Who is going to be my husband? To obey or not to obey?
The element of marriage is present in most of the Shakespearean comedies(1). As a matter of fact, marriage appears in the five comedies studied in class: “The Comedy of Errors”, “The Taming of the Shrew”, “A Midsummer Night’s Dream”, “Twelfth Night” and “The Merchant of Venice”. Characters that are engaged and married couples which appear in these five plays are listed in Appendix 1. However, all those characters will not be the main point of this essay.
As it can be seen in many Shakespearean comedies, it is not a personal decision for many women characters to choose their husbands. Sometimes fathers (as the head of the family) make this decision and force their daughters to marry someone they do not love. In this case, daughters will have at least two options: obey or disobey. Therefore, the subject matter of this paper will be “Obedience and disobedience in relation to marriage in women characters”.
First of all, four authoritarian fathers who get involved in the process of choosing a husband for their daughters would be Baptista (Katharina and Bianca’s father in “The Taming of the Shrew”), Egeus (Hermia’s father in “A Midsummer Night’s Dream”, Shylock (Jessica’s father in “The Merchant of Venice”) and the dead father of Portia in “The Merchant of Venice”.
Baptista’s will is that Katharina, who is his older daughter, marries before Bianca’s marriage takes place(2). According to this, the reaction of the older sister (Katharina) differs from Bianca’s reaction. On the one hand, Katharina rejects this idea of getting married first(3) and this fact can be understood as a sign of disobedience.
As far as Bianca’s attitude in relation to marriage is concerned, she will obey her father’s decision of waiting until her sister gets married(7), but she will be disobedient in some way because she will marry Lucentio without her father’s permission(8).
Regarding Hermia’s behaviour toward her father Egeus
in “A Midsummer Night’s Dream”, the girl must listen to her father’s complaint
about her desire to marry Lysander in front of the
Duke of Athens (Theseus), and according to her
father’s will, she must marry Demetrius obediently(9). At this point, she seems to be
obedient because she has to put up with this unpleasant situation(10),
but in fact, she clearly disobeys Egeus when she
That is, Hermia will be able to marry Lysander under the Duke’s permission although she will not obtain her father’s(13). Therefore, Hermia’s disobedience can be seen from the beginning to the end of the play.
On the other hand, as far as “The Merchant of Venice” is concerned, obedience and disobedience in relation to marriage can be seen from two different perspectives. First, the perfect obedient daughter would be observed in the character of Portia since she rigorously carries out the procedure to find the right husband that her father devised before dying(14). As a result of this, Bassanio will find the portrait of Portia inside the lead casket(15) and Portia will marry him(16) as her father had established.
Nonetheless, the opposite disobedient behaviour would be Jessica’s. Shylock, the rich and Jewish father of Jessica, wants her daughter to marry a Jewish man because he hates Christians(17). However, she is in love with Lorenzo(18), who is a Christian. So finally, Jessica will not keep her father’s rules: she will run away from home(19) and marry her loved Lorenzo(20).
To sum up, disobedience in these women characters is the result of their endeavour to marry whoever they love and whenever they want. So, daughters refuse to marry the person their fathers impose or they choose that moment on their own. Hermia (MND), Jessica (MV) and Bianca (TSh) to some extent as it has been explained before, were in that case. Regarding Portia (MV), she does not find herself having to disobey because Bassanio is both the person who is in love with and the one who sorted out the riddle devised by her father. Finally, the most ambiguous case is that of Katharina (TSh) because despite her violent and disobedient character, she will obey her father and get married in order to be tamed and find her role in society.
(1) “Types of Drama / Plays: Comedy”, Dr. Eric W. Trumbull.
to her, lead apes in hell.”
be curst in company. I tell you, ‘tis incredible to believe how much she loves me: O, the kindest Kate! – She hung about my neck; and kiss on kiss she
vied so fast, protesting oath on oath, that in a twink she won me to her love. O, you are novices! ‘tis a world to see, how tame, when men and women are
alone, a meacock wretch can make the curstest shrew. – Give me thy hand, Kate: I will unto
the feast, father, and bid the guests; I will be sure my Katharine shall be fine.”
TSh: (II, I, 311-312) Baptista – “I know not what to say: but give me your hands; God send you joy, Petruchio! ‘tis a match.”
TSh: (II, I, 318) Gremio – “Was ever match clapt up so suddenly?”
and means to wed at leisure.”
TSh: (III, II, 27-29) Baptista - “Go, girl; I cannot blame thee now to weep; for such an injury would vex a saint, much more a shrew of thy impatient humour.”
I thank you all, that have beheld me give away myself to this most patient, sweet, and virtuous wife: dine with my father, drink a health to me; for I must
hence; and farewell to you all.”
TSh: (III, II, 209-211) Katharina – “For me, I’ll not be gone till I please myself: ‘tis like you’ll prove a jolly surly groom, that take it on you at the first so roundly.”
TSh: (III, II, 237) Baptista – “Nay, let them go, a couple of quiet ones.”
TSh: (III, II, 239) Tranio – “Of all mad matches never was the like.”
(6) TSh: (I, I, 74-77) Baptista - “Gentlemen, that I may soon make good what I have said, Bianca, get you in: and let it not displease thee, good Bianca; for I will love thee ne’er the less, my
TSh: (I, I, 80-83) Bianca – “Sister, content you in my discontent. – Sir, to your pleasure humbly I subscribe: my books and instruments shall be my company, on them to look, and practise
TSh: ( V, I, 103) Bianca – “Pardon, dear father.”
TSh: (V, I, 122-123) Baptista [to Lucentio] – “But do you hear, sir? Have you married my daughter without asking my good-will?”
(9) MND: (I, I, 22-45) Egeus – “Full of vexation come I, with complaint against my child, my daughter Hermia. Stand forth, Demetrius. My noble lord, this man hath my consent to marry her.
Stand forth, Lysander: and, my gracious duke, this hath bewitch’d the bosom of my child: -thou, thou, Lysander, thou hast given her rimes, and interchanged
love-tokens with my child: thou hast by moonlight at her window sung, with feigning voice, verses of feigning love; and stol’n the impression of her fantasy with
bracelets of thy hair, rings, gauds, conceits, knacks, trifles, nosegays, sweemeats, -messengers of strong prevailment in unharden’d youth: with cunning hast
thou filch’d my daughter’s heart; turn’d her obedience, which is due to me, to stubborn harshness:-and, my gracious duke, be it so she will not here before
your Grace consent to marry with Demetrius, I beg the ancient privilege of Athens, -as she is mine, I may dispose of her: which shall be either to this
gentleman or to her death, according to our law immediately provided in that case.”
(10) MND: (I, I, 56) Hermia – “I would my father lookt but with my eyes.”
MND: (I, I, 57) Theseus – “Rather your eyes must with his judgement look.”
MND: (I, I, 58-64 Hermia – “I do entreat your Grace to pardon me. I know not by what power I am made bold, nor how it may concern my modesty, in such a presence here to plead my
thoughts; but I beseech your Grace that I may know the worst that may befall me in this case, if I refuse to wed Demetrius.”
seven leagues; and she respects me as her only son. There, gentle Hermia, may I marry thee; and to that place the sharp Athenian law cannot pursue us. If
thou lovest me, then, steal forth
thy father’s house to-morrow night; and in the wood, a league without the town,
where I did meet thee once with
observance to a morn of May, there will I stay for thee.”
MND: (I, I, 177-178) Hermia - “In that same place thou hast appointed me, to-morrow truly will I meet with thee.”
MND: (II, II, 35-38) Lysander – “Fair love, you faint with wandering in the wood; and to speak troth, I have forgot our way: we’ll rest us, Hermia, if you think it good, and tarry for the comfort
of the day.”
am gone; for I must now to Oberon.”
MND: (III, II, 102-109) Oberon [Squeezes the flower on Demetrius’ eyelids] – “Flower of this purple dye, hit with Cupid’s archery, sink in apple of his eye! When his love he doth espy, let her
shine as gloriously as the Venus of the sky. – When thou wakest, if she be by, beg of her for remedy.”
eternally be knit: and, for the morning now is something worn, our purposed
hunting shall be set aside. Away with us to
three, we’ll hold a feast in great solemnity. Come, Hippolyta.”
(14) MV: (I, II, 22-27) Portia – “-O me, the word “choose”! I may neither choose who I would, nor refuse who I dislike; so is the will of a living daughter curb’d by the will of a dead father. –Is it not
hard, Nerissa, that I cannot choose one, nor refuse none?”
MV: (I, II, 28-36) Nerissa – “Your father was ever virtuous; and holy men, at their death, have good inspirations: therefore, the lottery, that he hath devised in these three chests of gold,
silver, and lead, -whereof who chooses his meaning chooses you, -will, no doubt, never be chosen by any rightly, but one who shall rightly love. But what warmth
is there in your affection towards any of these princely suitors that are already come?
MV: (I, II, 101-106) Nerissa – “You need not fear, lady, the having any of these lords: they have acquainted me with their determinations; which is, indeed, to return to their home, and
to trouble you with no more suit, unless you may be won by some other sort than your father’s imposition, depending on the caskets.”
MV: (I, II, 107-112) Portia – “If I live to be as old as Sibylla, I will die as chaste as Diana, unless I be obtain’d by the manner of my father’s will. I am glad this parcel of wooers are
so reasonable; for there is not one among them but I dote on his very absence; and I pray God grant them a fair departure.”
meagre aught, lead, which rather threatenest than dost promise thy paleness moves me more than eloquence; and here choose I: -joy be the consequence!”
MV: (III, II, 114-115) Bassanio – “What find I here? [Opening the leaden casket.] Fair Portia’s counterfeit!”
(16) MV: (III, II, 166-174) Portia – “Myself and what is mine to you and yours is now converted: but now I was the lord of this fair mansion, master of my servants, queen o’er myself; and even
now, but now, this house, these servants, and this same myself, are yours, my lord: I give them with this ring; which when you part from, lose, or give
away, let it presage the ruin of your love, and be my vantage to exclaim on you.”
(17) MV: (IV, I, 95-98) Shylock – “These be the Christian husbands! I have a daughter; would any of the stock of Barabbas had been her husband rather than a Christian! –We trifle time: I pray
thee, pursue sentence.”
keep promise, I shall end this strife, -become a Christian, and thy loving wife!”
readiness. If e’er the Jew her father come to heaven, it will be for his gentle daughter’s sake: and never dare misfortune cross her foot, unless she do it under
this excuse, -that she is issue to a faithless Jew. Come, go with me: peruse this as thou goest: fair Jessica shall be my torch-bearer.”
MV: (II, IV, 105-106) Jessica – “I will make fast the doors, and gild myself with some moe ducats, and be with you straight.”
MV: (II, IV, 108-115) Lorenzo – “Beshrew me but I love her heartily; for she is wise, if I can judge of her; and fair she is, if that mine eyes be true; and true she is, as she hath proved
herself; and therefore, like herself, wise, fair, and true, shall she be placed in my constant soul. [Enter Jessica, below.] What, art thou come? –On,
gentlemen; away! Our masking mates by this time for us stay.”
(20) MV: (III, V, 18-19) Jessica – “I shall be saved by my husband; he hath made me a Christian.”
MV: (III, V, 26-27) Jessica – “I’ll tell my husband, Launcelot, what you say: here he comes.” [Enter Lorenzo.]
“The Complete Works of William Shakespeare”, Wordsworth Editions (1999). Pages 166-186: “The Comedy of Errors”, Pages 329-358: “The Taming of the Shrew”, Pages 279-301: “A Midsummer Night’s Dream”, Pages 641-669: “Twelfth Night”, Pages 388-415: “The Merchant of Venice”.
“Types of Drama /
Plays: Comedy, Introduction to Theatre Online Course”,
in The Taming of the Shrew: An Islamic Perspective”, Islam – The Modern Religion, Ed. Rasha
Night’s Dream: Study Questions”,


