directed Man, Beast and Virtue by Luigi Pirandello, a play produced by Teatro Eliseo, with Leo Gullotta coming back to the stage of prose. The show collected successes, arriving at replica number 222 after three seasons of performances with an attendance of about 98,000 spectators.
In the 2008 season of the Globe Theater in Rome, Villa Borghese, under the artistic direction of Gigi Proietti, he directed W. Shakespeare’s The Comedy of Errors.
Fabio also directed The Pleasure of Honesty by Luigi Pirandello, the opening show of the 2008/2009 season at Teatro Eliseo, starring Leo Gullotta. In the 2009/2010 season, the show is on tour throughout Italy with great success.
The show he wrote and directed in the summer of 2009, Reading Sicily, was a great success. It’s a journey into Sicilian literature, featuring Leo Gullotta and an ensemble of three acclaimed accordion masters. A prism that, through the pages of Great Sicilians, reflects human and social faces.
In March 2010 on Eliseo Ragazzi’s stage he debuted, directed and wrote Papageno and the Magic Flute, a free reading of The Magic Flute by W. A. Mozart.
In the summer of 2010 he directed W. Shakespeare’s comedy The Merry Wives of Windsor, a co-production of Nuova Teatro Eliseo and Veronese Shakespearian Festival, starring Leo Gullotta as Falstaff.
After years of great success across Italian theaters with The Merry Wives of Windsor, he started a collaboration with the Teatro Stabile in Catania, where he opens the 2012/2013 season directing W. Shakespeare’s A Midsummer Night’s Dream, starring Leo Gullotta. The play was on the stage of the Eliseo Theater in Rome from 5 to 24 February 2013.
In the 2013/2014 season he staged Before Silence (Prima del silenzio) by Giuseppe Patroni Griffi, produced by Nuova Teatro Eliseo, which inaugurates the season at the famous Roman stage, and The Riddle of Love, a monographic play in memory of Karl Heinrich Ulrichs, which he directed and wrote together with Saverio Aversa.
In the documentary A dream in Sicily, which he created and directed, Fabio investigated, through four young actors’ first important experience, the artistic and occupational situation of young people.
In 2014, he participated in Sebastiano Riso’s film, which was at Cannes Film Festival in the Semaine de la Critique section, Darker Than Midnight (Più buio di mezzanotte), where Fabio played a role that vibrates with sensitivity and emotion.
In the 2014/2015 season, he staged the story of Calogero Montante, on Gaetano Savatteri’s text, in a show produced by the Teatro Stabile in Catania and entitled La volata di Calò. It was a great public and critical success.
In the 2015/2016 season, starring Leo Gullotta, Fabio directed Blithe Spirit by Nöel Coward, which was deeply appreciated and staged again in 2016/2017 season.
In November 2017 he proposed the play by Claire van Campen, unpublished in Italy, Farinelli and the King, translated by Monica Capuani, in the form of reading concert. The event, produced by Teatro Stabile in Catania, was held at the Bellini Salon in Palazzo degli Elefanti, headquarters of the Municipality of Catania. Leo Gullotta leads in the role of the King, together with former students of the Umberto Spadaro school of Teatro Stabile in Catania and an ensemble of musicians, students of the Vincenzo Bellini Music Institute in Catania.


