I saw Black Swan* last night. It was possibly the most interesting movie I’ve seen all year, if not of the last few years. If you haven’t seen it, do so. I won’t attempt here to dissect it closely, since exactly what interested me in it was its seeming disdain for any desire to dissect it.
The film’s identity isn’t in any plot devices/character involvements. The real work is in the mirrors that occupy the background of almost every scene; the fact that the real age of Portman’s character is never given—she could be 20 and she could be in her early 30s; the fingernails that are cut and picked at obsessively, the very real and very human and very fragile breathing that can be heard throughout the movie—it is extremely rare to hear people breath in a movie, unless it is separated out into a moment of anguish or emotion that is cordoned off, as if breathing is only something we do when vulnerable, and the rest of the time we should make sure we keep it as quiet as possible; and in so many other small (or not so small) obsessions and complexities.
These thematic, imagistic, and tonal (yes, tonal) touches are what drove the movie. Precisely why the film worked for me is that the pieces didn’t feel like they fully cohered into a recognizable “narrative” (although I’m sure there are, right now, those out there who are trying, and possibly succeeding, in making all of these disparate things cohere into a narrative, and to them, I say go with god). Even more refreshing than my enjoyment of the film’s lack of plattered platitudes was my fellow movie-goers’ enjoyment of the film without needing the platter.
This was negative capability. I think this is a common trait in movies (the invitation to let go of the control) by all sorts of wonderful filmmakers, David Lynch and Werner Herzog of course, but I see glimpses of it in mainstream movies now and again as well.
It makes me wonder if, in a world of synopses and aggregaters, good film is a respite for the artful, not for arts sake, but for the sake of the emotional experience that cannot always be wrenched by the three act arc. I think it would be difficult for most people to say what exactly was going on with this movie’s fascination with fingernails, but I think it would be even harder to find a person who was not affected by it–even though there was only one truly graphic scene involving fingernails in the entire movie. Indeed, for an incredibly frightening and disturbing film, there was very little about it that was outright graphic, which is another reason I think it worked.
Ultimately, I’m brought back to the idea that that poetry is “on its way out” or “dead” or “dying” or “elitist” or whatever, because people are no longer allowed space to respond to poetic stimulus, which is so often indirect or mood-driven (like the fingernails) or outright disjunctive. I’d say the trouble is more a matter of conditioning, or, rather, not being allowed space that is unconditioned. It is more important, in my mind, to identify a space where the reader (or student) is allowed to identify what is primary in a text for themselves, rather than the default conditioning of coming to a text with the expectation of parsing. Interestingly, on the IMDB summation of the movie (I will acknowledge that they only get one sentence, so it must have been tough to write) they say, “A thriller that zeroes in on the relationship between a veteran ballet dancer and a rival.” I would say this movie is about about ten or eleven things before I got to a rivalry, and I’m not sure a rivalry between Portman’s character and Kunis’s character even exists, except in Portman’s mind, but it shows the difficulty that this complex and rangy movie even needs to be boiled down to a single sentence, let alone one that may be inaccurate. In the movie, the plot is strikingly simple and the character relationships are minimally developed (at most). However, the seven people who I saw the movie with—none of them poets and only a couple even occasional readers of poetry—both enjoyed (although that’s the wrong word) the film and thought of it as full, effecting, and, entertaining (although that words connotations might make it inaccurate as well). They were willing to suspend their conditioned desire for full comprehension and exist within the emotive and disjunctive parameters of the world. That’s negative capability, and if an audience can react so readily to that way to a movie, they can to writing. If only given the proper space and if stripped of the external pressures to make a single thread out of the web. Carving out that space, however and wherever, is the real task ahead.
*I had planned to drop a link to the IMDB site for the movie, but my linker seems to be broke. I’ll update eventually, but for now, you can check it out at: www.imdb.com/title/tt0947798/


Vanessa has been working in the Beauty industry for over 15 years.
She started as an apprentice hairdresser working in Neutral Bay and finished her apprenticeship at Joh Baily's in the city. From there she worked in a few Salons and started working for herself as a specialized Bridal hairstylist. It was from here that a friend asked her to do Hair and Makeup for a commercial and she fell in love with Makeup and the entertainment industry.
When went on to complete her Diploma in Makeup Artistry and Special Effects.
She has worked on numerous photoshoots, short films, commercials and just completed filming on her first Feature film as head hair and makeup artist to be released early 2018.
Her passion for what she does drives her to do more, learn more and push further.


Meet more of YMTC's alumni
For more than eleven years, YMTC has dedicated itself to raising the next generation of artists and art appreciators. YMTC graduates have gone on to study music and theater at some of the most prestigious conservatories in the country and abroad, including NYU’s Tisch School of the Arts, Royal Academy of Dramatic Art, UCLA’s School of Theater and Film, and Carnegie Mellon University. We proudly support the lifecycle of the artist and are thrilled to welcome many of our alums back as teaching artists, directors, designers, and adult guest artists.
Meet David Crane
“My years at YMTC completely set the stage for my life as an artist in the theatre. The professional, playful and joyous atmosphere of those productions and workshops are what made me fall in love with this art form and this community. Without YMTC my life would be fundamentally different (and I probably wouldn't be an actor!)
“After graduating from high school, I migrated south to study musical theatre in UCLA's School for Theater Film and Television (TFT). After graduating, I continued my education, studying Viewpoints with Steppenwolf Classes West and Clowning at The Clown School, while simultaneously joining the great huddled masses of LA Actors pursuing a career in Film/TV/quirky internet videos.
“After (very moderate) success in that realm, I decided I missed the theatre too much and have since spent the majority of the last two years gypsying across California from production to production, including a stop as the evil DJ in YMTC's Don't Stop Me.
"Some other recent credits have been Sacramento Theatre Company (I Love You, You're Perfect, Now Change and The Glass Menagerie) and the Mountain Play of Marin (West Side Story and Hair). Coming up, I'll be appearing as Aaron in the world premiere of The Prince of Egypt at Theatreworks Silicon Valley!
"For details on that production and any more of my goings on, visit my website at www.davidtcrane.com"
Meet Jacob Basri
“During high school, I performed in seven shows with YMTC. I grew so much both as an artist and a person, and I can’t imagine that period of my life without YMTC.
"I went on to study theater at Sarah Lawrence College returning to the Bay Area in the summers to train with Berkeley Rep’s School of Theatre and American Conservatory Theater’s Summer Training Congress. After spending my junior year abroad at the British American Drama Academy and a summer as an acting apprentice at the Williamstown Theatre Festival, I began to consider directing.
"After graduating, YMTC offered me my first professional experience when Jennifer invited me to assistant direct YMTC’s production of Sweeney Todd. I learned so much from watching the professionalism, care and rigor Jennifer puts into every show. I’ve taken these lessons into every project that’s followed.
"Since returning to YMTC as an assistant director, I have gone on to work alongside a number of directors across the country including Joy Carlin at Berkeley’s Aurora theatre; Estelle Parsons at The Actors Studio in New York City; Adam Arian at the New York Musical Festival; and Lila Neugebauer at The Juilliard School. I have worked as the director on shows at Jimmy’s No. 43, Writtopia Festival, and TinyRhino.
"I am currently living in New York City and am serving as assistant to Hal Brooks on his production of Public Enemy at The Pearl.”
Right: Jacob as Thenardier in YMTC’s production of Les Miserables, 2009
Meet Dean Linnard
“YMTC taught me professionalism and introduced me to the beautiful, playful collaboration that theater can be at its truest. It was never about ego or glory at YMTC, but rather about the craft, the work, and honoring these amazing stories with care and compassion. The sense of family and community, so central at YMTC, is something I look for and try to create in all of my current professional theater workplaces.
"YMTC gave me the foundation that all of my subsequent theater education and experiences built upon and expanded. Since YMTC, I have attended New York University and the Royal Academy of Dramatic Art in London.
"I spent most of last year touring the musical The Lightning Thief to 25 states. I have additionally acted for Sleep No More Off-Broadway as well as several Shakespeare festivals around the country.”
Learn more about Dean’s exciting work at DeanLinnard.com.
Right: Dean as the Baker in YMTC’s production of Into the Woods, 2008