Esther is a Hungarian Film Academy graduate in TV directing and has been producing award-winning films since 2004 through her company Moviebar Productions. Her experience includes a wide range of productions from major TVCs for well-known brands, through auteur-driven films as well as studio features to European TV series (Swoon – Mans Marlind, Bjorn Stein 2018; The Field Guide to Evil – Peter Strickland’s segment, 2018; The Man Who Was Thursday – Francois Arnaud, Jordi Molla, 2016; Maximilian – Andreas Prochaska, 2016) BP Underground is her directorial debut. She’s also developing her first feature film with the support of the Hungarian National Film Fund.
After receiving her MA in Communication in Hungary, graduated from the London College UCK specialising in Media and Journalism. She works at the Hungarian state channel, MTV since 2012 in various positions: she’s the reporter and presenter of several programmes dealing with public and political issues, as well as factual entertainment content. Since 2016 she is the permanent presenter and editor of the Cultural Department of the Hungarian Television. By completing BP Underground she was lucky enough to combine both of her field of expertise: the Hungarian underground scene and the documentary genre itself.
By watching BP Underground on our website, you’re contributing to the making of the next episode. Feel free to contribute more as the team is working on this project out of their own resources, without any governmental funding.
- November 5, 2018
- July 31, 2018
- April 26, 2018
- February 4, 2018


Title: The State vs Jolly LLB 2 (IMDB)
*ing: Akshay Kumar, Annu Kapoor, Huma Qureishi, Saurabh Shukla
Director: Subhash Kapoor
Over the past few years, Bollywood has begun producing sequels which have nothing to do with the original except for the name. So is the case with Jolly LLB 2, except for one scene which references the lawyer Jolly from the original and a couple of characters which continue.
A good-for-nothing lawyer takes on a big case after being tormented by the death of a person he had duped. And in the process encounters the quirks of the judicial system and police, while also referencing terrorism and fake encounters.
Like the original Jolly LLB, this one works because of its collection of memorable characters who gel well together. Stand-out being the Judge (once again portrayed brilliantly by Saurabh Shukla), one of the two characters who continues from the first movie. The other being Sanjay Mishra's havaldar who has now retired but still very much in the know of things.
Like Jolly LLB, this one portrays the harsher realities of the legal system than the usual courtroom drama that had become the norm. Nothing is more meta-humour than a movie about lawyers talking about how lawyers are portrayed in movies (Reference Sunny Deol and his tareekh pe tareek portrayal).
The subtle humor e.g. the judge speaking on the mobile right in front of a a sign saying no mobiles phones allowed in his court.
There is one song in the movie and that too should have been dropped. Its time to move out of the song-and-dance routine fast.
The story is unconvincing in the second half. That's what happens when you replace Arshad Warsi with Akshay Kumar as the lead lawyer. Have to throw in a few action scenes.
Rating - 8/10. Overall a fun watch.
Previously on MovieNotes - Raees


Rouzbeh Rashidi has co-edited, contributed to and published two books, ‘Luminous Void: Twenty Years of Experimental Film Society’ and ‘Luminous Void: Experimental Film Society Documents’. With contributions by critics, curators, filmmakers, and artists worldwide, they provide a guidebook to the imposingly vast ‘luminous void’ of Experimental Film Society cinema and filmmaking. You can buy these books by clicking the link provided below.
'Cinema Thoughts' is a series that intertwines poetic and philosophical reflections, serving as a distillation of Rouzbeh Rashidi's fundamental ideologies. This collection, faithfully documented since 2017, provides an insight into Rashidi's approach to cinema and filmmaking. 'Cinema Thoughts' succinctly elucidates the essence of Rashidi's theories and practices, demystifying his creative processes as a filmmaker and an artist. The writings encompassed in this series gather a diverse range of reflections on cinema, presented as a spectrum from succinct aphorisms to expansive discourses, each contributing to a deeper insight into his films and cinema.


A Christmas Carol
Classic tale brought to life on the Nova stage
Nova Hreod Academy put on a wonderfully colourful production of A Christmas Carol at the end of last term. With excellent music provided by Mr Gray and the Choir, the script written and edited by Mr Stewart, and Miss Tomkins and Mrs Lewis directing and supporting backstage, the play really took off.
The production was a real success with stand-out performances for David Davies as Scrooge, Bob Cratchit was brought to life by Kye Meredith and Dominic Jackson and Emily Rowe sang in beautiful harmony to provide a sad backdrop to Tiny Tim’s funeral.
After performing a matinee to Year 5 and 6 students from local primary schools, the cast welcomed their families and friends to the evening production. The play was beautifully narrated with a great variety of singing, dancing and acting, showing off the talents of our students in all elements of the performing arts.
The cast thoroughly enjoyed themselves and they were really superb on stage. Mince pies and drinks were offered by Miss Siddon and the front of house team managed by Mrs Powell to create a real buzz of professionalism.
A huge well done to all.


19TH - 29TH
Since being established in 2003 the James Dublin International Film Festival (JDIFF) has gone from strength to strength. This eleven day festival has gained international notoriety attracting stars like Quentin Tarintino, Liam Neeson and Gabriel Byrne.
The festival is a celebration of all forms of film from all corners of the globe but there is a focus on Irish film and cinema.
We love the festival as it brings all the film buffs from around Ireland and further afield to the nation’s capital and to our hotel. There are also some excellent films in many of the cinemas that would not usually be there, so there are lots of opportunities to uncover some hidden gems.
All film buffs and star gazers are welcome at the Jackson Court Hotel just click here
For further information on the festival click here


