For the past few years I have been involved in the study of the problematic relationship between history, literature and film in the Spanish/Spanish American context. I am particularly interested in how historical fiction and film deal with the past in moments of crisis as well under authoritarian regimes. My studies on revolutionary Cuban cinema and Francoist propaganda films examine the power of images to rewrite the past within new mythical narratives that legitimize the present while stifling dissent.
My recent interests have focused on exploring the cultural production of anarchists in the Hispanic world. I am currently working on two articles that deal with anarchist film production during the Spanish Revolution (the early years of the Spanish Civil War during which the means of production were socialized in parts of Spain). The National Confederation of Workers (CNT), produced over 100 documentaries and feature length fiction films between 1936 and 1937. In “Un pequeño Hollywood proletario,” I survey film production during this period in which the film industry was collectivized and theatres functioned as political centers. Film directors envisioned the films to show daily realities and social conflicts behind and on the battle front. In a second project (“Anarchism and melodrama”), I study the paradoxical combination of sentimental romance and consciousness-raising in the CNT´s fiction films, which portray ruffian counter-culture, working class struggles, women’s emancipation and land collectivization during those years. I interpret this idiosyncratic synthesis of anarcho-syndicalist agitprop and recycled genre conventions as a short-lived (and often failed) attempt to fuse radical politics with mass entertainment. Archival research for these two essays was conducted at Madrid (Filmoteca Nacional), Valencia (IVAC), Salamanca (Centro Documental de la Memoria Histórica), New York (NYPL), Buenos Aires (CeDInCI), and Amsterdam (International Institute of Social History).
The Spanish-Cuban-American War Goes to the Movies
In Search for El Dorado: Cinematic Reinventions of the Old World-New World Encounter
“La pasión, muerte y resurrección de José Martí, según Santiago Álvarez: «El primer delegado» (1975) y «Mi hermano Fidel» (1977).” [In progress].
“Entre el folletín sentimental y el erotismo de choque: Carne de fieras (1936), de Armand guerra.” [In progress].
“Anarquismo y melodrama: Barrios bajos (1939), de Pedro Puche.” [In progress].
“History and melodrama in Cuban prerevolutionary films: The Case of La rosa blanca (1953).” [In progress].
"El arpa y la sombra o la lipsonoteca postmodernista de Alejo Carpentier." [In progress].


this site is about collecting the best (read: hottest) photos of
Evangeline Lilly, we can't get around posting a few lines about
was born in Canada on August 3, 1979. After some small roles in
various movies and TV-shows, she hit it big as ‘Kate’ in
LOST, the ABC hit series.
her role in LOST, she has been nominated for a Golden Globe Award
for Best Actress in a Drama and Saturn award for Best Actress
on a Television Series.


Awwww. Brad Pitt and Angelina Jolie both got nominated for a Golden Globe this year. How sweet. Maybe they should celebrate by having another child.
Seriously. I could not be more sick of these two. I used to love Brad Pitt. He is in several of my favorite movies. Now I just want to not hear his name for five whole days in a row.
Is it just me or is True Blood one of the few examples of when the show/movie is better than the book?
I don’t care what anyone says. I think Christian Bale makes a crappy Batman.


Margaret Montagna is a freelance sound designer, engineer, and technician born and raised in Brooklyn, NY. She first got involved in theatrical sound during her sophomore year of high school, and hasn't stopped since. Margaret has designed at various venues throughout Manhattan including The Stella Adler Studio of Acting, Theatre at St. Clement's, IATI, and Urban Stages. She also enjoys baking, and will sometimes bring cookies in for tech.
Education: BFA, Pace University
Upcoming and recent Work
Sound Design-Judas Iscariot Directed by Melissa Crespo at The New School (November, 2019)
Sound Design-Woman of the World Directed by Valentina Fratti at the 59E59 Stuido C (October, 2019)
Sound Design-Thick Blood Thick Water Directed by Mehr J Kaur (September, 2019)
Sound Design-Sophie Scholl: The Final Days Directed by Victora Mack at The Medicine Show Theater (August, 2019)
Sound Design-Raw Pasta Directed by Jaclyn Biskup at The New Ohio Theater (August, 2019)