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|Why, so: being gone,|
|I am a man again. Pray you, sit still.|
|LADY MACBETH||You have displaced the mirth, broke the good meeting,|
|With most admired disorder.|
|MACBETH||Can such things be,||110|
|And overcome us like a summer's cloud,|
|Without our special wonder? You make me strange|
|Even to the disposition that I owe,|
|When now I think you can behold such sights,|
|And keep the natural ruby of your cheeks,|
|When mine is blanched with fear.|
|ROSS||What sights, my lord?|
|LADY MACBETH||I pray you, speak not; he grows worse and worse;|
|Question enrages him. At once, good night:|
|Stand not upon the order of your going,|
|But go at once.|
|LENNOX||Good night; and better health||120|
|Attend his majesty!|
|LADY MACBETH||A kind good night to all!|
|[Exeunt all but MACBETH and LADY MACBETH]|
|MACBETH||It will have blood; they say, blood will have blood:|
|Stones have been known to move and trees to speak;|
|Augurs and understood relations have|
|By magot-pies and choughs and rooks brought forth|
|The secret'st man of blood. What is the night?|
|LADY MACBETH||Almost at odds with morning, which is which.|
|MACBETH||How say'st thou, that Macduff denies his person|
|At our great bidding?|
|LADY MACBETH||Did you send to him, sir?|
|MACBETH||I hear it by the way; but I will send:||130|
|There's not a one of them but in his house|
|I keep a servant fee'd. I will to-morrow,|
|And betimes I will, to the weird sisters:|
|More shall they speak; for now I am bent to know,|
|By the worst means, the worst. For mine own good,|
|All causes shall give way: I am in blood|
|Stepp'd in so far that, should I wade no more,|
|Returning were as tedious as go o'er:|
|Strange things I have in head, that will to hand;|
|Which must be acted ere they may be scann'd.||140|
|LADY MACBETH||You lack the season of all natures, sleep.|
|MACBETH||Come, we'll to sleep. My strange and self-abuse|
|Is the initiate fear that wants hard use:|
|We are yet but young in deed.|
Next: Macbeth, Act 3, Scene 5
Explanatory Notes for Act 3, Scene 4
From Macbeth. Ed. Thomas Marc Parrott. New York: American Book Co.
(Line numbers have been altered.)
From every point of view this superb scene is one of the most remarkable in the whole play. The poetry rises to the highest pitch, and the theatrical effects are overwhelming. But it is, perhaps, most noteworthy for the light it casts upon Macbeth's state of mind. As, from the point of view of plot construction, the last scene marked the climax of the play, so, to the student of character, this scene is the turning-point in Macbeth's career. Up to this time, with all his hesitation and wild fancies and gloomy suspicions, he has had strength of mind and self-control enough to push forward to his objects and to hide from public view the bloody means by which he has obtained them. In this scene, however, we see a fatal collapse of his powers.
Confronted by the spectre of his murdered victim he loses all self-control, and before the assembled nobility breaks out into speeches which must inevitably betray his guilt. It is interesting to compare his behaviour immediately after the discovery of the murder of Duncan with his actions in the presence of Banquo's ghost. In the former case he retained all his presence of mind; his speeches, though perhaps somewhat exaggerated, conveyed the impression of wild grief for the king's death, and his act of putting the bewildered grooms to instant death was, perhaps, the most practical thing that he could have done at such a time. In the banquet scene, after one feeble effort to play his part, he loses consciousness of the witnesses and speaks to the ghost as if they were alone together.
Equally noticeable is the fact that in this scene he passes altogether beyond his wife's control. She had been able to brace him up to the murder of Duncan and to control and direct him in the outburst of excitement which followed. In this scene, however, she is utterly unable to restrain him, and is forced to listen helplessly to the ravings that betray his guilty secret.
In the dialogue between Macbeth and his wife which follows the retirement of the guests, we see evident signs of moral degeneration as well as of the collapse of his mental powers. His expressed determination to seek out the witches and to wade through a sea of blood to obtain his objects shows how far he has fallen from the Macbeth who was horrified by the suggestion implied in the witches' greeting, and who needed all the powerful influence of his wife to nerve him to the murder of Duncan. The mention of Macduff and the witches serves also to link this scene to those of the next act, and so provides for continuity of action.
1. degrees, ranks.
1, 2. at first And last, from the beginning to the end of the feast, once for all.
3. Ourself, we (the royal plural).
5. keeps her state, remains in her throne; the "state" meant originally the canopy over the chair in which a king sat.
6. require, ask for.
9. encounter thee with their hearts' thanks, meet thy greeting with hearty thanks.
10. Both sides, of the long table at which the guests are sitting. Macbeth is playing the part of the genial king who leaves his throne to mingle with his nobles. He says he will sit down among them, but his anxiety to get news of the assault on Banquo keeps him on his feet. At this moment he catches sight of the murderer at the door, and telling the nobles that in a few moments he'll drink a formal toast, a "measure," with them, he turns to the door and converses in low tones with the assassin.
11. large, unrestrained.
11. anon, soon.
14. 'Tis better ... within, An ungrammatical but very emphatic way of saying, "Banquo's blood is better on your face than in his body."
21. my fit, Macbeth speaks as if he were subject to an intermittent fever. He had hoped to be wholly cured of it by the death of Banquo and Fleance, but with the news of the latter's escape, his "fit" of fear attacks him again.
21. I had else been perfect, I would otherwise, i.e. if Fleance had been killed, have been completely well.
22. founded, firmly based.
23. general, free to go everywhere.
23. casing, enveloping.
24. cabin'd cribb'd, shut up in a narrow space, as in a cabin, or a hovel.
24, 25. bound in To, confined along with.
25. saucy, insolent.
27. trenched, carved.
29. worm, snake.
29. By Banquo's death Macbeth is, at least, relieved of his present fears. Fleance, although one of the hated house to whom the witches have prophesied that the kingdom shall descend, is as yet too young to undertake anything against Macbeth.
32. hear ourselves, talk with each other.
33. the feast is sold, like a meal at an inn.
33. cheer, welcome.
37. Meeting, a formal gathering.
40. roof'd, under one roof.
40. our country's honour, the best men in the country.
41. graced, gracious.
42, 43. who may ... mischance, I hope I may rather be obliged to rebuke him as an unkind friend who forgot his engagement to sup with us, than to pity him for any misfortune which may have prevented him from keeping it. This speech is shamelessly hypocritical, for Macbeth is secretly rejoicing that his dreaded enemy will trouble him no more. All the more overwhelming is the effect when he turns and perceives the ghost.
46. The table's full. Macbeth at first does not realize what has happened; he only sees that all the seats at the long table are occupied. When Lennox calls his attention to the seat reserved for him, Macbeth recognizes Banquo's ghost sitting in it.
48. moves, excites.
49. Which of you have done this? At the sight of the ghost Macbeth utterly loses his self-command. He makes, however, one vain attempt to shake off the overpowering sense of guilt by shifting the burden of the crime upon some member of the company.
53, 54. my lord ... youth. Note the quick tact with which Lady Macbeth comes to her husband's help. Laying the blame of Macbeth's sudden emotion and wild words upon a disorder which has afflicted him from his youth, she induces the nobles, who are rising excitedly from their places, to sit down again. Then she leaves the throne and hurries to Macbeth. Catching his arm, she draws him aside and attempts in low whispers to shame him into presence of mind by taunting him with cowardice.
55. upon a thought, in a moment.
56. note, pay attention to.
57. passion, suffering.
57. You shall offend him, you are bound to make him worse, do him harm.
60. proper, fine.
61. painting of your fear, an image created by your fear, like the air-drawn dagger.
62. air-drawn, drawn in the air, imaginary.
63. flaws, outbursts.
64. become, suit.
64. Impostors to true fear, mere counterfeits when compared to those caused by an object truly to be feared.
66. Authorized, the accent is on the second syllable.
68. stool, chair.
71. charnel-houses, places where the bones of the dead are stored.
72. monuments, tombs.
72, 73. our monuments Shall be the maws of kites, our graves shall be in the stomachs of carrion crows. Macbeth seems to think that if the dead body were torn to pieces by kites, it would be impossible for the ghost to rise.
73. An Alexandrine with the feminine ending.
76. Ere humane statute ... weal, before laws passed by men, "humane statute," freed the country from anarchy and rendered it civilized. "Humane" is the regular spelling for "human" with Shakespeare; "weal" means "the commonwealth," "the nation"; "gentle" is used to characterize the nation as it was after the passage of the laws. The line is a characteristic example of the compact brevity and force of Shakespeare's later style.
81. mortal murders, deadly wounds. Macbeth is thinking of the murderer's report in line 27.
83, 84. My worthy lord ... lack you. Lady Macbeth sees that it is useless to try to shame Macbeth back to his senses. She returns to the throne, and, speaking to him quietly as if nothing had happened, calls his attention to the fact that he is neglecting his guests. The appeal succeeds in rousing him, and he turns to the company with an excuse for his strange behaviour, and proposes a toast. In the effort to play his part, however, he overdoes it, drinks to the health of Banquo, and expresses the wish that he were present. This piece of bravado is promptly and effectively punished by the return of the ghost.
85. muse, wonder.
91. we thirst, we are eager to drink.
92. all to all, all good wishes to all of you.
92. Our duties, and the pledge, a formula equivalent to "we pay our homage to you as king, and drink the health you propose."
93. Avaunt! Note the change in Macbeth's tone. He is no longer overcome with fear at the sight of the ghost, but rather roused to wild anger. Lady Macbeth does not dare to address him, but devotes herself to the almost impossible task of inducing the peers to treat his words and actions as things of no importance.
95. speculation, power of sight.
101. arm'd, clad in armour. The reference is to the thick hide of the rhinoceros.
101. Hyrcan, Hyrcanian. Hyrcania was a district in central Asia supposed to be full of tigers.
102. nerves, muscles.