5 edition of National Cinema And Beyond found in the catalog.
November 10, 2004
by Four Courts Press
Written in English
|Contributions||Kevin Rockett (Editor), John Hill (Editor)|
|The Physical Object|
|Number of Pages||170|
BFI Player subscription. Subscription-only classic and cult films from across the decades. day trial, then £ a month — cancel any time. 1,s of films, preserved. years of British life, many unseen for decades. Explore Britain on Film map. Discover. Watch. Share. Britain on Film. Hidden histories and forgotten stories of. Folkscanomy: A collection of books and text derived from the efforts of volunteers to make information as widely available as possible. Because the metadata related to these scanned books are often done outside the library or cataloging industries, finding material can be more difficult. The Folkscanomy collection attempts to add a layer of.
The first major academic study on this large and vibrant national cinema, this book demonstrates that Bangladesh cinema worked as different "public spheres" for different "publics" throughout the twentieth century and beyond. Filling a niche in Global Film and Media Studies and South Asian Studies, it will be of interest to scholars and. Search Tips. Phrase Searching You can use double quotes to search for a series of words in a particular order. For example, "World war II" (with quotes) will give more precise results than World war II (without quotes). Wildcard Searching If you want to search for multiple variations of a word, you can substitute a special symbol (called a "wildcard") for one or more letters.
In Beyond Casablanca, Kevin Dwyer explores the problems of creativity in the Arab and African world, focusing on Moroccan cinema and one of its key figures, filmmaker M. A. Tazi. Dwyer develops three themes simultaneously: the filmmaker’s career and films; filmmaking in postcolonial Morocco; and the relationship between Moroccan cinema, Third World and Arab cinema, and the . Selection process. The Directorate of Film Festivals invited online entries and the acceptable last date for entries was until 22 January Feature and Non-Feature Films certified by Central Board of Film Certification between 1 January , and 31 December , were eligible for the film award categories. Books, critical studies, reviews or articles on cinema published in Indian Awarded by: Directorate of Film Festivals.
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Get this from a library. National cinema and beyond. [Kevin Rockett; John Hill;] -- "The selected proceedings, offering fresh interpretations on the history and contemporary state of Irish cinema and related areas, including the keynote address by early cinema specialist Tom.
Commenting on what he views as the limiting imagination of "national cinema," Higson argues that "when describing a national cinema, there is a tendency to focus only on those films that narrate the nation as just this finite, limited space, inhabited by a tightly coherent and unified community closed off to other identities besides national.
This book covers Chinese cinema in terms of genre, history and genres influenced by political situations. It mostly compares the progressions of Chinese cinema alongside most of the more modern history of China (KMT being overthrown, rise of the ugly CCP, chairman Mao, Post cultural revolution, etc.).Cited by: This is the one book I require students to buy for my graduate seminar on Australian Film and History because it is simply the most thoughtful, ambitious and informed book on the cultural and political significance of the Australian film industry.
It is also a valuable work for anyone interested in national cinemas and their relation to by: Remapping the practices and paradigms of film history, Beyond the Subtitle calls into question the concept of national cinema and explores the largely neglected subjects of subtitling, dubbing, and art film coproductions.
Betz also analyzes the iconic figure of the “wandering woman,” or flanêuse, who appears in many of the films under. TY - BOOK. T1 - National Cinema and Beyond: Studies in Irish Film 1. A2 - Rockett, Kevin. A2 - Hill, John. PY - Y1 - M3 - Book. BT - National Cinema and Beyond: Studies in Irish Film 1.
In this innovative synthesis of film history and cultural analysis, Marsha Kinder examines the films of such key directors as Buñuel, Saura, Erice, and Almodóvar, as well as works from the popular cinema and television, exploring how they manifest political and cultural tensions related to the production of Spanish national identity within a changing global trated on the.
Ideas of national identity, nationalism and transnationalism are now a central feature of contemporary film studies, as well as primary concerns for film-makers themselves. Embracing a range of national cinemas including Scotland, Poland, France, Turkey, Indonesia, India, Germany and America, Cinema and Nation considers the ways in which film production and reception are shaped by ideas of.
After reading Brutal Vision, it will not be possible to observe the pain of Italian cinematic bodies without thinking of the geopolitical antes being waged on Italy’s body-politic during the second half of the twentieth r, the importance of Schoonover’s book goes well beyond Italian borders.
Brutal Vision is a convincing warning against a cinema of pity, and a cautionary tale. Sports have long fascinated filmmakers from Hollywood and beyond, from Bend It Like Beckham to Chariots of Fire to sports films are diverse in their approach, style, and storytelling modes, National Pastimes discloses the common emotional and visual cues that belie each sports film’s underlying nationalistic impulses.
Katharina Bonzel unravels the delicate matrix of. Complementing the book’s focus on authorship is a complex analysis of a wide range of Arab and non-Arab films, taking us beyond national cinema frameworks to a rich study of cinematic intertextuality and modernist translocality."—Viola Shafik, author of.
About Film Music in 'Minor' National Cinemas. Taking its cue from Deleuze's definition of minor cinema as one which engages in a creative act of becoming, this collection explores the multifarious ways that music has been used in the cinemas of various countries in Australasia, Africa, Latin America and even in Europe that have hitherto received little attention.
National cinema theorists in the s and ’70s narrowly defined national cinemas within prescriptive text-based criteria. However, since the onset of post-structuralist approaches to cinema and cultural studies, national cinema analysis has changed.
In the s, film theorists revised the notion of national cinema by questioning the prescriptive nature of the discipline and addressing Author: Elizabeth Avram. The national and beyond: the globalisation of Finnish cinema in the films of Aki and Mika Kaurismäki.
Finnish films for Finnish people. -- Developing post-national forms of cinema, Displaced souls lost in Finland: the KaurismaÌ ki's films as the cinema of the marginalised -- Between convergence and divergence: the transvergent.
The first seminar occurred inwith papers published in National Cinema and Beyond: Studies in Irish Film I in Encompassing the local and global, Irish film history, and representation and ideology, the papers consider parochialism, Japanese cinema, British film studies, the cinematograph, animation, feminism and post-feminism, and.
The National Cinema versus the Co-production: Intangible Transnational Practices in Recent South Korean Cinema Beyond the Home: Domestic Space and Identity in the Cinema of the Coen Brothers Stefano Baschiera the book will appeal to readers interested in individual contexts.
Broad-ranging and empirically grounded, Patrick F. Campos’s The End of National Cinema maps the long-standing debates and new developments in Philippine cinema while illuminating the persistent but irresoluble claims made by—and on—filmmaking in the Philippines, claims that are revealing of the wider intellectual and political stakes that have to do with what it is like to live (and die.
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No, free adult cinema tickets are only available on Sunday 25th August The book thus maps the key economic and artistic trends of the last fifteen years or so in Nordic cinema, and in doing so it also contributes to Film Studies scholarship more generally by un-packing the bundle of concepts and assumptions that keep the idea of 'national cinema; buoyant in film criticism and teaching.".
Regional cinema matters: Beyond Bollywood looks at rich history of south Indian cinema There’s an asymmetric attention given to Bollywood over regional language cinema though Hindi cinema is.Extending beyond recent Hollywood cinema, Charles O’Brien undertakes a geo-historical inquiry into sound technology’s diffusion across national borders.
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Our guest-host is playwright Ken Rogan. (See next post for info on this fabulous playwright and producer). His play is on right now.
Ken’s questions to keep us chatting are;
T1. What are the differences in writing for stage/screen vs. writing for a reader?
T2. How do you develop your script further, once you are happy with it?
T3.Can you adapt your novel for the stage/screen? How?
T4. How do you get your play put on?
T5. Are there any books/courses/other things you’d recommend?
Thank you in advance Ken for your expertise.


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Our Company utilizes more than 3,000 individuals worldwide, and over 10 million visitors participate in a Stage Entertainment production every year. Today the brand name is extensively understood for the remarkable quality of its programs and the warm hospitality encompassed its audiences.
Our Company has actually played an essential function in the advancement and prevalent appeal of the musical category on the Continent. From the start, Our Company has actually aimed to produce premier productions in its network of theatres.
As a part of this procedure, the business has actually invested greatly in theatre places in addition to in the expert training of artists, supervisors and coworkers in production, financing, marketing and PR.


Gerald McCullouch Director
Gerald McCullouch is an award-winning film maker, whose directorial debut film, The Moment After, garnered awards and praise at screenings worldwide. He co-executive produced BearCity 2: The Proposal, the highly anticipated follow up to the break-out indie hit BearCity, in which he stars alongside Kathy Najimy and Richard Riehle.
As an actor, Gerald ("Bones," "NCIS," "House") is recognized around the world for his 10 seasons as Bobby Dawson on “CSI," as well as his critically praised portrayal of Roger in the BearCity franchise. Thanks to the global and diverse fan bases of “CSI” and BearCity, he was honored as one of the 100 most compelling people in OUT Magazine’s “OUT 100" and has been featured in The New York Daily News, LA Daily News, The New York Post, US Weekly and The Advocate, among others. Gerald was also a contributing writer for TheAdvocate.com.
Gerald originated the role of Colin in the NYC world premiere stage production of DADDY and produced the critically acclaimed West Coast premiere, in which he also starred, receiving rave reviews.
Dan Via Screenwriter
Dan Via can be seen in the role of Gabe in the acclaimed, multi-award winning web series “Anyone But Me,” which recently wrapped after four years and more than 10 million views from fans around the world.
Via’s playwriting debut, DADDY, received hit productions in both New York and LA, for which he earned enthusiastic reviews for both his writing and performance in the role of Stew.
A former resident of Washington, DC and contributor to The Washington Post, Dan has performed with many leading Equity theaters, including The Studio Theatre (highlight: the title role in Jerry Springer: The Opera), The Shakespeare Theatre, Theater J, Rep Stage and Source Theatre. He was also member of the critically beloved “upstart” Catalyst Theater Company.
Svetlana Cvetko Director of Photography
Svetlana Cvetko shot the 2014 Oscar-nominated documentary short subject Facing Fear.
Her work on feature films includes:
Her commercial work includes clients such as Sony PS3, Ford, National Department of Education, Mini Cooper, Banana Republic, The United Way, Sutter Home Family Vineyards, VH-1 and The Discovery Channel.
Svetlana was featured in American Cinematographer Magazine.
Peggy Davis Editor
Peggy Davis had her editorial debut with the indie movie The Sky is Falling starring Teri Garr. Other feature work includes, The Big Kahuna, starring Academy Award winner Kevin Spacey and Danny Devito; the critically acclaimed award winning documentaries The First Year (directed by Oscar winner Davis Guggenheim) and Downtown Locals.
Her seventh feature film, Uneasy Lies the Mind, a film shot entirely on the iPhone, was featured in 2014 issues of American Cinematographer and Wired magazines.
Davis has edited movies that have screened at Sundance and Toronto; that have won awards at Full Frame and The San Francisco International Film Festival; and that have received national broadcasts on PBS and MTV.
THE PRODUCTION TEAM
Bruce Robert Harris & Jack W. Batman Executive Producers
Bruce Robert Harris & Jack W. Batman (both of whom are legally married to their long time partners) are Tony Award-winning Broadway producers.
Since 2005 they have produced 27 plays and 14 musicals for Broadway, London’s West End, Off-Broadway, regional theaters and national and international festivals plus many private and corporate special events. In addition, they are founding producers of GAYFEST NYC, Inc., a not-for-profit arts organization that discovers, develops and produces new theatre works arising out of the LGBT experience and, as its mission, underwrites and supports in-school elective and mentoring programs and college scholarships for students of The Harvey Milk High School. Since June 2007, GAYFEST NYC, Inc. has provided 43 scholarships to graduates of the school.
They are producers of the first-ever Broadway revival of the musical Pippin, which won the 2013 Tony Award, Drama Desk Award, Outer Critics Circle Award and Drama League Award for Best Musical Revival. Their production of the Pulitzer Prize-winning Clybourne Park won the 2012 Tony Award for Best Play.
Other recent credits include the Broadway productions of the new Gershwin musical Nice Work If You Can Get It starring Matthew Broderick and Kelli O’Hara, which won 3 Tony Awards and received 10 Tony Award nominations, Bonnie & Clyde (3 Tony Award nominations) and Kander and Ebb’s final musical collaboration, The Scottsboro Boys (12 Tony Award nominations); The Judy Show starring Judy Gold and Leslie Jordan's My Trip Down The Pink Carpet both Off Broadway; and Andrew Lloyd Webber’s By Jeeves and My Trip Down The Pink Carpet in London’s West End.
They are producing the current London production of The Scottsboro Boys and are in pre-production for a new comedy, A Room of My Own by Charles Messina, which will soon be coming to Broadway. They are also produced the highly acclaimed Los Angeles immersive production of the legendary Carrie the Musical. Bruce and Jack are also experienced executive and event producers.
Allison Vanore Producer
Allison Vanore is an award-winning original series and feature film producer with feature film credits including romantic comedy Hopelessly in June (Ed Asner, Keith David, Tiny Lister) and, releasing in early 2015, horror comedy Love in the Time of Monsters (Kane Hodder, Doug Jones, Michael McShane). Her notable original series include "Anyone But Me" (where she first worked with DADDY's Dan Via), "My Gimpy Life", "Cost of Capital," and most recently "Producing Juliet." Her shows and films have screened at festivals and won awards around the world and have reached audiences in the millions. In her spare time, Allison teaches Producing Independent Film at the Los Angeles Film School, she’s a guest contributor for Ms. In the Biz, and formerly served as a voting member of the International Academy of Web Television.
Previously, Allison served as the Director of Creative Operations for boutique graphic design and animation house, Georgopoulos Design Environments (GDE), whose clients ranged from Disney, ABC, and Sony, to Yahoo, Nissan, and Imagination Games. Allison’s creative team developed interactive games and features on the web, DVD, and Blu-Ray ("Grey's Anatomy," "Scrubs," Chronicles of Narnia: Prince Caspian, Disney's "Trivial Pursuit," "Deal or No Deal" DVD game) and for convention booths and special events. The Tarzan II DVD, featuring the GDE produced "Gorilla Grumble" game, won Best Direct to DVD Experience in 2005.
Steven Tylor O'Connor Associate Producer
Steven Tylor O'Connor is an up and coming writer/ director/ producer. After living in NYC for six years and working for NBCUniversal for four consecutive pilot seasons in their casting office (working on over 50 primetime scripted television shows), he moved to Los Angeles where he has been working on multiple television shows in a casting capacity. He has written, directed and produced two award-winning short films which have played internationally on the film festival circuit. He has three more films due out in early 2014 (two he produced, one he wrote, directed and produced) as well as two feature films in which he cast.