A few weeks ago, I wrote about landing my first-ever gig as a fiction writer. Soon, at the “Paths to Publication” conference in Egg Harbor, WI, I’ll present “How I Found My Agent: One Writer’s Story.” Here’s the description:
After you complete the long, sometimes lonely journey from Page One to the final draft, a whole new and arduous journey begins when your goal is publication. Iowa writer Marianne Fons offers proof that the planets do sometimes align and agent acquisition does actually happen. Tips for potential success and agent/author etiquette included.
I plan to relate query letter embarrassments and demoralizing non-responses, and of course the story of the fresh query I shot into cyberspace last year on my birthday, eventuating in the golden words of Stephany Evans (now my agent): “I finished reading your novel today, and I really loved it. Can we talk on Monday?” Who knows, maybe we’ll get Stephany on the phone during my session to prove to my audience she truly exists.
Now, for almost the first time* in my life, I’ve been paid for a piece of fiction.
“My Ashes at the Met,” a short story I wrote years ago, is being adapted into a feature length movie by filmmaker Jack C. Newell. The film, titled “Monuments,” is about a young man’s quest to honor what he believes are his deceased young wife’s wishes by entombing her cremains within Chicago’s Field Museum. It sounds dark, but I’ve read the script at many stages, and it’s actually a (darkly) comedic heist-plus-road-trip kind of story with stellar cast members including Javier Muñoz, the actor who played Hamilton on Broadway after Lin-Manuel Miranda retired from that role.
Newell, Head of TV, Film & Digital at The Second City in Chicago, is a versatile writer-director. His documentary “42 Grams,” about a restaurant that goes from popup to the talk of Chicago, is available on Netflix (and from other sources) and has been called one of the best food documentaries ever made. That Jack happens to be my son-in-law is beside the point—though if he weren’t he probably never would have read my unpublished story.
“Monuments” is now in edit-stage and will in the coming months begin its own path to publication, which for a film can include film festival submissions and/or pitch sessions with distributors. I hope one day to announce its premier and of course watch it myself. On the big (or small) screen, the words, “Adapted from a short story by Marianne Fons,” will I am sure flash by way too fast!
*Another of my stories, “Crazy Quilt” appeared in the short-lived Quilt Digest back in the 1980s. There’s a good chance my writing buddy Frances Dowell will be reading it later this year on the Quilt Fiction Podcast, so stay tuned!


Corinthia: The Craftsmanship of Care
Role: Motion Designer and Editor
Client: Corinthia Hotels
Production Company: The Neighbourhood
This piece was originally made as a stereoscopic piece but we also produced a 2D edit for social purposes. The original 3D screening was in New York and was made to entice visitors of Corinthia Hotels to come to the new location in London. This was my first big role in a large production and it really was a crucial turning point for me. I was involved in filming, lighting, shoot producing, creating HDRI maps and most importantly… my big acting début. This provided me with an excellent opportunity to be involved with aspects I had little experience in. On this project I really showed how I was able to fight fires and be reactive when I needed to be. This was also were I proved myself as an editor and gained a whole new level of responsibility within the team.
This a short “Making of” film which I shot and edited, to show the methods we used to produce this piece. I collected the footage while helping out the gaffers, cameramen and production team during the actual shoot. This “Making of” film is actually edited to the track we originally wanted to edit the feature film to bud budgets wouldn’t allow.


Planning is in high gear for the 2014 State Conference, Charting Our Future: Full Speed Ahead, at Smith Mountain Lake, Virginia, April 4-6, 2014 at the W.E. Skelton 4-H Educational Conference Center.
Join us at Madigan’s Waterfront at 11:30
201 Mill Street Occoquan, VA 22125
Phone: 703 494-6373
Join other AAUW of VA members in Richmond to lobby our representatives and present them with our Equal Pay petitions
January 25, 1pm at Ali Cohen’s house
It is an OWN and Documentary Film Club selection and was shown at the Sundance Film Festival in 2011. The quote from the film website says
“Like drawing back a curtain to let bright light stream in, Miss Representation uncovers a glaring reality we live with every day but fail to see. Directed by Jennifer Siebel Newsom, the film explores how mainstream media contribute to the under-representation of women in influential positions in America and challenges the media’s limiting and often disparaging portrayals of women, which make it difficult for the average girl to see herself as powerful.”
Board meeting at Wegman’s, Woodbridge 7 pm. All members welcome
Join us at the Occoquan Inn 0n Dec 11 at 7:00 pm for our holiday
dinner. More information coming soon.
Board meeting at 7 pm at Wegman’s Woodbridge
The tentative date for the Success conference is March 29 2014. More info to come
Join us at the Olde Towne Sports Pub (8971 Center St Manassas VA 20110) for lunch followed by our program on the upcoming Virginia elections and current voting issues. Our speaker is Carol Noggle, President Prince Williams Area League of Women Voters. lunch starts at 12 noon, programs begins at pm