105. If trembling I inhabit then. There has been an immense amount of discussion over this passage. If "inhabit" is taken intransitively in the sense of continuing in a certain place, the meaning of the passage is plain enough. "Come to life again," says Macbeth, "and challenge me to a duel. If I remain trembling at home, call me a coward."
105. protest, declare.
106. The baby of a girl, a little girl's doll, or, perhaps, the baby of a girlish mother, i.e. a puny infant.
109. displaced, driven away.
110. disorder. The word applies to Macbeth's conduct, not to any disorder among the nobles.
110. admired, amazing.
111. overcome, pass over.
112-115. You make me ... cheeks, you make me seem a stranger to myself, i.e. forget my natural quality of manhood, when I see that such a sight has no effect on you. Macbeth is addressing his wife, not the guests, whom he no longer notices.
113. disposition, character.
113. owe, own, possess.
117. speak not. Lady Macbeth interposes hastily lest Macbeth should tell the nobles plainly what it was he saw. She herself has not seen the ghost, but from what she knew of her husband and his hatred of Banquo, and from the hints he had dropped in the afternoon, it was not difficult for her to guess what the vision was that had so affected him.
119. stand not ... going, do not depart ceremoniously in the order of your ranks.
122. It will have blood. With the departure of the guests Macbeth relapses into melancholy brooding over the consequences of his deed. He feels sure that the murder of Banquo will be discovered and that he will have to pay the penalty. Note that Lady Macbeth makes no effort either to reproach or to comfort him; she sees plainly that her influence over him is gone. All she can do is to try to get him to sleep and forget his thoughts.
124. Augures, auguries.
124. understood relations, the secret relations between things, understood by diviners and soothsayers.
125. maggot-pies, magpies.
125. choughs, jack-daws.
126. What is the night? What time of the night is it?
127. Almost at odds with morning, so near day that you can hardly tell whether it is night or morning.
128, 129. How say'st thou ... bidding? What do you say to Macduff's refusing to accept our royal invitation to the feast.
130. by the way, incidentally, i.e. I have not received a direct refusal from Macduff, but I know that he will not come. Macbeth explains the source of his information in the following reference to the paid spies he keeps in the houses of his nobles.
139. Strange thirds. Macbeth is perhaps referring to his designs against Macduff.
142. My strange and self-abuse, my strange self-deception. Macbeth speaks as if he were now convinced that the vision of Banquo was only a deception of his senses,
143. the initiate fear, the fear of the novice.
144. young in deed, inexperienced in deeds of bloodshed.
How to cite the explanatory notes:________
Shakespeare, William. Macbeth. Ed. Thomas Marc Parrott. New York: American Book Co., 1904. Shakespeare Online. 10 Aug. 2010. < http://www.shakespeare-online.com/plays/macbeth_3_4.html >.
The Chronology of Shakespeare's Plays
Establishing the Order of the Plays
How Many Plays Did Shakespeare Write?
Shakespeare's Reputation in Elizabethan England
Words Shakespeare Invented
Quotations About William Shakespeare
Portraits of Shakespeare
Shakespeare's Boss: The Master of Revels
Top 10 Shakespeare Plays
Shakespeare's Metaphors and Similes
Shakespeare's Blank Verse
Edward Alleyn (Actor)
What is Tragic Irony?
Characteristics of Elizabethan Tragedy
Differences Between Macbeth and Lady Macbeth"The antithesis between the two is that between the practical life and the intellectual, and the effects of this difference are everywhere apparent. Macbeth is bold and resolute in the moment of action; he can kill a king, and he has a curious gift of ready speech throughout, which avails him to answer unwelcome questions. But when there is nothing to be actually done he is devoid of self-control; he cannot wait nor stand still; he becomes a prey to countless terrible imaginings; he is wildly superstitious. In all this Lady Macbeth is the exact converse; she has banished all superstition from her soul; she is strong enough of will to quell her husband's cowardly fears; she can scheme and plot, but she cannot act; she must leave the actual doing of the deadly deed to Macbeth." E. K. Chambers. Read on...
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Macbeth: The Complete Play with Commentary
The Metre of Macbeth: Blank Verse and Rhymed Lines
Macbeth Character Introduction
Metaphors in Macbeth (Biblical)
Figures of Speech in Macbeth
The Theme of Macbeth
Is Macbeth the Third Murderer?
Crafting a Sympathetic Macbeth
The Moral Character of Macbeth
Origin of the Weird Sisters
Explanatory Notes for Lady Macbeth's Soliloquy (1.5)
The Psychoanalysis of Lady Macbeth (Sleepwalking Scene)
The Effect of Lady Macbeth's Death on Macbeth
Is Lady Macbeth's Swoon Real?
Macbeth, Duncan and Shakespeare's Changes
King James I and Shakespeare's Sources for Macbeth
Contemporary References to King James I in Macbeth
The Royal Patent that Changed Shakespeare's Life
Soliloquy Analysis: If it were done when 'tis done (1.7.1-29)
Soliloquy Analysis: Is this a dagger (2.1.33-61)
Soliloquy Analysis: To be thus is nothing (3.1.47-71)
Soliloquy Analysis: She should have died hereafter (5.5.17-28)
|O, Proper Stuff! ... "Lady Macbeth does not at any time see the ghost of Banquo, and that Macbeth's vision is but the fear that arises from his guilty conscience. Lady Macbeth has apparently had no part in the murder, for it is not on her conscience, but only on her lord's. With the murder of Duncan her superior moral nature had all but collapsed, and Macbeth had to commit all the other crimes himself. The play is therefore primarily the story of Macbeth and his crimes." A. W. Crawford. Read On...|
Explanatory Notes for the Witches' Chants (4.1)
Macbeth Plot Summary (Acts 1 and 2)
Macbeth Plot Summary (Acts 3, 4 and 5)
How to Stage a Production of Macbeth (Scene Suggestions)
Elizabethan Use of Mummified Flesh
Three Apparitions in Macbeth
Supernatural Soliciting in Shakespeare
Knocking at the Gate in Macbeth
A Comparison of Macbeth and Hamlet
Shakespeare's Sources for Macbeth
The Curse of Macbeth
Macbeth Q & A
Essay Topics on Macbeth
Aesthetic Examination Questions on Macbeth
What is Tragic Irony?
Stages of Plot Development in Macbeth
Time Analysis of the Action in Macbeth
Macbeth Study Quiz (with detailed answers)
Quotations from Macbeth (Full)
Top 10 Quotations from Macbeth
Temptation, Sin, Retribution: Lecture Notes on Macbeth
Untie the winds: Exploring the Witches' Control Over Nature
Shakespeare on Omens
Characteristics of Elizabethan Tragedy
Why Shakespeare is so Important
Shakespeare's Influence on Other Writers
Summary: Act 3, scene 4
Onstage stands a table heaped with a feast. Macbeth and Lady Macbeth enter as king and queen, followed by their court, whom they bid welcome. As Macbeth walks among the company, the first murderer appears at the doorway. Macbeth speaks to him for a moment, learning that Banquo is dead and that Fleance has escaped. The news of Fleance’s escape angers Macbeth—if only Fleance had died, he muses, his throne would have been secure. Instead, “the worm that’s fled / Hath nature that in time will venom breed” (3.4.28–29).
Returning to his guests, Macbeth goes to sit at the head of the royal table but finds Banquo’s ghost sitting in his chair. Horror-struck, Macbeth speaks to the ghost, which is invisible to the rest of the company. Lady Macbeth makes excuses for her husband, saying that he occasionally has such “visions” and that the guests should simply ignore his behavior. Then she speaks to Macbeth, questioning his manhood and urging him to snap out of his trance. The ghost disappears, and Macbeth recovers, telling his company: “I have a strange infirmity which is nothing / To those that know me” (3.4.85–86). As he offers a toast to company, however, Banquo’s specter reappears and shocks Macbeth into further reckless outbursts. Continuing to make excuses for her husband, Lady Macbeth sends the alarmed guests out of the room as the ghost vanishes again.
Macbeth mutters that “blood will have blood” and tells Lady Macbeth that he has heard from a servant-spy that Macduff intends to keep away from court, behavior that verges on treason (3.4.121). He says that he will visit the witches again tomorrow in the hopes of learning more about the future and about who may be plotting against him. He resolves to do whatever is necessary to keep his throne, declaring: “I am in blood / Stepped in so far that, should I wade no more, / Returning were as tedious as go o’er” (3.4.135–137). Lady Macbeth says that he needs sleep, and they retire to their bed.Read a translation of Act 3, scene 4 →
Summary: Act 3, scene 5
Upon the stormy heath, the witches meet with Hecate, the goddess of witchcraft. Hecate scolds them for meddling in the business of Macbeth without consulting her but declares that she will take over as supervisor of the mischief. She says that when Macbeth comes the next day, as they know he will, they must summon visions and spirits whose messages will fill him with a false sense of security and “draw him on to his confusion” (3.5.29). Hecate vanishes, and the witches go to prepare their charms.Read a translation of Act 3, scene 5 →
Summary: Act 3, scene 6
That night, somewhere in Scotland, Lennox walks with another lord, discussing what has happened to the kingdom. Banquo’s murder has been officially blamed on Fleance, who has fled. Nevertheless, both men suspect Macbeth, whom they call a “tyrant,” in the murders of Duncan and Banquo. The lord tells Lennox that Macduff has gone to England, where he will join Malcolm in pleading with England’s King Edward for aid. News of these plots has prompted Macbeth to prepare for war. Lennox and the lord express their hope that Malcolm and Macduff will be successful and that their actions can save Scotland from Macbeth.Read a translation of Act 3, scene 6 →
Analysis: Act 3, scenes 4–6
Throughout Macbeth, as in many of Shakespeare’s tragedies, the supernatural and the unnatural appear in grotesque form as harbingers of wickedness, moral corruption, and downfall. Here, the appearance of Banquo’s silent ghost, the reappearance of the witches, and the introduction of the goddess Hecate all symbolize the corruption of Scotland’s political and moral health. In place of the dramatization of Macbeth’s acts of despotism, Shakespeare uses the scenes involving supernatural elements to increase the audience’s sense of foreboding and ill omen. When Macbeth’s political transgressions are revealed, Scotland’s dire situation immediately registers, because the transgressions of state have been predicted by the disturbances in nature. In Macbeth’s moral landscape, loyalty, honor, and virtue serve either as weak or nonexistent constraints against ambition and the lust for power. In the physical landscape that surrounds him, the normal rules of nature serve as weak constraints against the grotesqueries of the witches and the horrific ghost of Banquo.