The Motley festival is on at the Prithvi Theatre. For the ignorant, Motley is a theater group started by Naseer-ud-din Shah and they have some wonderful plays that they have staged over the years. I have been lucky enough to watch some of their plays in the past few years. However, this time when the festival started I had something I never had before - Time! So I decided to watch as many of the plays as possible. Only I decided that a little late and most of the shows were already sold out. I did manage to get tickets for two very nice ones - Katha Collage 2 and Antigone; I watched Katha Collage 1 and loved it and Antigone is much applauded ... will write more about these once I watch them in the coming week. Right now will just tell you what happened yesterday :)
I went to Prithvi with more than one purpose - to buy tickets for whichever plays I could get, while time away at their adorable cafe and try my luck for yesterday's play - Dear Liar. I managed all three successfully! After I bought the tickets for the two plays I mentioned before and was about to head for the cafe I thought it was worth a shot and made cute, puppy-like, sorry faces at the people on the ticketing counter and finally one of them said that I should try just 15-20 mins. before the show starts and if there are any cancellations they may be able to give me a ticket. So I hung around. For three hours.
I sat at the Prithvi cafe with its lazy afternoon feel, people sitting and chilling as if there wasn't a mad, rushing world outside the walls. A group of three asked me if they could share my table (though there were at least 8 tables vacant) and they did. It turned out that it was a storywriter meeting with a director's assistant and a screenplay-writer to narrate his latest story. So as I read my book and munched on my samosa, I also heard snippets of the story and as it went along I also smiled and nodded to myself when their discussion got to something interesting (Rajasthani culture for one or the fabulousness of the Motley plays). After some time and many glasses of tea (by them); a raspberry drink, a lemonade and a mint tea down (by me) I became a quasi-teammate of sorts and was looked at for approval or a comment from time to time. It was all much fun. On one table I could see some students having a quick bite and running off. On another a mom treating a brother-sister duo after their summer workshop , there was much giggling and laughter. On yet another, one oldie and a young guy sitting while the oldie reminisced about working with Guru Dutt as a technician and knowing his driver personally(?). Some famous and some not so famous celebrities mingled over bhurji pav. Everyone seemed to be in a comfortable place, I definitely was. The three hours passed away pretty quickly and I managed to get a ticket and got to watch Dear Liar.
I managed to get a VERY good place to sit ... just a row from the stage. So close that I felt that Naseer and Ratna Pathak were talking to me (considering it was them on stage, I'm sure that may be true for most people) and not upfront so that I wasn't looking up at them. I have seen Naseer on stage earlier but I think you can never have enough of that, it was a treat.
The play was a comedy, based on the correspondence of over 40 years between Mrs. Patrick Campbell and George Bernard Shaw. The letters were found by her maid in a old battered hat box in the days of the second world war and now in the form of this play trace the relationship the two shared (Shaw and Stella, not the maid) over about half a century. Hilarious, funny, subtly emotional in places; but most of the time it had the audience rolling with laughter. It was an awesome experience and at the end of the play the two got a standing ovation. I have also watched the plays Love Letters, Tumhari Amrita and Aapki Soniya; which had a slightly similar format. Shabana's Tumhari Amrita is the only one which manages to touch this one's brilliance.
I was left with the sense that I had seen and been a part of something grand. What a day! I stepped out of the theater in a state of bliss. Not excited - just blissful. It was a whole new feeling. I'm now waiting to see what the other two plays will do to me ... :)


Lydia Little tells the story of her extraordinary brother, Fergus O’Farrell, by bringing the reader through an intimate, raw account of his wake and funeral – all the while carrying the secret of how he really died.
Fergus was the charismatic voice of Interference, an iconic band in the Irish music scene in the 1990s. His song “Gold” features in the Oscar-winning film Once, which stars his close friend Glen Hansard. Breaking Out, an award-winning film telling the story of Fergus’s life, went out on general release in 2021.
Overload is not just a tale of loss and secrecy. It is also a discovery of music and the joy that can be found within grief and giving ourselves permission to allow that joy in.
“A unique perspective on the life and death of Fergus O’Farrell, an original authentic poetic genius. His music will outlive us all.” — Steve Coogan, actor and comedian
“Overload tells a story we feel we all know – that of grief and loss – in such detail and complexity that it is always compelling. It is an intimate after-party to which we’re all invited.” — Tara Flynn, actress


— Wm. Paul Young, The Shack: Where Tragedy Confronts Eternity (via wordsnquotes)
…Her character and her story deserve to stand on their own merits. The story of the Black Widow deserves to be as integral to the ongoing arc of Marvel’s Cinematic Universe as that of any of her male counterparts.
The message needs to be sent loud and clear to every fan of Marvel, of superheroes, of action movies: Scarlett Johansson’s Natasha Romanoff, as a female character, is just as deserving and capable of having her own film franchise as any of the men she fights alongside. To indicate otherwise would be unacceptable.
"I Blew All My Covers" Natasha Romanoff has Earned her own Movie [x]
you haven’t replied in three minutes what did i do why do you hate me
have you ever shipped something so hard that you become irrationally happy and make a sound akin to steam escaping from a kettle every time they so much as stand next to each other
So I just found out that to be an astronaut you can’t be under 5’2” and this is BULLSHIT I never wanted to be an astronaut until I found out I couldn’t and now I feel like a dream has been crushed fuck you NASA
i don’t want to live in a world where we can’t launch danny devito into space


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NaNoWriMo, that is.
50,000 words in 30 days. A novel in a month.
Sunday night (three days into the month) I finally came up with an idea of what to write about.
The working title is Not Every Man. This I took from a line in the movie Braveheart: “Every man dies. Not every man really lives.” A similar line and sentiment is used in Jason Aldean’s song Not Every Man Lives.
The story will be (primarily) in the Adventure genre. But I’m not going to say any more because every other time I have “spoilered” the plot before I’ve written something, I have lost the desire to actually write it. So I’m going to hold back right now and attempt to keep the desire to write alive.