IS480 Team wiki: 2012T1 Timber Werkz ProjectStakeholders
|HOME||PROJECT OVERVIEW||PROJECT MANAGEMENT||DOCUMENTATION|
The following are the stakeholders of the project:
- Project Supervisor: Professor Benjamin Gan, Associate Professor of Information Systems, SMU
- Sponsor: Ms Zaihirat (CEO, Oak3 Films Pte Ltd)
- Client: Ms Jolyn Chua / Ms Kylie Tan (Business Development Executive, Oak3 Films Pte Ltd)
- Users: Artistes and recruiters from production houses
About the Client
Oak3 Films is an established and independent production house that is based locally in Singapore since 1996.
Having produced for History Channel, Discovery, France 5, Mediacorp and numerous broadcasters around the globe,
the company undertakes conceptualisation to final completion of all its productions. Productions include feature films,
interactive dramas, documentaries, info-eds and corporate videos.
You can discover more about the company by clicking here.


|One of my favorite sights... Photo by the author|
Two movie reviews plus thoughts on moviegoing - in 1000 words.
I’m sensitive to spoilers, so I’m not giving more away than the trailers!
People used to ask me why I chose to run a movie theater. To me it was simple: you’re supposed to go into business doing something that you love, and I love going to the movies. Running a theater let me pour my energies into providing the best possible movie-watching experience, for my own pleasure… and for my customers. Now I don’t operate a theater, but I still love going to the movies.
Notice that I say "going to" the movies. A huge part of it for me is the act of leaving home to be in a theater and sitting in that darkened auditorium with my fellow audience members.
Immersion is the biggest difference between theaters and home for me. In a dark theater, my “monkey mind” turns off and I can lose myself in what I’m watching. Watching a movie uninterrupted is a huge part of it; once that film starts, you’re locked in - as unable to hit “pause” as if you are on a roller coaster. Recently I've watched more films at home, to prep for a biweekly TV show. I’m not proud of this, but I wind up watching them in chunks, hopefully of at least 30-45 minutes, but often not. This crushes the dramatic flow of a movie.
In the last week, I had two intense moviegoing experiences: I saw A Quiet Place in a packed theater on its opening weekend and Rampage the next week in a D-Box seat. Both films made me appreciate the physical act of going to the movies and inspired me to write this review.
A Quiet Place
Watching “A Quiet Place” was a stunning event; never have I sat in such a full, but silent, theater. The entire audience held its breath, in support of the characters on-screen. (You do NOT want to be the candy-rustler at this movie!!) The film’s tension held us all in its grip, an effect that I can’t imagine working as well at home. It would be different in your living room with ambient noise from people, pets, and devices. At home you’d only be watching, but in the theater it’s a more tangible thrill – especially with a lot of other people (full theaters are definitely the best way to watch both Horror and Comedy).
As a movie, A Quiet Place works exceptionally well. Throughout (even with the ending) I was thrilled with the film’s tone and execution. To be picky, there were a few wrong notes: it felt weird that so many neighbors remained alive after such a long time. (Yet the convenience store was well-stocked?) I’m sorry, I don’t think that many people could survive that long in those conditions! The filmmakers also underplay the terror of introducing a baby into a world where any noise can be fatal for everyone. There’s a whole level of darkness they could have explored there (e.g. Rosemary’s Baby), but they didn’t dwell on it.
Having a real-life husband and wife on-screen worked well here. She had chemistry with him, although he was a distant husband. How much of that is the character, and how much the man, we don’t know. Another quibble: they are too perfect as parents to be believable (a home-cooked sit-down dinner?), but if I were writing a script about myself as a parent, I’d pretend, too.
Probably the weakest part of A Quiet Place were the monsters. Like sprinting zombies, they were too efficient – and thus less terrifying. (This is why I say that the humans wouldn’t last long.) If the monsters were a little weaker, the audience raises its hopes, which makes the frights that much scarier.
While “A Quiet Place” enthralled with anticipation and pacing, my viewing of Rampage from a D-Box seat was artificially immersive. If you haven’t tried D-Box yet, it’s a seat that can vibrate and move in all directions. Somebody watches the movie and programs seat movements tied to the onscreen action. (Seriously, I want that person’s job!) When characters get into a helicopter, you fell the thwup-thwup movement of the blades. When the helicopter lifts off, you tilt forward. When giant monsters slam into buildings, you feel the shock waves.
In short, Rampage is excellent for D-Box. It’s essentially a 2-hour theme park ride.
As a movie, my backhanded compliment is that Rampage is better than it had to be. Making a film from a simplistic video-game (that has a cameo in the villain’s office!) could result in true crap. That this one isn’t horrible is a credit to the script, which takes time to add some character development before the final showdown, and to Dwayne Johnson who manages to inject personality into his relationship with a CGI gorilla. On the downside, all the characters are caricatures (beautiful scientist, nerdy comic relief, ex-special forces ass-kicker), but the movie hums along towards its final showdown, which doesn’t disappoint. I was a little miffed that they took some liberties with Chicago (that’s not where Dave and Busters is located!), but it was kind of scary/cool to see the destruction unleashed on familiar sites in the Loop.
Outside of the moving D-Box seat, the theater experience is key for Rampage because of the huge screen and giant speakers. Watching this movie on a home screen or (god forbid) a phone/computer screen wouldn’t do it any justice. When you’re watching giant monsters wrecking a city, it helps when they’re 20 feet tall with bass speakers making your chest rumble – even without the D-Box seat.
Ultimately, my recommendation is to see A Quiet Place in the theater, and my suggestion is that Rampage is a great choice if you want to check out D-Box. Otherwise, skip Rampage and get a taste of what the Rock recently cooked in Jumanji (2017) or Central Intelligence (2016).