Along Came the Devil (2018) HDRip XviD AC3-EVO
Author: rafaqatkiani007 on Today, 06:06, Views: 0
Along Came the Devil (2018) HDRip XviD AC3-EVOLanguage(s)
01:39:00 | 720x400 @ 1123 kb/s | 23.98 fps(r) | AC3, 44100 Hz, stereo, 448 kb/s | 1.27 GBGenre(s)
: Drama, Horror, ThrillerIMDB
After a troubled childhood, Ashley searches for a connection, and unknowingly invites in a demonic force, which leaves her loved ones fighting for her soul.


Episode #85 finds our Geeks getting hype over the first Godzilla VS Kong trailer! David and Ted discuss some of their favorite moments from the trailer, and then dive into some speculation and potential spoilers for the film itself. We do however give you a fair warning in the episode when we dive into possible spoilers for the film’s storyline.
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Sarasota vlogger is back with more Siesta Key rants
Posted: 12:36 pm Wednesday, August 16th, 2017
Have you been keeping up the show? MTV’s very fake reality show filmed here in Siesta Key? Probably not. That’s why we have Louie Carey! The Sarasota vlogger went viral after his first rant about the show and he hasn’t stopped since. Recapping all 3 episodes so far and noting every bit of it’s ridiculousness. Besides the idiotic comment they made about our ’73 degree’ weather, what really sticks out to me is how little of the show is ACTUALLY filmed in Siesta Key. Many scenes are clearly filmed in downtown Sarasota or Venice. So then, what else are they faking? As Carey points out, it seems like quite a lot.


Pacey + Joey Together Forever
WHY YOU SHOULD CARE
If you don’t want to set sail with your significant other on a boat called “True Love,” you have no heart. If you don’t like Pacey and Joey together, you have no soul.
By Lorena O'Neil
Have you ever felt that a TV relationship borderline ruined you for future real-life relationships? No? Well then you clearly have not spent enough time watching season four of Dawson’s Creek, starring Katie Holmes as Joey Potter and Joshua Jackson as Pacey Witter.
I recently started binge nostalgia-watching Dawson’s Creek, taking me back to my high school days when I fan-girled out on it. (Okay, still fan-girling). I remember when shy, yet witty good girl Joey fell for charming underdog Pacey, once just Dawson’s BFF sidekick. I originally was what show creator Kevin Williamson refers to as a “Dawson/Joey purist,” since the show had established that these two childhood best friends were soulmates. But when Dawson asked Pacey to “look after her” in the wake of his split from Joey, something shifted.
Katie Holmes (Joey) and Joshua Jackson (Pacey) had great onscreen chemistry and even dated in real life when they first filmed the series. Holmes referred to Jackson as her “first love” and said they developed a deep friendship.
The teen drama convincingly built up Joey and Pacey’s friendship, creating a foundation for a strong romance that simmered so slowly, you could almost hear teen girls screeching in relief when Pacey said he was tired of talking and grabbed Joey’s face for a mid-sentence smooch. When he kissed her the second time, he counted to ten first, just to make sure she was ready.
This wasn’t just an ordinary “good girl falls for bad boy” storyline. Pacey isn’t your stereotypical Hollywood bad boy. He was a loyal, attentive boyfriend whose only relationships before Joey were with his teacher (ok, creepy but on the teacher’s side not his) and Andie McPhee, his first love whom he supported through a mental illness. His “bad boy” qualities were related to his lack of academic ambition and his propensity to get into trouble when playing the hero.
In fact, Pacey is the most perfect TV boyfriend of all time. I didn’t realize it back in my high school days when I, like Miss Potter, was torn between which boy I should ’ship. Re-watching it now has made me realize a lot about the show (the characters really were a little too self-aware and vocab-obnoxious) but namely, that Pacey > Dawson. Why? Glad you asked.
Williamson still gets tweets about Pacey vs. Dawson.
Pacey buys (ok, rents) Joey a wall so that she can grow as an artist and as a person. He gives her the sweetest forehead kisses, which she returns. He, as any good PJ fan knows, brings her extra napkins at the movies so she doesn’t wipe popcorn grease on her jeans. He teaches her how to drive. He knows she is wearing her late mom’s bracelet at prom because he remembers everything. He, as a non-virgin teenage boy, stays on a sailboat with her for three months and respects her wishes to not sleep together — instead he reads her stories about mermaids.
He says things like, “The simple act of being in love with you is enough for me.” It’s no wonder that when Williamson returned to the show to write the series finale, at the very last minute he ended up pairing Joey with Pacey, despite his original intention of ending the show with Joey and Dawson reunited.
In the season three finale of the show, Pacey paints “Ask me to stay” on the wall he rented for Joey, an iconic Creek scene. Instead, she takes it one step further and ultimately goes with him on a sailing adventure for the summer. I hope this inspires you to cuddle up with Capeside’s cutest couple on Netflix, or even make a romantic summer love gesture of your own. Feel free to email me your thank-yous and PJ memes. I’ll be sitting here, fan-girling my heart out.


Last night a small group of family and friends gathered at our home to celebrate the 84th Annual Academy Awards. We teared up as Octavia Spencer won Best Supporting Actress for The Help, we cheered as Christopher Plummer won Best Supporting Actor for Beginners (Vive le Canada), and we nodded approval when Midnight in Paris won for best original screenplay. We critiqued the fashions, showed our concerns about how thin Angelina looked, worried about J-Lo popping out of that dress (seems like those concerns were valid) and decided as a group that we just had to see The Artist and find out first hand what all the buzz was about. We had a fabulous time! Here are some pictures of our Oscar viewing party. We had such a great time I can’t help but pencil it in for next year… same Oscar time, same Oscar channel.
Our Oscar Eats
Our Oscar Viewing Crew
Our Oscar Picks For Best Dressed
If you happened to tune into the Oscar’s, leave a comment and let me know which red carpet dress was your favourite?


Saturday, February 8, 12:00 p.m. and 6:00 p.m.
Sunday, February 9, 12:00 p.m.
The Catlow Theater (It Will Be Open for this Event!)
Hollywood’s biggest night out – the Oscars – is earlier this year, and so is the Oscar Shorts Film Festival at the Catlow Theater! This year we have two showings featuring the Oscar-nominated animated and live action short films on Saturday, February 8, including a new evening showing at 6:00 p.m.! The show will also be held on Sunday, February 9. Tickets for this very popular event are $17 and go on sale January 2 at www.barrington-il.gov/oscars.


Shaheen Dill-Riaz is a documentary filmmaker based in Berlin.
His strong faith in humanity is guide and inspiration during all his travels.
Spring hasn’t even begun and yet there is already one highlight coming up you just can’t miss: Distant Fortune, Shaheen Dill-Riaz latest cinematic creation is set to premiere on March 7, 2015. In Distant Fortune filmmaker Shaheen Dill-Riaz chronicles the exploits of several young German volunteers in …3,576 comments
Filmmaker Shaheen Dill-Riaz and the talented group around theater director Corinne Maier will perform their play Past is Present in the city of Zurich the upcoming weekend. The documentary play, which premiered earlier this year focuses on the exceptional family life of Shaheen, whose family is scattered …
After a factory building in Bangladesh collapsed and buried several thousand people, the filmmaker Shaheen Dill-Riaz watched the catastrophe unfold from far-away Berlin. He was not able to stand the sight and boarded a plane for his native country. He shared his experience with SPIEGEL ONLINE. …
On Friday, filmmaker Shaheen Dill-Riaz was awarded the Sonderpreis Kultur des Landes NRW for his latest documentary The Projectionist. The Film chronicles the life of Rakib, an 11-year-old boy who works as a projectionist in a small-town cinema in Bangladesh. Mr. Dill-Riaz was presented the award by NRW …
Meet Shaheen Dill-Riaz
Shaheen Dill-Riaz is an award-winning filmmaker, director, producer and writer based in Berlin. His latest documentary film Distant Fortune premiered in March 2015. Read More
My greatest inspiration? Seeing first-hand how people are able to bridge the gap between cultures and traditions.
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But ughhh…has anyone seen my motivation??
Haha, good one! I loved The O.C. a whoooole lot.
favorite character: it’s gotta be Seth Cohen…I mean, right? best dressed character: Marissa Cooper prettiest character: MARISSA COOPER. I actually think first season Marissa might be the prettiest character of all time to grace television screens. funniest character: Seth. I also love Sandy Cohen, he always made me laugh. character i want to hug: Ryan character i love to hate: Ryan’s horrible girlfriend Lindsay. I don’t even love to hate her, I just HATE HER. A lot. character i want to marry: Ryan, for sure. Mmm. Love Ryan. character most likely to be my best friend: Summer an unpopular opinion about a character: I don’t know if I have one? Maybe that I actually loved Marissa’s character a lot, despite her being a brat and Mischa Barton’s non-existent acting abilities?
I only watched it til I think the end of the 2nd season? It was really good though, I should pick up where I left off…
- favorite character: David
- best dressed character: Umm? Maybe Nate?
- prettiest character: Claire
- funniest character: I thought the mom was pretty funny
- character i want to hug: David, I loved him
- character i love to hate: Brenda
- character i want to marry: if I were a gay male, I’d say David. But I’m not, so I guess…none of them, really.
- character most likely to be my best friend: Claire
- an unpopular opinion about a character: I dislike Nate’s character. I don’t know if that’s an unpopular opinion or not, but I find him too whiny. However, Brenda is the worst.