On April 6, 1925, the first in-flight movie was shown. It was a silent film and appeared on a Deutsche Luft Hansa flight.
Director George Lucas had trouble originally getting funding for Star Wars because most studios thought most people wouldnt bother seeing it.
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In the concluding scenes of the 1935 Marx Brothers film A Night at the Opera, Groucho, Harpo and Chico run amok in a performance of Verdi’s Il Trovatore, testing the director and his company to breaking point as they undermine the melodrama of the work and sabotage the very mechanics of the stage.
Though it is not often that you hear of the Marx Brothers being discussed in the context of metatheatre, I was strongly reminded of the anarchic potency of this sequence, and the potential for comedy to disrupt our expectations, when watching Théâtre de la Ville-Paris staging of Luigi Pirandello’s Six Characters in Search of an Author at the Barbican Centre.
The play begins with a company rehearsing for a performance of Pirandello’s The Rules of the Game, when work is interrupted by the arrival of a family who petition the director with an unusual request. They are characters in an unfinished tragedy, the writer having abandoned their narrative, and need find a new author who can finish their story in order that they complete themselves.
This evocative production in French with English surtitles, directed by Emmanuel Demarcy-Mota, holds true to the original text, playing consciously with the layering of tragedy and comedy in order to deconstruct our perception of events, as well as subvert our investment in the fictions presented for our pleasure. Although Pirandello’s masterwork is often presented as an exercise in theatre theory, this contemporary reading draws upon the often overlooked emotional resonance of the characters, emphasising the shifting, unstable, power relations between the director and his staff in response the arrival of the outsiders.
Of particular note is the ethereal, dream-like quality of the presentation, with warm lighting projected largely from the wings and a rolling soundscape throughout, so as to compose a vivid, cinematic experience. The unfolding phantasmagoria points to the theatre as a space for the unexpected, a site for associations and misinterpretations, the staging largely sparse, with moments of destabilising intensity given over to haunting sequences where ghostly figures are formed from coats and trees descend inverted. These potent visual signs evoke the work of the Surrealists, reminiscent of the paintings of Rene Magritte, but perhaps best contextualised through the writings of Andre Breton and the search for a profound truth.
This search for, and subsequent the failure to discover, resolution is that which the production so intensely captures. Each character in the family presents his or her trauma, building to an emotional crescendo, only to be undermined by the subsequent retelling of their experiences by the company of actors, which are deemed to be inadequate stand-ins for the true potency that they alone possess. I found myself compelled to buy into the histories presented by the family, to feel an emotional response to the tragic tales reminisced, only to be left reeling as the drama is disrupted by a one liner or slapstick gag, revealing the fictive powers of the stage and our desire to find some resonance in the representations paraded before our eyes.
It is this questioning of what constitutes the real that remained with me afterwards. Walking home in the cold chill and lurid lamplight of the London streets I wondered who these people were passing me by, the stories they could tell, bound to their roles they imagined made them distinct, and whether now, in the world of social media posturing, we are not all merely acting out a desired reflection, shadows of our own fantasies. Perhaps in this world of self-construction, the theatre may yet offer a refuge from these delusions.


Hello and welcome to Jodie Whittaker Fan, your newest online source for everything Jodie Whittaker. You might know Jodie for her role as Beth Latmier in the hit show Broadchurch, and in various movie roles such as Attack on the Block and Adult Life Skills. Jodie is currently portraying the role of The Thirteenth Doctor in the hit sci-fi show Doctor Who. I decided to make a site on Jodie because she’s an incredible actress and I thought she deserved one.
Our gallery currently has 5,000+ photos amongst it, I still have some television productions / movie productions to get capped but they will be up soon! My goal was to get the site up and running before Doctor Who airs.
I would like to thank my various fansite friends for donanting me recent event photos Marilla, Jess, Ashley. I hope you enjoy your stay on our site and on the gallery. If you wish to contact us feel free via our contact form or on the site’s twitter @JWhittakerFan. We hope you enjoy your stay.


In the City of Angels…
Love was greater than AIDS
Against a rich Hollywood backdrop
Commitment to Life documents the true story of the fight against HIV/AIDS in Los Angeles—and how an intrepid group of people living with HIV/AIDS, doctors, movie stars, studio moguls and activists changed the course of the epidemic.
As we get closer to eliminating HIV/AIDS, it is critical to capture and reflect on the oral histories of our surviving elders so that their heroic stories may be shared far and wide.
About the Documentary
In the early 1980s, a young doctor at UCLA reports a strange immune disorder among gay men—the world’s first warning sign of the epidemic to come. In the decades that followed, Los Angeles would play a critical role in the battle against HIV/AIDS as doctors, movie stars, studio moguls and activists came together to change the path of the epidemic and how the world saw it.
Commitment to Life documents this incredible drama—Rock Hudson and Eazy-E, Elizabeth Taylor and David Geffen, the Red Ribbon and Philadelphia, ACT UP and APLA—through the stories of those who lived through it. Using first-person interviews, rare archival and activist footage, and scenes from star-studded Hollywood fundraisers, Commitment to Life resurrects one of the epidemic’s most compelling histories—in order that we never repeat it.
AUTOMAT PICTURES Presents COMMITMENT TO LIFE
Music by ALLYSON NEWMAN
With the Participation of GAY MEN’S CHORUS OF LOS ANGELES
Cinematography by ADAM JASON FINMANN
Edited by JEFFREY SCHWARZ
Associate Producer MICHAEL STABILE
Co-Producer TAKI OLDHAM
Executive Producer RON SYLVESTER
Produced by Aimée FLAHERTY
Produced and Directed by JEFFREY SCHWARZ
Producer / Director
Jeffrey Schwarz is an Emmy Award-winning producer and director based in Los Angeles. His latest documentary is The Fabulous Allan Carr which premiered at the 2017 Seattle International Film Festival. Previous work includes the 2015 SXSW premiere Tab Hunter Confidential; the Emmy Award-winning HBO Documentary Films’ Vito, the story of activist and author Vito Russo, founding father of the gay liberation movement; I Am Divine; Wrangler: Anatomy of an Icon; and the 2007 AFI FEST Documentary Audience Award Winner Spine Tingler! The William Castle Story.
He has also produced content on major studio releases for directors such as Martin Scorsese, David Lynch, Jonathan Demme, Wes Craven, Rob Reiner, Barry Sonnenfeld, Adam Shankman, Paul Verhoeven, Chris Columbus and the Coen Brothers. Schwarz appeared in The Advocate’s “Out 100” in 2013 and was the recipient of the 2015 Frameline Award, which honors those who have made a major contribution to LGBT representation in film, television and the media arts.
Doctors and actors, singers and activists, entertainment industry titans and longtime survivors –the people integral to this story span the range of humanity. Through intimate new interviews and rare archival footage, theirs are the stories we tell.
From Joan Rivers’ appearance as the first celebrity to headline an AIDS fundraiser to the superstar power of Madonna, Tom Hanks, Barbra Streisand and Bette Midler, Hollywood showed up. Elizabeth Taylor, Sharon Stone, Morgan Fairchild, Judith Light and scores of Hollywood’s biggest stars shined their light on the disease and brought the issue to America’s attention.
Commitment to Life will feature Hollywood actors and personalities of today including Queer Eye’s Karamo Brown, Kathy Griffin, Sharon Stone, Melissa Rivers, Bruce Vilanch, and Pauley Perrette who show us how far we’ve come, and how far we have to go.
The First Responders
Forty years after publishing the first medical account of what would later be known as AIDS, Dr. Michael Gottlieb is still treating patients with HIV. He’ll tell us how he and Dr. Joel Weismann helped bring the disease to light, and we will hear first-hand accounts of what it was like on the front line in the AIDS Wards from the nurses who did the work others were unwilling to do.
Running a hotline for people with questions about the “gay cancer”… fighting a proposition that would quarantine anyone with the disease… creating a safe place for LGBTQ+ and POC communities… these are just a few of the monumental challenges taken on by activists across the city. We will hear from LA icon Jewel “Jewel’s Catch One” Thais-Williams and others about their work fighting the epidemic.
The people who lived through the period have their own stories to tell. We will meet Susan Bluestein, the wife of actor Brad Davis—who was compelled to conceal his HIV+ status; Paul Michael Glaser, the husband of the co-founder of the Pediatric AIDS Foundation; Jim J. Bullock, an HIV+ actor on one of the most popular sitcoms of the day, and Randal Kleiser, the director of a film about his lover’s suicide.
The success of the first AIDS fundraisers relied on the hard work of a few dedicated individuals and caught the attention of some of the most powerful people in the entertainment industry. Barry Diller, David Geffen, Jeffrey Katzenberg, Steve Tisch and Sandy Gallin threw their weight behind the effort, bringing in A-List talent and increased awareness of the epidemic. We talk to insiders including producer Howard Rosenman to find out how Hollywood’s elite stepped up to the plate.
Philadelphia. Longtime Companion. “Very Special Episodes” of TV shows featuring storylines about HIV. Hollywood brought these stories to the screen and gave HIV a face. Producer Jonathan Murray talks about Pedro Zamora’s inspirational role in MTV’s The Real World. Ron Nyswaner remembers writing the screenplay of Philadelphia, which would star Tom Hanks—one of Hollywood’s biggest and most supportive stars. Patrick Ian-Polk and Daniel Franzese talk about the depiction of HIV+ characters today.
Santa Barbara International Film Festival 2023
February 11-12, 2023
OUTshine – Miami
April 22, 2023
Rainbow Visions Edmonton
May 12, 2023
Inside Out Toronto LGBT Film and Video Festival
May 27, 2023
OUTwatch Film Festival Sebastopol
June 10, 2023
Outfest Los Angeles
July 15, 2023
OUT South – Durham, NC
August 13 and 15, 2023
Queer Screen Sydney
August 27, 2023
Film Out San Diego
September 9, 2023
Hong Kong Lesbian & Gay Film Festival
September 9 and 16, 2023
QFilms Long Beach
September 16, 2023
Wicked Queer (Boston)
September 18, 2023
September 24, 2023
Reel Q – Pittsburgh LGBT Film Festival
October 6-15, 2023
October 7-15, 2023
October 10-14, 2023
Prairie Pride Film Festival
October 13-15, 2023
Florence Queer Festival
October 18-22, 2023
Holebi Film Festival Belgium
November 7-18, 2023
Melbourne Queer Film Festival
November 9-19, 2023
Teaneck International Film Festival
November 12, 2023
Slovak Queer Film Festival
November 22-28, 2023
Antwerp Queer Arts Festival
December 3, 2023
In the City of Angels, Love Was Greater Than AIDS
‘Commitment To Life’ Documentary On L.A. HIV/AIDS Mobilization Acquired By NBCUniversal
Cinema Diverse 2023: “Commitment to Life” Documentary on Fight Against AIDS in Hollywood
Outfest Interviews Commitment to Life Director Jeffrey Schwarz
Unseen Films Commitment To Life Review
Filmthreat Commitment To Life Review
Commitment To Life Premiere