Bard Hall Players
"The Music Man"
The Bard Hall Players, the theater troupe in residence at P&S, have been staging musicals and plays on campus for more than 50 years. In November 2014, the ensemble was proud to present its production of “The Music Man,” Meredith Wilson’s American classic about a sleepy and stubborn Iowa town brought to life by the gilded promises of a traveling salesman.
Directed by Jennifer Russo’16, the Bard Hall Players featured the singing, acting, dancing, instrumental, and staging talents of students from P&S, the School of Nursing, Mailman School of Public Health, the College of Dental Medicine, and the Graduate School of the Arts and Sciences, drawing in nearly 600 fans for four performances. Faculty critics weighed in, with the consensus that “The Music Man” was among the very best Bard Hall Players productions in memory, a tribute to the hard work and innate talent of our many performers.
Other Bard Hall Players productions in 2014 were William Shakespeare’s “Julius Caesar” and Tom Stoppard’s “Rosencrantz and Guildenstern Are Dead,” under the production leadership of Lia Boyle’17, Sarah Gumlak’17, Lisa Mack’17, and Jessica Means’17.
— David Chapel’15
The Bard Hall Players presented William Shakespeare’s “The Tempest” March 12-14. Samuel Bruce’18, co-president of the Bard Hall Players, says a makeup workshop was held a few weeks before the performance because “a number of characters have very involved makeup for the show.”
La’Shay Morris, a Mailman School of Public Health student, was makeup maestro.


Films is an independent feature film company located in Orange
County. Inspired by the current conditions of today’s challenges,
Faerie Films is developing its first of several cinematic projects
that will touch, move and inspire moviegoers to take action to
reform society’s social thought patterns and behavior.
is our mission to deliver thought provoking messages through the
theatrical medium that contribute to social, political and economical
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to our vision as filmmakers, we make movies that make a difference
in the lives of people… .movies that move your spirit.