Our long time spokesman, Robert Vaughn, sadly passed away on November 11, 2016 after a brief battle with illness. Mr. Vaughn achieved many professional accomplishments in his 83 years of life, and we extend our condolences to his family and all who knew him. We were fortunate enough to have Mr. Vaughn as the face of our firm for 12 wonderful years. Mr. Vaughn’s legendary delivery of our tagline, “Tell Them You Mean Business!” will truly be missed.
Of course, the end of every chapter brings a new beginning. It is with pleasure that we introduce the firm’s new spokesperson, Eric Pierpoint. You may recognize Mr. Pierpoint from his appearances on the Star Trek television spin-offs, from his role as George Francisco on Fox Network’s Alien Nation, or from various other television and movie roles during his acting career. Mr. Pierpoint exudes a warm and genuine, yet serious, demeanor in our new commercials, and we hope you enjoy him as much as we do.


Marvel Avengers: Endgame DVD (2019)
- Unit Price
The grave course of events set in motion by Thanos that wiped out half the universe and fractured the Avengers ranks compels the remaining Avengers to take one final stand in Marvel Studios' grand conclusion to twenty-two films, "Avengers: Endgame."
- Director : Anthony Russo, Joe Russo
- Media Format : PAL
- Release date : 2 Sept. 2019
- Actors : Robert Downey Jr., Chris Evans, Mark Rufallo, Chris Hemsworth, Scarlett Johannson, Paul Rudd, Brie Larson, Tom Holland, Jeremy Renner.
Title: Marvel Avengers: Endgame DVD (2019)
Release Year: 2018
Age Rating: 12


INDIRA S. SOMANI, Ph.D., M.F.A., M.S.J.
Indira S. Somani, Ph.D. expertise spans across disciplines including documentary filmmaking, broadcast journalism, and communication research. Somani has taught broadcast journalism for 18 years, most recently with Howard University’s Department of Media, Journalism and Film. Prior to teaching journalism, she was a television newscast producer for 10 years, mainly in local news including major markets, like Washington, D.C., and New York/New Jersey. Somani holds a Ph.D. in Journalism and Public Communication from the University of Maryland, an MFA in Directing/Production in Documentary film at UCLA’s School of Theater, Film and Television, and an MSJ from the Medill School of Journalism, Northwestern University.
Currently in production is a personal documentary about her role as a caregiver for her Mom who battles depression. The film reveals how much Somani and her mother rely on each other for emotional support. Other films Somani has directed and produced include Life on the Ganges (2017), a 10- minute documentary directed, produced and filmed in Varanasi, India, during Dev Diwali, when people from all over India travel there to bathe in the Ganges River. The film screened in film festivals in the U.S., India and Europe and won Best Short Documentary at the Berlin Independent Film Festival, and the Cannes Short Film Festival. Another film Somani directed, produced and wrote was, Crossing Lines (2007), a 30-minute personal essay documentary about her struggle to stay connected to India after the loss of her father and to maintain and preserve her Indian cultural identity. The film won numerous awards, screened in film festivals nationally and internationally, aired on PBS affiliates through NETA from 2008-2011, and has been used by more than 200 universities as a tool to teach intercultural communication in the classroom. Both films are in distribution through New Day films.


By Nikita Pradhan
Tw: homophobia, suicide, mental illness
Tennessee Williams, one of the greatest American dramatists of the 20th century, is known for plays like The Glass Menagerie, A Streetcar Named Desire, and Cat on a Hot Tin Roof among others.
Born in Mississippi in 1911, Williams had a difficult childhood. His father was an alcoholic and a womaniser, whereas his mother was stuck in an unhappy marriage. In his family, Williams was closest to his sister, who was early in her life diagnosed with schizophrenia and was later lobotomised.
Williams’ dysfunctional family life inspired a lot of his work, including The Glass Menagerie, which critics suggest is mostly biographical. Although the play is not outrightly queer, queerness is by no means absent. The protagonist Tom goes out to the movies each night, only to return drunk. In the play, Tom eventually leaves his hometown to move away from the restrictions imposed by his broken family.
Similar to Tom, Williams also moved out of his house, to eventually settle in New York. The city was his escape and he rebelled in the opportunities he got here. It was during this time that he came to terms with his homosexuality, which became his open secret during a time in American history when it was practically criminal to be such.
A Streetcar Named Desire remains Williams most influential work. The play tells the tale of disgraced debutante Blanche DuBois, who was once married to a man named Allan. It’s later revealed that Allan killed himself after Blanche caught him having an affair with an older gentleman. Unlike his earlier works, this play specifically acknowledged a character’s queerness.
The queer characters in Williams’ works however, almost never had a happy ending. Some critics say it has got to do with the deep rooted shame attached to homosexuality that his south rearing has instilled in him. Others say it’s got to do with how troubled and sad his own life was.
One of Williams’s earliest homosexual relationships was with Kip Kiernan, a young dancer from Massachusetts. Kiernan left Williams to marry another woman, and passed away at an early age of 26, which left Williams distraught. Williams’ most enduring relationship was with Frank Merlo, who was an aspiring actor. Historians say Williams was happiest and most productive during the time he was with Merlo.
Merlo was diagnosed with lung cancer, and his death led to Williams descended into a period of nearly catatonic depression and increasing drug use. In his later years of life, Williams felt increasingly alone.
One could wonder if it’s Williams talking when his character Blanche says “’I have always depended upon the kindness of strangers”. However, Williams was never one to take self pity. In his memoirs, he writes: “I’ve had a wonderful and terrible life and I wouldn’t cry for myself.”
Even today, Williams remains the tormented playwright who put gay desires on stage in the America which was still conservative and highly homophobic. As Hilton Als calls him, Williams is the man who “queered Broadway”.


Mouretsu Pirates (モーレツパイレーツ, Mōretsu Pairētsu), also known as Bodacious Space Pirates and Mouretsu Space Pirates (モーレツ宇宙海賊, Mōretsu Uchū Kaizoku), is a 26 episode anime series, adapted from the Miniskirt Pirates light novel series by Yūichi Sasamoto, directed by Tatsuo Satō and produced by Satelight. It aired between January 8th 2012 and June 30th 2012. A movie, Mouretsu Pirates: Abyss of Hyperspace, was released on February 22nd 2014.
Mouretsu Pirates is set in the far future and follows the story of Marika Kato, a high school student on the planet Sea of the Morning Star who learns that her recently deceased father was a space pirate operating under a Letter of Marque and as his direct descendant, she is the only one who can take his place as captain of the pirate ship Bentenmaru which she decides to do.
- See also: List of Mouretsu Pirates Episodes
The 26 episode anime adaption was produced by Satelight and directed by Tatsuo Sato. It began airing on January 8th 2012 on Tokyo MX, MBS and TVK, being simulcast by Crunchyroll. The anime has been licensed for distribution in North America by Sentai Filmworks. MVM Films have licensed the series for distribution in the United Kingdom in 2013.
Three original soundtracks for the series have been released.
- See also: List of Mouretsu Pirates Audio Dramas
Audio dramas have been released together with the three original soundtracks. An additional audio drama has also been released at Comiket 82.
- See also: Mouretsu Pirates: Abyss of Hyperspace
A film adaption was announced after the final episode aired. Initially scheduled for a Winter 2014 release , it was announced to be expected to be released in February 2014. In December 2013, information regarding the movie's plot and title, Abyss of Hyperspace, was released together with a trailer. Further information was also released on the movie's official site and blog. The film was released on February 22nd 2014.
Several artbooks and a design archive have been released for the series.
- Director & Series Organization: Tatsuo Satō
- Original Story Publication: Asahi Novels "Miniskirt Pirates"
- Original Character Conception: Akiman
- Anime Character Designs & Executive Animation Director: Hiroshi Takeuchi
- Mechanical Designs: Shoji Kawamori, Naohiro Washio, Kenji Teraoka, Masahisa Suzuki, Shinichi Miyazaki
- Prop design: Miki Yoshikawa
- Art Director: Sei Itō
- Art Setting: Masahiro Sato, Thomas Romain, Yann Le Gall, Brunet Stanislas
- Director of Photography: Yujiro Yamane
- Editing: Kentarō Tsubone
- Sound Director: Jin Aketagawa
- Sound Effects: Naoto Yamatani
- Music: Elements Garden, Noriyasu Agematsu, Junpei Fujita, Hitoshi Fujima
- Music Production: StarChild Records
- Producers: Rie Shimai, Kenjirō Kawahito
- Animation Producer: Fumio Kaneko
- Animation Production: Satelight
- Production: Mouretsu Pirates Production Committee
- Presented by: Project Mo-Retsu
- Tokyo MX
- Kids Station
- Nico Nico Seiga
- The series is sometimes referred to by the abbreviation, MoPai (モーパイ).
- Mouretsu Pirates won the 2013 Seiun Award (Nebula Award) for Best Dramatic Presentation.
- Starchild (Official Website) (Japanese)
- Starchild (Official Website) (English)
- Wikipedia entry (Japanese)
- Wikipedia entry (English)
- Anime News Network entry
|Miniskirt Pirates||Light Novel Volumes • Manga Chapters|
|Mouretsu Pirates||Episodes • Abyss of Hyperspace • BD/DVD Releases • Audio Dramas • Soundtracks • Books • Fever Mouretsu Pirates|
|Other||Crossovers and Collaborations|