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Find Your Character’s Voice & Listen to Your Character’s Voice
When you find your character’s voice, you’ll begin to know how you want your character to act, speak, sound, talk, react, dream, and so much more.
Think about this:
When you hear a story character say: “Howdy, pardoner. What cha’ doin’ in these here parts?”
From the way this character talks, what do you think you know about this character? What might this character be wearing? In what part of the USA might this character live or work? Do you have an idea about the work this character does for a living? Give the character a name. WHEW!
Let’s try to begin understanding another character from the way they talk: “Alas, thou dost besmirch my honor with your loathsome regard for my command.”
No way am I, Professor Tonio, gonna repeat the questions I asked you to answer above. Sooooo, answer those questions about this “Alas, thou dost…” character. And give HIM or HER a name. [What fun, thinks Professor Tonio.]
Hey, ho, I made up another character for you to think about~~ but are you still thinking? Sure hope so.
This character says, “Eye shore do wont ta speak ma mind to that feller.”
That’s right. Answer those same questions and give the “Eye shore” character a name.
Ready to hear another character? Good. ‘Cause this one is from a story I wrote. The minute this character came into my mind, my life, my story, I named him Keeper of the Forest. At once, he talked like this:
“Ah, ah. Destiny, Destiny,” Keeper cried. “Oh, har favor not so easily gained dah. Mortal upon mortal have passed thees way desperate for Destiny’s cure,” continued Keeper. “Just as many have returned more, oooh, more and more wretched than when they set out tah. Crestfallen wahr they for having failed to receive Destiny’s guidance to change the course of thar tormented lives sah.”
I wanted Keeper of the Forest to have a drawl, to speak in a slow, lazy way with prolonged vowel sounds. His way of talking seemed so right for the kind of character I made him become? What kind of character is he? Ah, you need to read the story to find out about him and all the other characters that live in my story. My story is called Loukas and the Game of Chance, and it will be published in 2019. Stay tuned.
Here you go again. Answer those same questions. You already know the name.
Another character speaks. Actually, two characters speak. A father and his son. The author of the story is Neil Gaiman. You may know him as the author of Coraline (https://amzn.to/2RJbVl0), The Graveyard Book (https://amzn.to/2PV3vty). and The Sandman series of graphic novels.
You say you never heard of these books? If you like strange, weird, mysterious, frightening happenings, you’ll love Mr. Gaiman’s stories.
Alright, back to a character’s voice. The characters speaking here are in Gaiman’s novel The Ocean at the End of the Lane (https://amzn.to/2PNtovt):
“Dad? Where’s the car?”
“In the drive.”
“No, it isn’t.”
Pretty ordinary, right? I mean, the way these two characters talk sounds like so many people—fathers and sons—you may know. Except that there’s so much to think about—so much suspense—in so few words. Answer the same questions. Remember? From the way these characters talk, what do you think you know about them? What might these characters be wearing? In what part of the USA might these characters live or work? Do you have an idea about the work this character does for a living? Give the character a name. WHEW!
Go ahead now: Get together with a friend and have a conversation about how the two of you answered the questions.
That’s enough, Professor Granpa Tonio! Gotta life? Gotta go.
WRITERS, CALLING ALL WRITERS. DO THIS: Here’s a writing idea:
The way a character handles disappointment reveals a great deal about what is important to him or her.
Write a story or a short scene or simply write down some notes that show what happens when your character faces a disappointment. How does she or he act? What does he or she say? Ah, yes: How does your character speak?
My grandfatherly advice: Make sure you store your writing in—TAH DAH—your WRITER’S NOTEBOOK. What’s that? On my website, there’s a blog titled “Tween and Teen Writing Tips.” That’s where I introduce a writer’s notebook.
Calling all teachers, parents, advocates. Do you want to encourage your readers and writers to create characters who have a distinct way of speaking? Search google.com: dialect in children’s literature and dialect in literature. Wow! You’ll find a lot there.
You’ll find useful examples like these:
This list provides examples of children’s books on dialect variation.
And for high school readers and writers:
Visit my website: www.anthonymannabooks.com
#Read. #Write. #Act. #Draw. #Play. #Explore.
It’s all happening at Professor Granpa Tonio’s website: www.anthonymannabooks.com.
Kids, teachers, parents, grandparents, partners~~oh, that’s anyone who’s wild about books for kids, tweens, teens, and beyond. Come on over and hang out. You’ll find a very special place for watching funny videos, acting out stories with friends, writing like a pro, making story art, going deep inside different kinds of literature with really cool questions and reading guides. See you there. Don’t forget to tell me what you’re reading and writing these days. And, hey, be sure to leave your comments and suggestions and interests about—you got it—reading and writing.


There is nothing more special than watching your child, teen, friend or grandchild perform on stage. Having the right staging and theatrical furniture provides the ideal conditions for an audience to view a show, watch an artist or enjoy a motivational speaker. It also ensures an optimal environment for a performer to confidently express their talents.
If you are looking for quality, cost-effective Staging and Theatre furniture to enhance various staging needs including; motivational speeches, assemblies, drama classes, musical events or require exhibition furniture. Then you will find a great range at DB Office Supplies – industry leaders for high-standard furniture ranges. For more than 30 years, we have been dedicated to offering particular furniture needs and supplying only the best quality and functionality.
What types of Staging and Theatre furniture designs are available?
Our Staging and Theatre collection include a versatile range from the Ultralight School Stage System with Curtain, Ultralight School Stage System, and Stage One.
You can choose from different finishes to colours and we supply the Gratnells range of Stages, which are super friendly for schools as no equipment is needed to assemble and are easily demountable including anti-slip flooring.
Contact DB Office Supplies today for any of your staging or theatre furniture. We deliver across Dublin and Ireland with our very own fleet of vehicles.
Ultralight Scholl Stage System with Curtain
Ultralight_School Stage System


Some costume designers are really able to set the mood with wardrobe. Here are some more film costume ideas that I'm considering for my assignment.
I recently watched a Chinese film called “In the Mood for Love,” and really enjoyed it. So emotional, so pensive, and the costumes! The lead actress Maggie Cheung, has a very graceful, slight frame and in nearly every scene (sometimes in several different shots at a time) she is dressed in a beautiful vintage cheongsam. They all fit her perfectly, and even better the movie is set in the early-mid sixties so her hair is super teased and fabulous. Each dress is unique to any other cheongsam I have ever seen before.
Just as a side note: Honestly, my only real experience with the cheongsam are the brightly coloured "satin" ones my grandmother used to get from Chinatown, the ones that you want to rip into shreds whenever you attempt to button and then snap behind your armpit (please do not try on when frustrated, fighting with your sister, bloated or hot). So, this was refreshing.
Here are a few shots:
Gorgeous, right? The picture quality is not the best and neither is the lighting, although the movie tends to be melancholic so most of the scenes were a bit shadowy. Still, whether the fabric design be floral or geometric, the fact that each cheongsam fits her figure so perfectly really says something about the costume designer, William Chang.
Hopefully I can make the right choice...
Until next time,


Not many students can say they’ve got their own private cinema available to access 24/7. Well at IconInc, you can do just that. You can also watch your favourite shows, movies and catch the latest football game all while sitting in luxury at IconInc’s cinema.
Watch A Film
Okay, this might be an obvious one but did you know that you can book out IconInc’s cinema to watch your favourite film? You can either bring in your laptop and hook it up to the system or grab a DVD to watch a classic on the big screen. Just let reception know when you’d like to reserve the cinema but keep your eye out for an online booking system coming soon!
Binge Watch The Latest Must-See Netflix Series
You love Netflix, right? Well imagine binge-watching that series you’re hooked on in your own private cinema. Relax in the plush chairs, grab a bag of popcorn and kick back with an episode or ten of your favourite series.
Practise A Presentation
Do you have an important presentation that you need to practice in front of a crowd? Bring it into the cinema, get it up on the cinema screen and get feedback from your audience before doing it in front of the audience that counts. Let us know if that’s something you want to do and we can even pop in to help you!
Show Off Your Latest Vlog Or YouTube Edit
Are you a vlogger or YouTuber? See what your final edit looks like on the big screen and try and get some new subscribers while you’re at it!
Host An Indie Film Festival
If you and your friends are into your film-making, why not get together and show off your latest edits? There’s no need to wait until you’re found by the hottest director to show your movie on the big screen. You can host a mini indie film festival in IconInc accommodation and see what great films your friends and fellow residents are creating.
Have A Birthday Party
Is it your birthday soon? Why not get all your friends round to celebrate with a great film, a bunch of popcorn and loads of laughter. From romantic films and comedies to action films and dramas, it’s your birthday so you pick the film and there’s nothing your friends can say about it!
Watch The Hyped Up Sports Match Of The Century
You know when everyone is talking about THAT football match or THAT tennis final? Well, if you don’t want to go down to the nearest bar to watch it, we’re able to get the most important sporting events on the big screen for you to watch at IconInc’s cinema. There’s no way you’ll be missing out on all the sporting conversation when you live at IconInc.
Delve Into Game Of Thrones
Who needs to stream Game of Thrones when you can watch it on the cinema screen? We know the series is all finished now for 2017 but we also know how important shows like this are. So whether it’s Game Of Thrones or the latest series of Stranger Things, we’ll definitely be showing these must-see programmes in the cinema.
Eat Popcorn Until You’re All Popcorned-Out
What’s a trip to the cinema without a huge bag of popcorn? Help yourself to a bag of the fresh stuff outside the cinema or bring in a selection to share with your friends. There’s no limit either so when you’ve eaten it all – if you’re anything like us, that will be before the movie starts – just help yourself to some more!
A Fancy Date
Have you got a special date coming up? Maybe there’s someone you want to impress? Well find out what their favourite film is, hire out the cinema for your own use and treat your date to a special night in. It might just be the start of something amazing…
If you have any ideas of what you would like to use IconInc's cinema for, then let us know! Also, if you want to reserve the cinema, let reception know!