Attend the Tale of Sweeney Todd
By: MTN Reporter Hope Scott
MTSU’s production of Sweeney Todd: The Demon Barber of Fleet Street is showing now through Sunday November 7 at Tucker Theatre. Scroll to the bottom of this article for some tips & tricks to attending the show.
Opening night was a hit! The cast and crew put on a magnificent production, and the audience absolutely loved it.
If you’re a student and you’ve walked through the Boutwell Dramatic Arts building, you might have seen the set on tv screens along on the first floor. It was truly a sight to see! It was beautifully complex yet so simple. The show was full of twists and turns and a few jump scares, too. Whether you’re a theatre aficionado or you enjoy the technical things or you just enjoy a good story, this is a show for you!
Tips & Tricks:
• You can buy tickets online at https://www.mtsu.edu/theatreanddance/SweeneyTodd.php or at the ticket booth. Buying your tickets online is preferred and will certainly secure a seat.
• The baseball field’s parking lot was filled by 7:10, but there’s a parking lot across from it that was still pretty empty and is on the other side of the street from Tucker Theatre.
• When you arrive, there will be a line at the entrance of the theatre to check your tickets and your temperature. A mask is required. More than likely, you’ll be waiting outside for a few minutes, so bring a jacket!
The bottom seating area of the theatre was basically full at 7:20. However, the seating upstairs was basically empty! Seeing the show upstairs give you a beautiful perspective on the set because you see more of its depth.
The show ran for about three hours (including an intermission). The first act ran for one hour and forty minutes, and the show ended before 10:30pm. The bathroom lines were insanely long during intermission.
When the show ended, there was a mad rush for the exit, but if you take your time and wait about 5 minutes, the exit is easy.
Attend the tale of Sweeney Todd, and enjoy the show!