In the past day or so I’ve seen four recent films, two in theaters and two while flying today. This is the same number of movies I might normally watch in an average month, so it’s a bit out of character for me but a welcome surprise nonetheless.
My wife and I went to see Ad Astra yesterday on a date. Today, I watched X-Men: Dark Phoenix and Tolkien while flying to Boston and I saw Joker in a 70mm film print at the historic Coolidge Corner Theater. In this post, I’m going to write a brief (mostly spoiler-free) reaction to each of the four, and I’d like to delve into a few of them more deeply later on in a spoiler-filled review if there’ s anyone interested in reading it. Let’s jump in!
Ad Astra – 9/10
Ad Astra focuses on the struggle of what lies beyond our reach even as it questions whether the cost of that pursuit is justified. It does this by balancing multiple interweaving narratives, individual leitmotifs that eventually sing in harmony as they build to a majestic finale.
This is an achingly beautiful voyage “to the stars” with strong meditations on duty to both nation and family, masculinity, one’s own legacy, living outside of the shadow of one’s father, and the search for ultimate meaning. It is very much like Interstellar in both visuals and in themes, although the journey and the consequences of that journey are very different.
I spent the better part of two hours mostly looking at Brad Pitt’s face as well as glorious space imagery and whether the camera lingered on Pitt’s understated performance or on the visuals, it was riveting. The cinematography, score, and dialogue elevate this film beyond most other “think piece sci-fi films” and it is worthy to share the same air with 2001: A Space Odyssey, Gattaca, and The Arrival. It has big ideas, big performances, and elevates each aspect of its creation in the artistry of its composition.
X-Men: Dark Phoenix – 3/10
Dark Phoenix was disappointing, much as I expected, but I also found a few redeeming moments.
I liked how we see the highest regard the American people hold the X-Men after the events of Days of Future Past and Apocalypse showing that they have all but become a government agency. A triumphant return scene after near tragedy where children wear mutant face paint and hold X-Men action figures asks the question of whether or not the lives of mutants are being risked as a PR stunt is worthwhile or not to preserve the peace. The background of Jean Grey is also quite interesting, but the eventual nemesis is a bland one-note threat that feels like a type of comic book movie villain that existed prior to Nolan and the MCU. We’ve gone too far beyond that now, you’ll have to do better if you expect us to care.
From my understanding, Singer rushed through the production of this film as he was battling sexual assault allegations and the hacked-together third act was a result of this situation. I can understand how that would have an impact on Singer, but that doesn’t explain why Apocalypse was so much weaker than First Class orDays of Future Past and I think a lot of that blame for the failure of this film can be placed on the shoulders of Sophie Turner. She does a good enough Jean Grey as a background character, but she can’t carry Dark Phoenix. One thing I enjoyed in this film are many of the character development moments for the other characters. There were a lot of intriguing ideas here, which is why it’s so infuriating that the resulting film is so lackluster.
Tolkien – 8/10
I was utterly enthralled by Tolkien and felt the film did not deserve the criticism it has received from many in the Christian community.
I think a lot of people weren’t disappointed by what was in Tolkien but were instead let down by what was not in the film. We do not have any of Tolkien’s time with the Inklings in general or his friendship with C.S. Lewis in particular. We do not have much visible manifestation of how important his Catholic faith was in his life. We have very little mention of Hobbits or of Middle-Earth.
Enough of what is missing—what do we have? Tolkien, after a brief interlude to establish his mother imparting a love of language and mythology and then orphaning poor John Ronald his brother, the bulk of the film concerns Tolkien’s time as a scholarship student at a boarding school and at Oxford before enlisting as an officer in World War I and fighting at La Somme, one of the bloodiest battlefields in human history.
The film concerns forging a brotherhood with three other students who declare they will engage in a battle for art and die on their swords if necessary in the attempt. The bonds between the young men might remind one of the deep and abiding filial fellowships found in The Lord of the Rings. As one reviewer pointed out, the group of young men is similar in some ways to the youths of Dead Poets Societ, but instead of a revolutionary zeal to seize the day, the Tea Club and Barrovian Society (T.C.B.S.) is concerned with creating culture and not in mounting a countercultural movement.
For as much time as Tolkien spends on the T.C.B.S., it spends an equal amount of time on both Tolkien’s pursuit of the fellow orphan Edith and in his abiding love for language. It is not surprising that in a film with these three rich subjects that all exist in his youth, that the focus does not extend into later aspects of the life of professor Tolkien we’d like to see onscreen.
Joker – 7/10
Because Joker is a film about a broken man who uses sensational violence to try and find some semblance of agency, it is no wonder that it has elicited strong opinions from either side of the culture war. Joker wants to be a comic book version of Taxi Driver but it is too nihilistic to achieve that level of character depth—nevertheless it is a solid apotheosis of the archetypal villain.
That said, it is quite a task to try and make a film like Joker in the current cultural landscape, much less from the director responsible for The Hangover series. There are many people who enjoy watching Joaquin Phoenix unhinge himself onscreen—a glorious mashup of the performance styles of both Daniel Day Lewis and Nicholas Cage—and they won’t be disappointed here. Phoenix outdoes his performances in both Gladiator and The Master with his riveting portrayal of Arthur Fleck, a low-level clown who wants to be a stand-up comic and can barely keep his psychoses in check for most of the film.
The Gotham setting looks to be in the early 80s and shows the city as it is in the midst of a garbage strike – the streets are dirty and graffitied, with garbage bags strewn about as characters walk down sidewalks. It’s easy to forget in 2019 how grimy cities like New York and Chicago were in that time period, and Joker brings out the seedy underbelly of external city and within the souls of many of the characters.
Those who are expecting a typical comic book film will be disappointed. Joker is a character study with a few brief action set pieces. It is also a hard-R rating, so please don’t take your kids who want to see their favorite Batman villain.
All that said, is it worth seeing? Yes, if you have the stomach for it. Not just a stomach for brief scenes of stunning violence, but mostly for two hours of unending psychological assault where revealed secrets forever ruin relationships and people who want to live innocent and productive lives are beaten and abused until they too become monsters.
I am reminded of the Nietzsche quote, “if you stare into the abyss, the abyss stares back into you”. As I left the theater today, I overheard two dramatically different audience reactions. A group of college-aged students were applauding and laughing, taking a destructive glee from this film that was quite chilling to me. I could imagine them putting on clown masks themselves and glorying in violent rallying against the powers that be. Another man, a few years older, turned to his date and said, “I think I need a shower after watching that.” I can understand the feeling. When watching a film such as Joker, Taxi Driver, or Requiem for a Dream there is an uncleanliness that attaches itself to us for a while, an artifact of having viewed the depiction of callous disregard for human life. To seek cleansing afterward is an appropriate reaction.


The complete third season of the historical drama following the
adventures of a Viking clan. The series follows Ragnar (Travis
Fimmel), a Viking chieftain who, along with his brother Rollo
(Clive Standen) and wife Lagertha (Katheryn Winnick), plots to
become king. A formidable warrior, Ragnar often leads his men on
raids overseas. However, ...
Episodes 154-192 of the 'Naruto' anime spin-off series. A trio of
young ninjas, Naruto (voice of Junko Takeuchi), Sasuke (Noriaki
Sugiyama) and Sakura (Chie Nakamura), are schooled together in the
village hidden in the leaves. Each desires to become a ninja for
different reasons and will face his or her own personal battles
along the way. ...


THE DRESSING ROOM (Week 2:October 4, 5 & 6
: THE DRESSING ROOM
by Peggy Hallett
Directed by Peggy Hallett
Play dates: September 27, 28 & 29 (m), October 4, 5 & 6 (m). Evening performances at 8 pm and matinees (m) at 2 pm.
Based on the real antics of backstage life during the production of a community theatre musical, The Dressing Room is a new original comedy by local playwright Peggy Hallett. Through the span of five years, the cast of multi-generational characters make their way through five familiar musicals playing an assortment of supporting chorus members, divas, and eventually production members, all while balancing the drama of real life. Sometimes thereâs more going on backstage â¦ than on stage!
(Produced by arrangement with the author)
NOTE: ONLINE TICKET SALES CLOSE THE DAY OF THE PERFORMANCE AND SEATING, IF AVAILABLE, CAN BE PURCHASED FOR CASH AT THE DOOR ON A FIRST COME BASIS. Doors open 1 hour before the performance time.
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OCT 6 â PLEASE JOIN US! THERE WILL BE SEATS AVAILABLE FOR CASH SALES AT THE DOOR FOR TODAY'S PERFORMANCE.
: October 4th, 2019 at 8:00pm
: October 4th, 2019 at 10:00pm
: Lennox Community Theatre
: 2219 County Road 11,


Patrice Ortega is a French actor, born in 1971 in Toulouse, South-West France.
He began acting at the age of 15 and playing music at the age of 16. Trained at the René Gouzenne School and at the Music’Halle (both in Toulouse), he has been alternating and sometimes merging theatre and music for over 25 years.
Curious by nature, Patrice has performed in a host of Street Theatre, Clown and Puppet companies, ever-expanding his artistic knowledge.
In the theatre as well as on screen, he has performed in plays by French playwrights like Michel Ribes, Thierry Manuel and Didier Caron, amongst others, and played in many Improv shows (Nocsensus, Un atelier au paradis,...).
He is currently performing with his own company, La BaP, in an Improv show called “Le Joyeux Bazar” , which he co-created. He also plays the role of Philippe Dubois, a masseur, in the play “Oscar” by Claude Manier.
Patrice Ortega has also been involved in several French and International award-winning short films (H.P lovecraft Film Festival in Los Angeles, selluloid,...), has worked for Television docu-fictions (Affaires classées,Accusé à tort, Une femme sauvage), and lends his voice to various film projects.
For the last two years, Patrice has been travelling to Los Angeles to train at the Ivanna Chubbuck School and attend Bernard Hiller’s masterclasses.
Patrice Ortega is also a guitarist and a singer. He has performed with several groups since the age of 20, experimenting with different music styles: blues, rock, jazz, reggae, folk music, etc.
He is now performing with his band “Tom Souville Band”, a trio which mainly covers soul and funk music standards.
2010 - present
2010 - present