What’s In Your Backpack?
Last night I went to see the movie “Up In The Air” where George Clooney plays traveling ax man Ryan Bingham. He is also a motivational speaker encouraging people to live stuff-free, relationship-free lives. It made me think about proposing the question he raises in his speech to you–what’s in your backpack? Of course we learn through the film how empty his life really is without any attachments to anything or anyone, but what if we listen to his speech and think about our clutter. If we could visualize our backpacks with all the stuff that has accumulated and how heavy that backpack would be, maybe it would have an impact on how much we keep and enable us to eliminate some of the chaos!


What happened between Angelina Jolie and her dad?
"Jon and I have gotten to know each other — through grandchildren now — [and] we're finding a new relationship," says Jolie on THR's Awards. relationships can be repaired when the timing is right and, despite various periods of estrangement, Angelina Jolie and her father, Jon Voight. Angelina Jolie is an American actress, filmmaker, and humanitarian. She has received an Academy Award, two Screen Actors Guild Awards, and three Golden Globe Awards, and has been cited as Hollywood's highest-paid actress. Jolie made her screen debut as a child alongside her father, Jon Voight, . At age 16, after the relationship had ended, Jolie graduated from high school.
While shooting Gia, she told her husband, Jonny Lee Millerthat she would not be able to phone him: The film received predominantly positive reviews, and Jolie was praised in particular; San Francisco Chronicle critic Peter Stack wrote, "Jolie, working through an overwritten part, is a sensation as the desperate club crawler learning truths about what she's willing to gamble.
The film met with mixed reception from critics, and Jolie's character—Thornton's seductive wife—was particularly criticized; writing for The Washington PostDesson Howe dismissed her as "a completely ludicrous writer's creation of a free-spirited woman who weeps over hibiscus plants that die, wears lots of turquoise rings and gets real lonely when Russell spends entire nights away from home.
The True Story Behind Angelina Jolie’s Father – Jon Voight
Terry Lawson of the Detroit Free Press concluded, "Jolie, while always delicious to look at, is simply and woefully miscast. While Winona Ryder played the main character in what was hoped to be a comeback for her, the film instead marked Jolie's final breakthrough in Hollywood. For VarietyEmanuel Levy noted, "Jolie is excellent as the flamboyant, irresponsible girl who turns out to be far more instrumental than the doctors in Susanna's rehabilitation.
Mainstream recognition Although highly regarded for her acting abilities, Jolie had rarely found films that appealed to a wide audience, but Lara Croft: Tomb Raider made her an international superstar. An adaptation of the popular Tomb Raider videogames, the film required her to learn an English accent and undergo extensive martial arts training to play the archaeologist-adventurer Lara Croft. Although the film generated mostly negative reviews, Jolie was generally praised for her physical performance; Newsday 's John Anderson commented, "Jolie makes the title character a virtual icon of female competence and coolth.
- Angelina Jolie
- Why it's a big deal that Angelina Jolie invited her father, Jon Voight, to her premiere
Jolie at the Cologne premiere of Alexander in December Jolie next starred opposite Antonio Banderas as his mail-order bride in Original Sinthe first of a string of films that were poorly received by critics and audiences alike. Salon 's Allen Barra considered her ambitious newscaster character a rare attempt at playing a conventional women's role, noting that her performance "doesn't get off the ground until a scene where she goes punk and leads a group of striking bus workers in singing ' Satisfaction '".
Her next film was Beyond Bordersin which she portrayed a socialite who joins an aid worker played by Clive Owen. Though unsuccessful with audiences, the film stands as the first of several passion projects Jolie has made to bring attention to humanitarian causes.
She first starred in the thriller Taking Lives as an FBI profiler summoned to help Montreal law enforcement hunt down a serial killer. The film received mixed reviews; The Hollywood Reporter critic Kirk Honeycutt concluded, "Jolie plays a role that definitely feels like something she has already done, but she does add an unmistakable dash of excitement and glamour.
Her supporting role as Queen Olympias in Oliver Stone 's Alexanderabout the life of Alexander the Greatwas met with mixed reception, particularly concerning her Slavic accent.
Commercial success InJolie returned to major box office success with the action-comedy Mr. Smithin which she starred opposite Brad Pitt as a bored married couple who find out that they are both secret assassins. The film received mixed reviews, but was generally lauded for the chemistry between the two leads; Star Tribune critic Colin Covert noted, "While the story feels haphazard, the movie gets by on gregarious charm, galloping energy and the stars' thermonuclear screen chemistry. Smith was the seventh-highest grossing picture of the year and remained Jolie's highest-grossing live-action film for the next decade.
Based on Pearl's memoir of the same namethe film chronicles the kidnapping and murder of her husband, The Wall Street Journal reporter Daniel Pearlin Pakistan.
Although the biracial Pearl had personally chosen Jolie for the role,  the casting drew racial criticism and accusations of blackface. Jolie also played a shape-shifting seductress, Grendel's motherin the epic Beowulfcreated through motion capture. Chicago Tribune critic Michael Phillips noted, "Jolie really shines in the calm before the storm, the scenes when one patronizing male authority figure after another belittles her at their peril.
Jolie also voiced the DreamWorks animation Kung Fu Pandathe first work in a major family franchiselater reprising her voice role in the sequels Kung Fu Panda 2 and Kung Fu Panda 3 After her mother's death inJolie began appearing in fewer films, later explaining that her motivation to be an actress had stemmed from her mother's acting ambitions. Originally written as a male character with Tom Cruise attached to star, agent Salt underwent a gender change after a Columbia Pictures executive suggested Jolie for the role.
The film was a critical failure, though Roger Ebert defended Jolie's performance, stating that she "does her darndest" and "plays her femme fatale with flat-out, drop-dead sexuality. Professional expansion Jolie at the Cannes Film Festival After directing the documentary A Place in Timewhich was distributed through the National Education Association Jolie made her feature directorial debut with In the Land of Blood and Honeya love story between a Serb soldier and a Bosniak prisoner, set during the —95 Bosnian War.
Critical reception was mixed, but Jolie's performance in the titular role was singled out for praise;  The Hollywood Reporter critic Sherri Linden found her to be the "heart and soul" of the film, adding that she "doesn't chew the estimable scenery in Maleficent—she infuses it, wielding a magnetic and effortless power.
She also served as producer under her Jolie Pas banner. Based on her screenplay, the film was a deeply personal project for Jolie, who drew inspiration from her own mother's life.
Critics, however, dismissed it as a "vanity project," as part of an overall poor reception.
Angelina Jolie and Jon Voight's relationship is on the mend
But peeling back layer upon layer of exquisite ennui reveals nothing but emptiness, sprinkled with stilted sentiments. In addition to directing the film, she co-wrote the screenplay with her longtime friend Loung Ungwhose memoirs about the regime's child labor camps served as its source material.
Rather he insists that he always tried to help his ex-wife and children financially. Family Feuds A year after the release of Lara Croft: Tomb Raider inthe pair were no longer on speaking terms. Consequently, the pair stopped speaking and their relationship was under strain, which resulted in very a long-term feud. It was during this feud that Angelina legally dropped her fathers name, Voight, from her name and is famously known only as Angelina Jolie. Her brother followed suit, although neither of the siblings used this name during their careers.
The feud lasted seven years between pair, where no communication occurred during this time between the duo. Snubbed By His Daughter Like her father, Angelina Jolie is very much involved in humanitarian work often being involved in different humanitarian projects.
When Jolie accepted the Jean Hersholt Humanitarian Award for her work in charity, Jon Voight attended the ceremony and sat in the audience.
What really happened between Angelina Jolie and her father?
However, on her acceptance, she thanked her late mother in her speech but chose to ignore her father. It was actually Brad Pitt who got the pair back together after convincing his wife at the time that she should settle things with her father. His Breakthrough in Broadway As well as gaining critically acclaimed reviews for his roles on screen, Voight has also had a stint in Broadway before moving to film.
His role in film began two years later, when he was cast in Fearless Frank, but he had more Broadway appearances which included roles with his first wife, such as the original The Sound of Music and Romeo and Juliet.
Impossible because he wanted to spend as much time with his mother who was suffering from cancer. He saw that by taking this role, he could take his mother with him to Prague where the movie was being filmed.
Following this, he continued to take roles in order to take his mother away with him. After a short hiatus from Hollywood, he stated that this made for his return back to films.
To date, Voight has been awarded with four Academy Award nominations, a credit and proven success of his acting career. He did however, have relationships with other famous faces. Names included in this list of stars are Diana Ross, who Voight dated for a year inand he also had a public relationship with Eileen Davidson. Their relationship went on during the eighties and it was claimed that Eileen wanted Voight to help get her into film following her long stint on television.
When this did not happen, the relationship happened to end. Although Voight had reconciled with his daughter by the time of her wedding with Brad Pitt, he was still not invited. It was claimed that Angelina Jolie did not want her father at her wedding as she was concerned for his behavior during the event.
Awkward Situation After many years of dating and having several children together, Brad Pitt and Angelina Jolie officially tied the knot in However, even despite the reconciliation between Jolie and her father, Voight was not invited to take part in the nuptial celebrations.
However, Voight only had kind words regarding the wedding: Good Samaritan As well as being a big time actor, Jon has been credited for his generosity outside of work. When Jon was shooting a film is Louisville, he met a fan in the supermarket who was there to buy Thanksgiving turkeys for the children at the Home of the Innocents center.
When Voight asked the lady buying the turkeys who all the turkeys were all for, he offered to pay for all the turkeys when discovering it was for the children. He accused her actions of signing a petition to be anti-Semitic, and this led to a public apology by the actress claiming she misunderstood what the petition was about. He graduated with a B. He guest starred in an episode of Naked City and two episodes of The Defenders in that year.
However, it was in when Voight starred as Joe Buck in the casting of Midnight Cowboy, that his career really took off. Although he missed out on this award, he still won four others.
Working With Angelina Voight and his daughter Angelina Jolie appeared together in the film adaptation of the computer game Lara Croft: While they both have a long and successful repertoire of film and television roles, other than this film, they have not worked on or starred together in another production. Choosing Roles Voight claimed to be very picky when it came to picking roles he would take.