But no ... the brief flash of light had definately glinted off of something green.
"Hello, my dear. ... I suppose you're waiting for Spider-man to come and save you ... And you would be correct. He WILL come to save you. When I tell him to. WHERE I tell him to. Because he knows that I can kill you ... and that I WILL if he doesn't." The Goblin paused, allowing himself a small, indulgent chuckle. "But you know what? Even though he WILL come ... he won't save you." Glee permeated his tone of voice. "Because I'm going to kill him! ... And then, who knows? Probably you too! ... It's gonna be a grand old time. ... Now, if you'll excuse me, I have a message to leave."
Another brief flash of light, and he was gone. Mary Jane rested her forehead on her knees, terror-numb, wondering if it were the last light she would ever see.


In a cinematic blend of dystopia and reggae beats, Busy Signal’s chart-topping anthem “Stay So” has become the sonic pulse of Netflix’s newly released film, “The Kitchen.” Set against the backdrop of a London two decades into the future, where social inequality has reached unprecedented heights, the movie’s gripping narrative unfolds as a sci-fi social drama, painting a stark picture of a divided society.
The film’s dystopian setting showcases a London where the chasm between the rich and the poor is insurmountable. Those unable to afford the city’s center find themselves relegated to the outskirts, grappling with scarcity, stolen food deliveries as a lifeline, and the inability to provide proper burials for their loved ones. It’s a world shaped by stark contrasts and societal disparities, setting the stage for the struggles depicted in “The Kitchen.”
Enter Busy Signal’s “Stay So,” a dancehall anthem that transcends time and genres. The infectious rhythm and pulsating beats of the hit single inject a vibrant energy into the film’s futuristic narrative. As audiences witness the challenges faced by the characters navigating a system stacked against them, the reggae vibes of “Stay So” serve as an evocative soundtrack to their journey.
The fusion of Busy Signal’s music with the dystopian visuals of “The Kitchen” creates a mesmerizing synergy, enhancing the emotional resonance of the film. The reggae icon’s global appeal is on full display, as “Stay So” seamlessly integrates into the futuristic landscape of a divided London, underscoring the universality of music as a storytelling tool.
“The Kitchen” unfolds as a compelling tale of a boy and his reluctant father figure navigating the harsh realities of a society plagued by inequality. The reggae-infused soundtrack, featuring Busy Signal’s hit single, adds an extra layer of depth to the film, mirroring the resilience and spirit of the characters as they confront a system designed to keep them on the fringes.
For fans of Busy Signal, “Stay So” takes on a new dimension as it becomes intricately woven into the fabric of “The Kitchen.” Simultaneously, those discovering the artist through the film are treated to a musical experience that transcends the boundaries of time and place.
As viewers immerse themselves in the dystopian future of “The Kitchen,” Busy Signal’s “Stay So” serves as a sonic bridge, connecting the reggae rhythms of today with a speculative vision of tomorrow. The collaboration between music and film, in this case, creates an unforgettable audio-visual journey that lingers long after the credits roll.


Wed 23.06.2010 09:00
CANCELLED! > The Lost Paradise >> Wednesday, June 23rd, 20.00h, Round HallTHE PERFORMANCE HAS BEEN CANCELLED DUE TO TECHNICAL PROBLEMS!
Unspoken love or the tragic destiny of the woman prone to disappointment because of the man form the dramatic core of this performance. Mankind and their never-ending quest to meet again with their soul-mate... one man and one woman, Adam and Eve.
The performance is inspired by the poetry book "Jacob's Ladder" by Marta Petreu, where religion intertwines with eroticism, life with death, and the atmosphere is strongly imbued with the suffering from seeing life as an exile. The drama of the poet starts from comprehending her human condition, a moment which Kafka names: birth.
It is a performance which combines dance, music and poetry.
Georgiana Dobre (b. 1989) graduated from ”Floria Capsali” Choreography High School in Bucharest in 2007, and is currently a student at the Theater Faculty I.L.Caragiale in Bucharest, choreography, 3rd year, led by Prof. Dr. Sergiu Anghel.