2 edition of 8 new one-act plays of 1935 found in the catalog.
8 new one-act plays of 1935
John Bourne (dramatist)
|Other titles||One-act plays of 1935.|
|Statement||edited by John Bourne.|
|LC Classifications||PR1272 .B622 1935|
|The Physical Object|
|Pagination||2 p. l., 7-198,  p.|
|Number of Pages||198|
|LC Control Number||35029616|
The concept of the one-act play is evolving, since we now have 90 and minute intermissionless plays, so they are technically one-acts. Your question probably pertains to the "classic” one-act form, namely a play of 30 minutes or less, which e. The Guinness Book of Records lists feature-length film and TV versions of William Shakespeare ' s plays, making Shakespeare the most filmed author ever in any language.. As of July , the Internet Movie Database lists Shakespeare as having writing credit on 1, films, including those under production but not yet released. The earliest known production is King John from
Visitor Information. Interested in visiting the State Capitol? For information on visiting the Capitol Complex, please visit Contact. Woman Called Truth: One Act Play by Sandra Fenichel Asher, Sandra Asher, Asher, Sandra and a great selection of related books, art and collectibles available now at
Five One Act Plays book. Read 3 reviews from the world's largest community for readers. Born in and schooled on the streets of Dublin, Sean O'Casey /5. Life with Father is a play by Howard Lindsay and Russel Crouse, adapted from a humorous autobiographical book of stories compiled in by Clarence Broadway production ran for 3, performances over weeks to become the longest-running non-musical play on Broadway, a record that it still holds. The play was adapted into a feature film and a television premiered: Empire Theatre, New York City.
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Thera and the Aegean world
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Get this from a library. 8 new one-act plays of. [John Bourne]. Additional Physical Format: Online version: Bourne, John. 8 new one-act plays of London, L. Dickson, (OCoLC) Document Type: Book. Written as a vehicle for Coward's own acting talents alongside his frequent stage partner Gertrude Lawrence, Tonight at is Coward's ambitious series of ten one-act plays which saw him breathe new life into the one-act form/5(5).
This collection of ten one-act plays was written by Noel Coward as a vehicle for his own acting talents as well as an ambitious attempt to revive the one-act play form. First performed inthe plays perfectly showcase Coward’s talents as a playwright and his trademark panache for sparkling, sophisticated, witty dialogue.
New One Act-Plays for Acting Students: A New Anthology of Complete One-Act Plays for One, Two or Three Actors () Hear about sales, receive special offers & Pages: Get this from a library. 8 new one-act plays of. [William Armstrong]. New One-act Plays for Acting Students: A New Anthology of Complete One-act Plays for One, Two, Or Three Actors Deb Bert, Norman A.
Bert Meriwether Pub., - Drama - pages. Get this from a library. 8 new one-act plays of series>. [William Armstrong]. One Act Plays () One Act Competition Winners (23) UIL Approved Titles () Musicals with Accompaniment CDs () Collections () Scenes and Monologues (26) Ten-minute Theatre () Bilingual Titles (32) Non-Royalty Titles (21) Audience Participation (85) Radio Plays (23) Target Audience.
Young Audiences () Middle School (). A dazzling collection and already a standard reference for those interested in contemporary drama, Plays in One Act is a unique compilation of plays and monologues that showcases a stunning and diverse array of work from some of the most important voices in theater.
Forty-three modern works are collected here: from plays by important contemporary artists such as David Mamet, Wendy Wasserstein 4/5(10). One Act Plays on *FREE* shipping on qualifying offers. One Act PlaysManufacturer: Macmillan.
Try the new Google Books. eBook - FREE. Get this book in print. AbeBooks; On Demand Books; Amazon; Find in a library; All sellers» Contemporary One-act Plays: With Outline Study of the One-act Play and Bibliographies.
Benjamin Roland Lewis. Scribner's Sons, - Drama - pages. 0 Reviews. Preview this book» What people are. -- Seventy- five Cornell undergraduates are preparing to give eight original one-act plays in the university theatre before the end of April.
They will be presented by the Studio Theatre Productions division of the Cornell Dramatic Club under the direction of Professor A.M. Drummond, in whose playwriting course they were written.
A One Act Play, or more commonly "one act", is a short play that takes place in one act or scene, as opposed to plays that take place over a number of scenes in one or more tend to be simpler and have fewer props, scenery and cast members (sometimes only one).
Such plays are often showcased in a series. Unlike other plays which usually are published one play per book, one. On the High Road by Henry Garland Bennett High School Literature American Book Company vintage hardback Poetry Prose Drama 1 act plays GrandmaSmooches 5 out of 5 stars (63) $ $ $ (20% off).
About this Item: H. Holt and Company, Hardcover. Condition: Fair. Prompt reliable service mailed next business dayHenry Holt and Company () printing hardcover, tanning edges and spine on good light blue cloth, no jacket, tight binding, name inside, underlines in 2 plays pp.
rest of text clean Prompt, reliable service, shipped next business day. Playscripts is home to some of the most popular one-act plays in the United States.
According to the Educational Theatre Association's Annual High School Play Survey, Playscripts is the publisher of 9 of the top 11 most popular one-act plays. Fifteen American One Act Plays book.
Read 5 reviews from the world's largest community for readers. A collection of plays by such authors as: Christopher /5. This one act play is made available to all. It may be used freely to perform in any environment.
No Royalties owed. You do not have to buy multiple copies to perform, copy this book. You may change lines and scenes. Please give credit to the original author as inspiration of the work/5(7). 24 Favorite One Act Plays Paperback – 3 Apr by Bennett Cerf (Author) out of 5 stars 23 ratings4/5(23).
Before him, one-act plays were written in poetry, but he made prose the medium of his one-act plays. In short, he made the drama, simple & real, & brought it nearer to everyday life.
He made the modern one-act play what it is & his example has been widely followed. George Bernard Shaw & John Galsworthy are two of his greatest followers.Adaptations. The book was adapted into the film Act One (). James Lapine wrote a stage version (), commissioned by the Lincoln Center Theater and developed by the Vineyard Arts Project.A reading was held in July There was also a workshop on Martha's Vineyard July 16–21,which featured Tony Shalhoub, Debra Monk, Chuck Cooper, and David : Moss Hart.Home of the most popular one-act plays for student actors, Playscripts, Inc.
presents 15 of their very best short comedies. From a blind dating debacle to a silly Shakespeare spoof, from a fairy tale farce to a self-hating satire, this anthology contains hilarious large-cast plays that have delighted thousands of audiences around the world/5(3).


So One Too Many Mornings premiered last night, and it was a huge success! Not only was it packed in the theater with eager eyes and ears, but it was also our first chance to see the music we composed matched to film. The verdict? An INCREDIBLY humbling experience.
As I looked down at my official Sundance badge, (“Mark Harrison / Sundance 2010 / Composer / One Too Many Mornings”) I couldn’t help but smile as I scratched out my name and wrote “Capybara,” wishing that everybody in the band could have been there with me. The film finished, everybody who worked on the film walked up front for a brief Q&A, and then, the attention.
All of the awesome folks from the One Too Many Mornings crew gave so many compliments on the soundtrack — especially because it was many of THEIR first times hearing it as well. Because of their encouragement, we have decided to release the music from the soundtrack for an affordable $2, and we hope that you enjoy. Head on over to The Record Machine for the download link.
I can’t say it enough. This whole collaboration has been such a pleasure, and I hope you all give this film a chance. Rent it on YouTube until 1/31 for $3.99, Buy it in HD for $9.99, or order a DVD and more at their official site.
Oh, and if you do buy the soundtrack, you might just get more than you bargained for. Like, maybe an official OTMM Ringtone?