One of the main reaons I watch films is for the visual onslaught. Shitty plot and bad acting (Stars Wars Episode I for example), no problem for me if it looks good.
Not that I'm saying that Sin City had a bad plot, it was quite great, but the beauty of the art direction is what made the film for me.
Here's a cover of Frank Miller's Sin City comic, upon which the film noir look of the movie was based.
And now for some magnificent, dark, foreboding film stills


RQ: Hamlet 1.2-5
Keep the following questions in mind as you read Hamlet 1.2-5 The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.
What is the occasion of 1.2? Why have all the courtiers gathered in the Courtroom? Is the occasion official and why?
When does 1.2 take place?
What are some things that are topsy-turvy, preposterous, or dislocated in 1.2?
What does Fortinbras want from King Claudius and how does Claudius respond?
What does Laertes want from Claudius and how does he respond?
Why does Claudius address Hamlet last and what does he want him to do?
What is Hamlet’s first line and what does he mean when he says, “A little more than kin and less than kind” (1.2.65)? What sorts of characteristics does Hamlet establish with this line?
How/why do Hamlet and Gertrude play on the term “common” (1.2.72 & 73); what does the term “common” denote when Claudius uses it later (1.2. 98 & 103)?
According to Hamlet what are some affects or attributes of mourning or grief that a person might perform? Why is grief the opposite of a performance? How can we know for sure that he is telling us the truth?
How does Claudius react to Hamlet’s mourning? How does Claudius try to persuade Hamlet to a different mood? Is he successful? Why/why not?
What’s a soliloquy?
What does Hamlet reveal to the audience in his first soliloquy (1.2.126-58)? For example, what has he lost? What is his reaction to that loss? Is his reaction to loss appropriate, why/why not? What sorts of words does he use to frame his loss, OR what discourse communities does he draw from to depict his suffering?
How does Horatio react when Hamlet says, “My father, methinks I see my father” (1.2.183)?
How does Horatio convince Hamlet to come see the ghost? Is Hamlet a sceptic? Is Horatio?
Why do you think Shakespeare makes the audience sit through a retelling of the scene we just watched?
How faithful is Horatio’s retelling of the events of 1.1? Does he embellish?
What advice does Laertes give to his sister Ophelia? What’s your assessment of Laertes and/or his advice?
What are Ophelia’s first lines?
How does Ophelia respond to her brother’s advice?
Compare Hamlet to Laertes.
What advice does Polonius give to Laertes? Does Polonius give his son good advice? What are some ironies in the advice Polonius gives?
How does Polonius respond to Ophelia’s disclosure that Hamlet has “of late made many tenders/Of his affections” (1.3.98-99)? What work does Polonius make the word “tender” perform?
How does Ophelia respond to her father’s commands?
How/why does Polonius treat Ophelia differently than he treats Laertes? What’s your assessment of Polonius’s relationship with his son and daughter? OR, what’s your assessment of him as a father/Father?
Does Polonius read Hamlet’s affections toward Ophelia correctly, if not, why not?
What is Claudius doing while Hamlet, Horatio, and Marcellus are out on the wall again, watching for the ghost? What’s Hamlet’s opinion of his uncle/stepfather’s behavior?
What are some questions that Hamlet asks the ghost? What are some names Hamlet uses to address the ghost and why?
Why are Marcellus and Horatio afraid to let Hamlet follow the ghost? What bad things do they imagine the ghost could do to him? What reasons does Hamlet give for his lack of fear (1.4.64-8)?
Do Horatio’s warnings about the ghost come true?
Who says, “Something is rotten in the state of Denmark” (1.4.90), and what does he mean?
Where does the Ghost go when the sun comes up and why does he have to go there?
What does the Ghost want Hamlet to do?
What’s the official story of Old King Hamlet’s death?
How did the Old King actually die?
Why does the Ghost figure Claudius, his brother, as a snake in the retelling of both the false report and the true report of his murder?
Compare Hamlet’s description of his parent’s marriage (1.2.137-146) to the Ghost’s description of their marriage (1.5.41-56). If you believe their accounts, then how do you read Gertrude?
What does the Ghost want Hamlet to do to Gertrude?
How does Hamlet respond to the Ghost’s request?
To what does Hamlet command Marcellus and Horatio to swear?
How does the following illustrate some of the benefits and drawbacks of preservation?


Future Optics Film
*Note: due to our confidentiality agreements and the forward-looking nature of the project, we are unable to show the full film. However below are some selected stills from the film.
For Acuvue, we wanted to create a film about the near future landscape of contact lenses. After discussing the options to convey the message, we pitched the medium of 2D character based animation. It turned out to be the perfect fit for the message, the product, and the audience.
We worked alongside the in-house project team, even holding a workshop on the topic, to come up with a story that captured the correct insights of the future. Through an iterative design process, we quickly settled on a look that was at once playful and hip - a nod to the target audience. We built out all of the scenes and characters from there, adding both key animation and the little touches that bring the 2 minute film to life.
J&J Design / Sixty Hertz


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NOSSO LAR [ASTRAL CITY: A SPIRITUAL JOURNEY]
Based on the best selling book by medium Chico Xavier, the film tells the story of Andre Luiz, a successful doctor who experiences an enlightening spiritual awakening after his death. When he wakes up in the spiritual world, he embarks on a new journey of self-discovery and transformation, from h…
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Working nearly a decade in video production has given Francis the distinct ability to achieve each client’s vision. Often with little direction and tight budget, Francis is able to discern a client’s thoughts and capture their message on screen. He considers himself a limited resources shooter, his style is simply making the most with what he has.
This ability stems from a strong passion for creating film. After acting in high school, Francis desired to learn how to shoot for himself. This took him to Los Angeles for three years, where he served as a cinematographer and editor.
Francis originally hails from Ghana and has lived around the country in Virginia, LA and Minnesota. In his spare time, he is a singer and music producer, enjoys playing soccer, and, of course, is an avid film watcher.


Sep 11, · Visit Tunefind for music from your favorite TV shows and movies. All 90 songs featured in Sons of Anarchy Season 5, listed by episode with scene descriptions. Ask questions and download or stream the entire soundtrack on Spotify, YouTube, iTunes, & Amazon. Check out the promo for the penultimate episode of Sons of Anarchy season 5, episode 12 "Darthy" airing next week on FX. Nov 27, · Sons of Anarchy Season 5 Episode 11 “To Thine Own Self” Recap 11/20/12 ; Switched at Birth Season 1 Episode 26 “Tree of Forgiveness” Recap 9/24/12 ; Person of Interest Season 2 Episode 2 “Bad Code” Recap 10/4/12 ; The Voice Season 3 “The Live Playoffs” Results Show Recap 11/08/12 ; Teen Mom 2 Season 3 Episode 1 Recap 11/12/
Soa season 5 episode 12
We have full episodes of Sons of Anarchy season 5 tv series in high quality (hd). Our links have no ads and are completely SAFE DOWNLOADS, no torrents! Scroll this page to get direct links. Season 5 refers, collectively, to the 13 episodes which comprise the fifth season of the FX original series Sons of westercon63.org its debut on Tuesday, September 11, to a total viewership of million viewers, the season makes its appearance with the episode, "Sovereign". On his Sons of Anarchy YouTube channel Sutterinksoa, Kurt Sutter has stated that he began writing scripts for season 5, episodes one and two as early as March 1, It was also announced that Chuck Zito would be joining the Sons cast as a Nomad traveling through Charming. Another announced cast addition for season five is Jimmy Smits. Mar 28, · Whant to watch Sons of Anarchy season 5 full episodes in HD?We have a full collection of videos and direct links to Sons of Anarchy TV Show in p, p, p for laptop, mobile, PC and MAC without torrents! Nov 27, · Sons of Anarchy Season 5 Quotes. Something happens at around 92 miles an hour - thunder-headers drown out all sound, engine vibrations travels at a .Recap of Episode 12 of Season 5 of Sons of Anarchy where Clay gets patched out of the club and the Mexicans turn on the Irish violently. How else can I describe the second-to-last episode of Sons of Anarchy's fifth season other than with a single word: happenstance. “Darthy” was obviously meant. As Clay faces a life-or-death vote, Jax tries to steer the club free of their arms- running business. Sons of Anarchy Watch: Season 5, Episode 12 - Darthy. 6 years ago. Nick Venable. ”Let's get this day locked down.” Tonight marked the overdue end of an era. It's been an emotional season for Sons of Anarchy, but the feelings in “Darthy” were some of the deepest and most difficult yet. Though the.