Recent years have seen a greater appreciation of props as vital components of tragic performance (e.g., Segal 1980; Chaston 2010). There has also been a generous amount of work done on metatheater (“theater within theater”) and its tragic applications (e.g., Segal 1982; Bierl 1991; Ringer 1998). Missing from these discussions, however, is the role of repetition, and what it means in terms of theater and theatrical tradition to have the same prop showing up in various guises in rewritings of a particular tragedy (or tragic story-type). In this paper, I focus on how certain props help craft something like a literary genealogy, sensitizing their audiences to the notion of tragic tradition. Taking the urn and its various manifestations in all three “Electra” plays as my case in point, I argue that in its appearance as a prop in each of the later Electra tragedies by Sophocles and Euripides, the “urn” offers its audience an interpretive handle on the present work and the presently featured Electra character; its “meta” status invites the audience to engage with the performance event as already an act of reception, and therefore to read the praxis as it unfolds as being self-consciously in dialogue with other Electra performances.
In the world of the theater, no sign is to be discarded straight off as irrelevant, no act as mere accident. Everything—word, gesture, or object— is potentially significant. Even within the semiotically charged space of the theater, however, props can be elusive entities. Props are subject to the conflicting interpretations of human characters within the play, of course; but certain props also gesture metapoetically to source texts and contexts beyond the present performance. In Euripides’ Electra, for example, the heroine’s insistence on carrying her own water vessel has metadramatic implications. Wanting to “make a display to the gods of Aegisthus’ hubris” (El. 57–58), Electra positions the jug as a key witness in her personal quest to prosecute Aegisthus before a divine jury. The iconoclasm of the prop’s new role, however, depends on the audience’s familiarity with its poetic precursor(s). As an act of reception, Electra’s display of her “urn” derives meaning from the tension between the urn’s original role (as a libation vessel in Aeschylus’ Choeophoroi) and its transformation into a domestic accessory that Electra self-consciously deploys as a theatrical prop.
Sophocles’ Electra also uses the urn to retool Electra. Prompting reflection on the pain of her original separation from her brother, the urn’s weight in her hands transforms Electra’s grief over a past loss into extended mourning for her present, childless status (El. 1126–70). Electra as a mother in mourning is Sophocles’ bold revision to the Aeschylean prototype of Electra as grief-stricken daughter. Only the urn brings out this strangely moving facet of her character, however. The mourning-mother motif is hinted at earlier in the play, with allusions to Niobe and Procne (El. 107, 145–152), but only in the somatic remembering the urn elicits from her does the audience grasp the peculiar nature of Electra’s pathos. My argument will focus primarily on these two Electras as protagonists within a literary tradition shaped by the urn’s stage appearances. In the final part of my talk, however, I draw attention to how such props point also to their future reception(s). From the vantage point of posterity, tragic props possess the curious ability to gesture to their own afterlife. Props “predict” the modes of reception that will guarantee their continued survival, not only in theatrical performances, such as that of the remarkable actor named Polus, who supposedly substituted the ashes of his own son for Electra’s empty urn (Aulus Gellius, Attic Nights 6.5.5–8), but also in iconography such as the fourth century B.C. Lucanian bell-krater attributed to the Sydney Painter, where the urn functions as a visual shorthand for the dramatic praxis and the tragic “Electra” tradition.