Transgender model and actress Carmen Carrera, breaks down a few important facts everyone should know about trans women. Continue reading
Actress Jenifer Lewis was asked, “What advice would she give aspiring actors, who are trying to get into the business?” Her answer was classic Jennifer Lewis.
By Adewale Adekanbi Jr.
Maya Angelou and some of the people who know her best sit down with journalist Felix Augustine where some of her deepest secrets are uncovered like never before.
Josephine Baker, the American-born French actress, dancer and singer had an undeniable attraction and charisma that quickly earned her names such as Creole Goddess, Bronze Venus and Black Pearl.
Ethel Waters was one of the first African- American superstar. An actress, singer and dancer Waters was the highest paid black actress of her era. This is her story. Continue reading
Zouzou(1934) starring American singer, dancer, actress Josephine Baker became the first motion picture to feature a black actress in the starring role. Continue reading


Monday Matinees: Spring 2019
(115 min. G) 1957 USA Leo McCarey, directorA man and a woman have a romance while on a cruise from Europe to New York. Despite being engaged to other people, both agree to reunite at the top of the Empire State Building in six months. However, an unfortunate accident keeps her from the reunion, and he fears that she has married or does not love him anymore.
(90 min. G) 1931 uSA Charles Chaplin, directorA hapless but resilient tramp (Charlie Chaplin) falls in love with a blind flower girl (Virginia Cherrill) on the tough city streets. Upon learning that she and her grandmother are to be evicted from their home, the tramp undertakes a series of attempts to provide them with the money they need, all of which end in humiliating failure. But after a drunken millionaire (Harry Myers) lavishly rewards him for saving his life, the tramp can change the flower girl's life forever.
(84 min NR) 1934 John Cromwell, directorBased on a novel by W. Somerset Maugham, this drama follows Philip Carey (Leslie Howard), an English medical student who abandons his artistic aspirations when he falls for Mildred Rogers (Bette Davis), a callous and manipulative waitress. Despite Mildred's abuse, Philip becomes completely obsessed with her as she walks into and out of his life. Whenever it seems that Philip is ready to move on, Mildred reappears, in a seemingly inescapable vicious cycle.
(133 min NR) 1939 USA George Cukor, directorMary Haines (Norma Shearer) can't believe her husband's having an affair with salesgirl Crystal (Joan Crawford). But when Sylvia (Rosalind Russell) and Edith (Phyllis Povah) deliver the gossip firsthand, Mary heads to Reno for a divorce. En route she meets Countess de Lave (Mary Boland) and Miriam (Paulette Goddard), who coincidentally is having an affair with Sylvia's husband. Once in Reno, the Countess finds another beau, Sylvia shows up for a divorce and Mary plots to win back her man.
(120 min PG) 1956 Alfred Hitchcock, directorPresented by David R. Cross, attorney. Dr. Ben McKenna (James Stewart) is on vacation with his wife (Doris Day) and son in Morocco when a chance encounter with a stranger sets their trip, and their lives, on a drastically different course. The stranger, killed in front of the family in the marketplace, reveals an assassination plot to the Americans. The couple's son is abducted in order to ensure the plot is kept secret, and suddenly the mother and father, with no help from the police, must figure out a way to get their child back.