Ian Fleming’s Bond meets the lyricism of Rimbaud in this fast-paced, genre-defying debut, encompassing six decades and three continents of absurd and often life-threatening experience.
At once personal and hauntingly universal, Extravagant Strangeris the compelling memoir of self-professed ‘global scalliwag’ Daniel Roy Connelly – former diplomat, theatre director, Shakespeare scholar and conscience-stricken father.
Laced with international intrigue and hilarious moments of well-aimed self-scrutiny, here is a book – like the life it relates – truly without comparison.
Published by Little Island Press.
About the Poets
A former British diplomat, Daniel Roy Connelly is a theatre director, actor and professor of creative writing, English and theatre at John Cabot University and the American University of Rome. He has acted in and directed theatre in America, the UK, Italy and China, where his 2009 production of David Henry Hwang's M Butterfly was forced to close by the Chinese secret police. Watch Daniel perform 'Black Dog', a poem for his son, here.
Luke Kennard is the author of five collections of poetry. His latest, Cain (Penned in the Margins, 2016) was shortlisted for the 2017 International Dylan Thomas Prize and his first novelThe Transition (4th Estate, 2017) was longlisted for the Desmond Elliott Debut Fiction Award. He teaches at the University of Birmingham.
DATE AND TIME
Thu 13 July 2017
19:00 – 20:30 BST
Housmans Bookshop, 5 Caledonian Road, Kings Cross, London, N1 9DX


The Riga Russian Theatre opened with the premier of I. Shpazhinsky's General's Wife on 2 October 1883. The first season saw sixty productions. In the early 20th century, the theatre became one of the best outside Russia thanks to its artistic directors N. Nezlobin and K. Mardzhanov.
In 1931, the Riga Russian Theatre employed the famous Russian actor and director Mikhail Chekhov who staged N. Gogol's The Inspector-General with himself as Khlestakov. For the first time he also staged F. Dostoyevsky's novel The Village of Stepanchikovo.
When Latvia was incorporated into the USSR in 1940, the theatre changed significantly. The repertory and artistic direction were heavily influenced by Soviet ideology and censorship. However, the troupe tried as much as possible to follow its traditions. The theatre was renamed the Latvian SSR State Russian Drama Theatre (1940-1958).
Since the 1990s, the Riga Russian Theatre welcomed the very best and boldest guest directors from Russia, among them Roman Kozakov, Mikhail Bichkov, Yelena Nevezhina, Alexander Galibin, Roman Viktyuk, and Alla Sigalova.
|Address:||Kaļķu iela 16|


Acting Technique is owned and run by Karen Louise Hebden; a director, writer and acting coach with 18 years experience. Karen has directed in the West End – most recently working with the producers of Jersey Boys at The Prince Edward Theatre on the forthcoming West End production of MOONLANDING.
Karen went to Kings School, Rochester where here passion for theatre was born. She then read English Literature at the University of Newcastle-upon-Tyne and then studied at the Royal Academy of Dramatic Art before spending eighteen months as an assistant director at West Yorkshire Playhouse, working for the renown Matthew Warchus and legendary Artistic Director, Jude Kelly.
In the 1990s she founded the JFK Repertory Company specialising in the first plays of new writers. As the company’s Artistic Director Karen directed Dark Tales by Tim Arthur (Edinburgh Festival and West End); The Cub by Stephanie McKnight (Traverse Theatre, Edinburgh); A Pair of Blue Eyes and The Hanuman by Jonathan Pett and Fiorella Ruas (Bridewell Theatre); Fragments of a Dream by Tom Minter (Riverside Studios) and Tess of the d’Urbervilles, which she co-wrote with Stephen Edwards (national tour and West End).
She joined the Derby Playhouse, one of the Country’s leading Repertory Theatre, in 2002-2009 as its Chief Executive and Joint Artistic Director. She has directed many productions at Derby including Treasure Island, Merrily We Roll Along, Into the Woods, Blithe Spirit, Educating Rita, Macbeth, Company, and A Midsummer Night’s Dream - her productions frequently receiving 4 and 5 star national reviews.
“ I opened Acting Technique to pass on my skills and help students and actors bridge the gap between having talent and achieving success. I believe that the bridge is technique – in order to be successful in our profession you need it. Good audition technique will improve your chances of landing a great job or get you into drama school. Good rehearsal and performance technique will make you a more confident performer, which will get you the next job.”
Karen Louise Hebden
Here are some links which students may find useful and informative
'Moonlanding by Stephen Edwards' coming to the West End 2010.
A Midsummer Night's Dream
The Guardian 5*****
Karen Louise Hebden has delivered not just a respectable Dream, but an outstanding one…If these are the standards a reinvigorated regional theatre can achieve then this has to be the best £25 million that the Arts Council ever spent.
The Times 4****
Proceedings begin with an almighty flash of lightning accompanying a thunderous drum roll from the percussionist just visible in the wings. No gradual dimming of the lights nor jokey reminder about our mobiles... We are hauled into the superstitious world of the play, and the surge continues throughout Karen Louise Hebden's astutely judged and satisfying production.
The Guardian 4****
Hebden's perceptive and thoughtful treatment remains truly illuminating
Karen Louise Hebden’s adaptation, is a swaggering synthesis of cannon smoke, sea-shanties and three cornered hats, showing that provincial theatre can aspire to musical spectacle on a grand scale…..This is a production too good to miss from a theatre too valuable to lose.
Daily Mail 4****
This is a show that owes its success not to individuals, but to the spirit of the whole company. Nor is it surprising that it’s been selling out. So be sure to get your hands on a ticket and help stop the asset strippers looting Derby’s theatrical treasure chest.
Derby Playhouse’s boisterous production of Stevenson’s tale of buccaneers and buried gold deserves – a West End airing….Extra performances have been added to the run...that gives London producers as well as audiences from surprisingly far afield more opportunity to catch this splendid production and discover what a hidden treasure the Playhouse is.


In his classic, self-deprecating style of humor, Brian discusses everything from his guilt about having a pure bred dog in a “rescue” culture, to the multiple awkward times his wife has walked in on him masturbating. The special originally debuted on Seeso on January 5, 2017.
This is comedian, writer and actor Brian Posehn’s third comedy special and fifth album. He can be seen on Netflix’s Lady Dynamite, FX’s You’re The Worst, CBS’s The Big Bang Theory and FOX’s New Girl. He was featured in the films Devil’s Rejects,The Five Year Engagement and Uncle Nick. He is currently on tour performing his stand-up across the country.
Lewd, drunken Uncle Nick (Brian Posehn, Mr. Show, The Sarah Silverman Program) stumbles his way through his brother’s cookie cutter-family’s annual Christmas gathering in the hopes of scoring with a super-hot party guest. But the arrival of his equally crass sister coupled with Nick’s liquor-fueled faux pas cause family secrets to bubble to the surface that might spell disaster for the whole clan before the night is over.
Presented by Errol Morris, UNCLE NICK is a raucously funny comedy of inappropriate behavior, uncomfortably interrupted trysts, and a monumental overserving of ten-cent beers.
UNCLE NICK Is Available Now On DVD & BLU-RAY!
Bonus features include:
Commentary with director Chris Kasick, actor Brian Posehn, and writer Mike Demski


Best Things to Note About Vijay Devarakonda Movie in Hindi Dubbed
Are you interested in checking for Vijay devarakonda movies in hindi list? Vijay Sai Deverakonda (born nine May 1989), regarded through his degree call. Vijay Deverakonda is an Indian movie actor who seems in Telugu movies. He is from Telangana, India, and received Filmfare Award South for the movie Arjun Reddy. After finishing his training at the Vignan Institute of Technology and Science and the Badruka College of Commerce. Therefore he had a quick stint in the theater.
He made his performing debut in 2011 through gambling a well-known cricketer in Ravi Babu’s romantic comedy, Nuvvila. Vijay devarakonda movies in Hindi list then acquired countrywide popularity for his helping function within the coming-of-age drama Yevade Subramanyam (2015), wherein he performed an active and enormously religious youth. This movie made him a regarded face in Telugu movies and exposed him to famous people in lead roles.
About Vijay Devarakonda
He was not the handiest in Telugu films, and however, additionally, he also made his debut in Hindi films with Karan Johar produced Fighter. Moreover, on eleven February 2020, he released his style logo ‘Rowdy Wear’ at the e-trade portal Myntra. Moreover, he become a logo ambassador for the meals shipping app Zomato. Here Movienasha compiled a whole listing of
Vijay Devarakonda Hindi dubbed movies list.
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Vijay rose to prominence with main roles in severely and commercially hit movies which include city rom-com Pelli Choopulu (2016), which gained the National Film Award for Best Feature Film in Telugu and the Filmfare Award for Best Film – Telugu, Arjun Reddy (2017), and the biopic Mahanati (2018), several which rank some of the highest-grossing Telugu movies of all time.
Vijay devarakonda movies in Hindi dubbed acclaimed portrayals as a lazy chef in Pelli Choopulu. However, a brief tempered alcoholic medical professional in Arjun Reddy set him up as one of the main stars withinside the Telugu movie industry. For Arjun Reddy he obtain many accolades, including the Filmfare Award for Best Actor – Telugu. He affectionately refers to his fanatics as Rowdies.
Romeo is a new Vijay Deverakonda movie in Hindi dubbed released at the box office on 22nd January 2018. This movie was released in different languages.
Dear Comrade is a notable Telugu movement, romance, comedy film in Hindi dubbed. In this film, you may watch plenty of movement and comedy scenes. The tale of this movie will blow your mind. This Vijay devarakonda movie in Hindi dubbed did a large blast at the Indian field workplace by accumulating a large amount. This is the preferred movie that I even have watched instances withinside the theatre.
Every person can make out things in a better manner, as per Vijay’s film. Therefore one can make out decisions for people in an enhanced manner.