The New Exhibition
Where most of Nkondo's previous shorts have played with the abstraction of 2D art's simplified perspectives, The New Exhibition opens up a new dimension—or at least half of one.
Jonathan Djob Nkondo's shorts are varied enough that you can't say there's one particular thing that sets him apart from the crowd. But one thing that pops up repeatedly in his work is a focus on two elements of filmmaking that are often overlooked: the frame and transitions.
Probably because animation is often understood as an extension of cinema, most animators stick to certain cinematic rules and conventions. Even when there isn't really any camera involved, narrative animation still uses a lot of the same movements as live-action film.
Nkondo doesn't seem to think that way. In films like his Exhibition trilogy (The First, The Last, and now The New) and in the Dark Day series, he pulls from one of the other main influences on animation: comics and sequential art. In that world, it's long been recognized that the frame around each panel is an artificial boundary, and that there's a lot of power in breaking it.
Where most of Nkondo's previous shorts have played with the abstraction of 2D art's simplified perspectives, The New Exhibition opens up a new dimension—or at least half of one. Most of the film takes place in an isometric view, mixing 2D and 3D elements in a way that feels like a comic panel being twisted, spun and folded into new angles and new perspectives. Instead of cutting from one shot to another, he lets the frame fold in on itself, or split into four intersecting panels. If most filmmaking is based on the cut—a technique that started with literally cutting the film and splicing it back together—The New Exhibition and its predecessors are more like origami, creating intricate structures with no need for scissors or tape.
That's a lot to put on a three-minute heist film, but I don't think it's an overstatement. Nkondo's films are fascinating not just because they're cleverly plotted and immaculately paced. It's because you're watching an animator develop a filmmaking language that is less rooted in film, but is still completely intuitive for its audience to see. It's an incredibly rare thing to see.


Forever Female is another movie that I never heard of before. The movie stars Ginger Rogers as Beatrice Page, William Holden as Stanley Krown, Paul Douglas as Harry Phillips and Pat Crowley as Sally Carver. Forever Female was directed by Irving Rapper and it was released in January 1954. I have to give kudos to Edith Head’s gorgeous costume design for this movie.
Ginger Rogers and William Holden
Harry Phillips is a Broadway producer who was married to Beatrice Page. Even though they are now divorced Beatrice and Harry are still very good friends. Harry is actually still very much in love with Beatrice. Harry also owes Beatrice over 11 thousand dollars in back alimony. Beatrice just starred in a play that Harry produced and after the play they head over to Sardis to wait for the reviews. The play is a big flop but Beatrice gets raving reviews for her performance in it.
Stanley Krown is an aspiring playwright who gets the opportunity to meet Beatrice and Harry at Sardis. Stanley has written a play about a 19-year-old girl and her mother and is looking for someone to produce it.
The next day Harry and Beatrice discuss Stanley’s play. It is a very good play, but if Harry produces it then he wants only Beatrice to star in the lead role which is the 19-year-old girl. Beatrice cannot pass for 19 so Harry wants Stanley to change the age of the girl to 29 so that Beatrice can play the part. Ginger Rogers is gorgeous in this movie, but she does not look 29 either. Miss Rogers looks closer to mid 40’s to me in this movie. Ginger Rogers was actually 42 when she made this movie.
Stanley has a dilemma. If he changes the age of the girl in his play it changes the whole story because what a 19-year-old goes through is different from what a 29-year-old experiences. Stanley Kramer knows this and at first is adamant that the script remain the same. Harry will not produce the play without those changes though. Beatrice also wants to star in the play and puts pressure on Stanley to change rewrite it.
Stanley Krown gives in and starts to rewrite the play to suit Beatrice and Harry.
Sally Carver is a 19-year-old aspiring actress who has read Stanley’s original script. Sally works at an agency as a typist and she is the one who typed up Stanley’s script. Sally recognizes that Stanley is a very talented writer and that his original script is outstanding. To rewrite it will ruin it. Sally encourages Stanley to stand up to what he knows is right, but Stanley is too caught up in Beatrice Page.
Sally really wants to break into show business, but she is also falling in love with Stanley.
Beatrice finds Sally and Stanley together in his apartment and she gets jealous. Stanley explains that Sally was only doing some typing for him.
In order to keep Sally and Stanley separated, Beatrice gets Sally a job in a traveling show.
Sally doesn’t keep her job in the show for long because she misses Stanley. Sally gives the road show two weeks notice and returns to New York to be near Stanley. I loved the Sally Carver character. She is really sweet, although to me she is way too aggressive for her own good. Sally comes off more as a pest instead of a person with humble confident determination. Sally is more suitable as a mate for Stanley than Beatrice is, however, Stanley cannot see that yet.
Sally sits in the back of the theater to watch the rehearsal of Stanley’s play with Beatrice in it. Afterwards everyone tells Stanley that the play is great, but Sally tells Stanley the truth. The play is awful and Stanley should not have altered it just to please Beatrice and Harry. Stanley gets very annoyed with Sally and tells her to get out and that he never wants to see her again. Of course Sally is hurt and she goes off crying after they exchange harsh words.
The play opens in Washington DC and it is a huge flop just as Sally warned Stanley it would be. Stanley goes off to be alone. Beatrice is very worried about Stanley and eventually figures out where he went off to. This is when Beatrice tells Stanley that she loves him and wants to marry him. Stanley is stunned to her this and agrees to an engagement.
Harry and Sally are obviously not happy about the engagement. Sally painfully decides that she has to move on with her life without Stanley.
One day Stanley reads in the papers that his play is being performed in another town. Stanley decides to go and see it and takes Harry with him. They discover that Sally is starring in it as the 19-year-old girl. The play is also being performed as Harry originally wrote it. Stanley’s play is a hit in that small town. After the performance, Stanley goes to talk with Sally who has changed a bit. Sally is now more grown up and humble. Sally realizes that she is a good person who does not have to be overly aggressive. Sally appreciates the value of herself. Stanley is finally seeing Sally for the beautiful person that she is inside and out. The evening becomes very emotional for Sally and she goes off crying. This scene is really very touching.
On the way back from seeing Harry’s play performed with Sally in it, Harry decides to take Stanley to meet Beatrice’s mother. The visit to Beatrice’s mom reveals a few surprises for Stanley.
Harry realizes that Stanley really belongs with Sally and helps him to face the truth about it. Stanley doesn’t want to hurt Beatrice, but he need not worry about that. Beatrice has come to terms with a few things about herself as well.
Forever Female has a lovely ending. If you want to know how it ends you will have to watch it yourself. I really enjoyed all of the characters in this movie. I found them all very likable even if they were flawed. As a woman who loves pretty and classic clothing I really love all of the clothes that Ginger Rogers and Pat Crowley wore in this movie. Edith Head is one of my favorite of the old Hollywood designers. Edith’s style reminds me a lot of Coco Chanel’s designs.
I streamed this movie on Netflix.