Pig (b.1968) is a toon pig and Orlando resident, and one of the stars of a series of successful animated shorts with Snake, produced by Relentless Studios. He was also featured in a brief role in the feature film Cobalt House.
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The best historical show you aren’t watching tells a story about six characters before the establishment of Joseon Dynasty, centered on Yi Bang Won, the third king of the future Joseon Dinasty. Half of the six main characters might be fictional, but they fit like matching puzzles in contrast to the historical figures that made up the other half. Historical dramas—or as it’s called, sageuk—has never been my cup of tea, and so Six Flying Dragons is the first one I’ve watched, but I can easily say I’ve not regretted starting it, despite the intimidating fifty episodes total.
Six Flying Dragons is a Korean television series from the SBS Network. It’s centered on the conflict between Yi Bang Won and Jeong Dojeon as they later help Yi Seong Gye establish the Joseon Dynasty. Despite the premise, the show also focuses on various point of views of characters, namely two siblings who’s separated because of corrupt officials, and later another commoner dreaming to raise above his station. The first few episodes set up the backstory of the conflict and later pushed the different characters together into one place.
The first obvious thing to notice from Six Flying Dragons is how the motive and/or drive of the characters differs from each other’s and feels realistic as they push the events to happen until the domino pieces start falling periodically. At first the pieces don’t feel connected, but as the story progressed, it clicked that it would have took all the pieces to complete the bigger picture. It also provides reasoning behind those motives and drives; it gives more dimensions to the characters in a pristine way that I really appreciate, rather than showing their complex personalities, pointing out with shiny letters and hoping it somehow feels realistic enough.
Like I always brought up in previous posts, I also appreciate when a television show doesn’t goes wishy-washy on the backstory (as Korean dramas often do), and even if they do, they do it in a way that it feels like it matters to the story instead of just bringing it up and forgetting about it halfway into the series, and luckily, Six Flying Dragons nails this perfectly. The show started with the center characters’ introduction, and then it throw you back to what brought them into this place. They focus on related incidents and display it periodically, counting down to the first scene—when we finally arrive at the opening, a few episodes later, I already know the characters and what drives them forward, and so it’s ridiculously easy to be invested to their well-being.
The dark times in this show might be dark; but there’s always an underlying optimism written into it, an undying hope for the bright future that will follow.
It’s easy to see that to tell how much care is being poured into a show; and it’s pleasing to see the same treatment being given to Six Flying Dragons. Both well-acted and well-written, there’s so much respect being given to the story and the characters. Whether they’re a commoner or a noble, none of the main characters are neglected, they’re given their own spotlight, their own story and their own motives. Even the villains, despite being the antagonist, are also given motives and drives that prevent them from being caricatures.
The dark times in this show might be dark; but there’s always an underlying optimism written into it, an undying hope for the bright future that will follow. And so I will also carry with myself that hope. Hopefully, on the latter half of Six Flying Dragons, it didn’t become crooked like all the corrupt politicians in this show.
From the first episode, I’m at the edge of my seat. And I hang my wish to still maintain the same position at the end.
You can watch Six Flying Dragons in streaming sites like DramaFever and Viki. Legally.


#BBNaija: Tacha turns down Seyi’s offer to join him In HOH Room (video)
Last week, after winning the ‘Head of House’ title for the first time, Seyi picked Esther to share the room with him.
This was met with mixed feelings as everyone felt he should have picked Tacha, his closest friend in the house. Seyi later realized his shortcomings and apologized to her.
In an attempt to make up for last week, Seyi offered to share the room with Tacha but she turned him down.
He later chose Venita.
Check out the video below:


The Student Production Association of Lane Community College presents the classic Joseph Kesselring comedy Arsenic and Old Lace on the Main Stage of the Performance Hall at Lane Community College; directed by Michael P. Watkins.
Arsenic and Old Lace opened on Broadway on January 10, 1941; providing much-needed comic relief to New Yorkers fearful of the war raging in Europe. The play revolves around two spinster aunts and their innocently sinister way of helping lonely old men seeking lodging in their home find peace. A review in Theatre Arts Magazine at the time called Arsenic and Old Lace “the ultimate in the genre. Arsenic and Old Lace lives up to its beguiling title and succeeds in turning homicide into side-splitting farce.” The play continued on Broadway for 1,444 performances. It was such a hit in London that the English lined up for tickets during the London Blitz. In 1944, Arsenic and Old Lace was made into a hit movie starring Cary Grant.
Arsenic and Old Lace opens Thursday, October 1 on the Main Stage in Lane's Performing Arts Hall, which was renovated this summer with new seating. Performances continue on weekends through October 17. Curtain is at 8:00pm. A Sunday matinee is scheduled on October 11th at 2:00pm.
Tickets for the show are $12.50 for Adults, $10 for Students. Tickets may be reserved by calling the Student Production Association office at 541-463-5761; purchased at the door or in advance at Lane's on-line box office.