Milo Manheim, the star of the Disney Channel’s Zombie franchise, has become a household name. From his breakout role in the first movie in the series to his current starring role in the third installment, Manheim has become a fan favorite and a star in his own right. In this article, we’ll take a look at Manheim’s career and how he rose to become the face of the franchise.
Milo Manheim: The Zombie Star
Milo Manheim is an American actor and dancer who is best known for his role as Zed in the Disney Channel’s Zombie franchise. He is also the son of actress and former model Camryn Manheim. Manheim made his acting debut in the first movie in the series, Zombies, in 2018. Since then, he has gone on to star in the sequel, Zombies 2, and the upcoming third installment, Zombies 3.
Manheim has become an icon in the Disney Channel’s young adult demographic and is widely recognized for his role in the franchise. He has earned critical acclaim for his performances and is beloved by fans for his natural charm and charisma.
The Rise of Milo Manheim’s Career in the Zombie Franchise
Manheim’s career in the Zombie franchise began with his breakout role in the first movie. After that, he was cast in the sequel, Zombies 2, and was widely praised for his performance.
Manheim’s career in the Zombie franchise has been a steady climb. He has gained more and more recognition for his work in the series, and his popularity has grown with each movie. He has become a fan favorite and is now one of the most recognizable faces in the franchise.
Manheim has also ventured into other projects outside of the Zombie franchise. He has starred in the Netflix original movie, Work It, and the Hulu series, Love, Victor. He has also appeared in several music videos, including the music video for the song “Loco” by Christian Nodal.
Milo Manheim’s career in the Zombie franchise has been a major success. He has become a fan favorite and a recognizable face in the franchise. Manheim has also branched out into other projects, and he continues to gain recognition for his work. With his charm and charisma, Manheim is sure to be a star for many years to come.


WHY IN NEWS?
- Legendary Bollywood actor Mohammed Yusuf Khan, known professionally as Dilip Kumar passed away at 98. He was popularly known as the tragedy king of Bollywood. He was last seen in the 1998 film Qila.
- He was the first actor to win the Filmfare Award for Best Actor in 1954 and won it a total of 8 times. He and Shah Rukh Khan jointly hold the record for most Filmfare trophies.
© 2023 Civilstap Himachal Design & Development


Movement, theatre, poetry and music mold Trish’s world; working professionally as an actor in stage, film and television, since age 12. Drawing from her 9 years of teaching, over 1000 hours of yoga teacher training and her creative background as a classically trained actor, Trish is creating something new and exciting on the mat.
In 1999 Trish began practicing yoga while attending the theatre-acting conservatory, at Ryerson University. She fell in LOVE with yoga in 2006, when she used it to help heal herself from addiction and depression.
Since then, Trish has studied asana, philosophy (both tantric and classical), anatomy, therapeutics, meditation and pranayama with some of the world's most inspiring teachers, including Ana Forrest, Noah Maze, Seane Corn, Martin Kirk, John Friend, Christopher Hareesh Wallis and Baron Baptiste.
Trish's teaching style is unique, fluid and energetic! She weaves story telling, poetry, music, dance and theatre into her asana classes. She is never short on laughs and lends kind healing hands to her students.
Trish's mission is love through creativity and authenticity. Her mantra is: "Find out what makes you special and share it with the world!"


Almap BBDO — Havaianas
Clovis Mello began his career in the beginning of the 80s at age 20, at Rede Globo de Televisão, in Rio de Janeiro, as film editor.
As such, he worked in several of the TV station’s programs, such as: soap operas, series, videoclips and soap opera openings. At the end of the 80s, he was invited by a film producer to work in São Paulo and thus left Rede Globo and began his work as advertising director.
In 1994, he joined producer Raul Doria and together they created CINE. Since then, they’ve made almost two thousand TV commercials, of those, one hundred and ten were for the company Havaianas. He won several director awards in Brazil and abroad, such as Professional of the Year, London Festival, New York Festival and three Lions at Cannes. With the comedy short film “Sildenafil”, he won awards at the Miami and Toronto Festivals, and the popular vote award at the Rio Festival. In 2015, he released the movie “Ninguém Ama Ninguém por Mais de Dois Anos” [No One Loves Anyone… For More Than Two Years], based on the work of Nelson Rodrigues. In 2018, Clovis wrote and directed a movie about the spiritual medium Divaldo Franco, which is currently in post-production and is predicted to be released in the first half of 2019 with distribution by 20th Century Fox.


“Sarah sees herself as a plain jane, a quiet girl with little self-esteem, never feeling quite good enough. As Sarah spends time at her family’s cabin, her life takes many twists and turns that help her to become a beautiful young lady in love. As her love grows for James she can’t get him out of her mind, longing to see him again, to talk to him and to feel his touch.
James loves Sarah and is fighting his American Indian heritage and a marriage arranged by his father. This is a love story that is filled with a supernatural twist and will have you on the edge of your seat with anticipation.
Click here for your copy: Forever Yours
This is the continuation of a love story between Sarah and James. They are separated by space but not by love. Sarah has many obstacles to face in James’s absence, but it is his love that binds them supernaturally. Will she survive her illness… will she stay true to her heart… and will James make it back in time to save her from everything?
It is James’s supernatural powers that makes this a steamy love story with twist and turns that will make you gasp with anticipation.
Click here for your copy: Wasting Away
James returning home leads to heightened emotions for James, Sarah, and Jake. Sarah is still deeply in love with James, but now that Jake is in her life she is confused. Her illness takes over leaving her weak and frail, but she still has to make the biggest decisions of her life. Jealousy peeks for James with Sarah’s need for Jake. He loses his connection to her feelings which almost drives him insane, but in order to save Sarah he will agonize through everything. Because of this new feeling of letting someone into his heart, Jake will tolerate James and his family; even though he knows deep down in his heart he could take better care of Sarah in the long run. As he watches James and Sarah together he is torn over their love for each other and his own heartache for Sarah.
Click here for your copy: Growing Tears


The first stage of the project was to develop an illustration style that was professional, engaging and it had to work well with live action video.
We developed a style that has a traditionally illustrated quality. It was professional, but not too corporate and polished. This gave it a friendly and charming feel. The clients were happy and we were able to move on to the character design phase.
We had a draft script that featured Andy Burnham, who would be narrating the video. The script also included two charter members and a charter employee that would be assisting and assessing each member. The style was adjusted slightly at this point, removing the black outlines to make the characters better suited for animation.
With a script and the characters developed we moved on to creating a storyboard to help direct the video and animation. The initial idea was to start the video with Andy Burnham’s character walking through various locations in Greater Manchester whilst explaining what the Good Employment Charter is. We’d then move into different scenes interspersing the other characters with graphical elements to keep the video engaging throughout.
The first part of the video changed towards the end of the project, but a lot of the scenes followed the storyboard quite faithfully. The storyboard acted as a good base for use to build from. Some of the scenes and layouts evolved to improve the final video.
At this stage Saz Media had helped the Good Employment Charter develop their script, had shot the video around Greater Manchester and recorded the voiceovers from Andy Burnham and the other voice actors. They’d also provided us with an edited version of the video that included the new voiceovers. Now it was time to bring this all together with the animated characters and motion graphics. We decided on a rigged character animation method. This is a process of separating each limb of the character, stitching them together at the joints and then animating each part using motion tweening. This basically turns the character into a puppet and is a common and cost-effective animation method when there are time and budget restraints.
We combined this with some stop-frame animation for some of Andy’s arm and hand movements, however these didn’t make it in the final video due to a last minute decision to remove Andy’s character from the video completely. You can see a clip of the original Andy Burnham animation below.
Each character also had speaking parts, which meant we needed to animate the mouth movements with the voiceovers, also known as lip-syncing. We achieved this by illustrating each mouth position and importing this along with the voiceover into Adobe Character Animator, which has a clever lip-sync tool that matches the sound to the specific mouth position. After a little tweaking, we exported the mouths and attached them to the character puppets at the correct times to create the illusion of talking characters.
In addition to the character animation we created a few motion graphic scenes. This involved designing layouts and animating various graphics and text seamlessly throughout the video.
As mentioned previously, there was a decision to remove Andy Burnham’s character from the final video. This was about a quarter of the video that unfortunately, had to be changed. This can be quite common on projects that need to go through a number of channels for approval. We had approval from our direct contact as well as Andy himself, who loved the original animation, but there were some concerns from the communications team. You win some, you lose some!
We replaced Andy’s character with more motion graphics and video footage previously shot by Saz Media. We got final approval on this and the video was officially launched early November 2022 and featured on the Greater Manchester Good Employment Charter homepage.
The Final Video
This was a fantastic project to work on blending live action video with animation and we’re really happy with the end result. It’s been great collaborating with Saz Media founder Sara Auty on our first of hopefully many projects together. We’re currently in the process of working alongside Saz Media again on a second Good Employment Charter Video.