Alex goes to work for Darius while PRIDE plots to kill Jonah. Reviewed in the United Kingdom on June 6, 2017. If you're looking for any kind of content that doesn't take place on this planet, check out this list of space movies out of this world.). Free CP Newsletters. AWAY (L to R) VIVIAN WU as LU WANG, MARK IVANIR as MISHA POPOV, HILARY SWANK as EMMA GREEN, RAY PANTHAKI as RAM ARYA, and ATO ESSANDOH as DR. KWESI WEISBERG-ABBAN in episode 101 of AWAY. Away Season 1 is streaming now on Netflix. What could viewers expect to see? The Hilary Swank-helmed space drama is the latest Netflix series to hit the cutting room floor. Renewed. According to Deadline, the second season is due to film between October 2020 and March 2021, and that doesn't cover post-production and marketing. View this post on Instagram. Hilary Swank portrays American NASA astronaut and mission commander Emma Green. The series is about a bland protagonist who works as an employee of the government run railway system. Here's everything you need to know – release date, cast, plot and trailer, starring Robbie Amell. In this case, it totally is because with the cliffhanger they left us on, I have to know what happens. Well, #BlownAway was *excellent. "Well you know, if we were to do anything else, I think it's continuing to explore," says Swank to Radio Times. Airing date for the premiere episode of "How to Get Away with Murder" Season 2 is yet to be announced. Julie and the Phantoms is coming to Netflix tonight. The kids struggle with their new lives as Runaways, but find a hideout. Receive automatic notifications when Stolen Away (Perdida) Season 2 release date is announced. Making A Murderer season three's release is being highly-anticipated by fans of the Netflix true-crime documentary. Get Even is based on author Gretchen McNeil’s Don’t Get Mad book series, and for clues about what season 2 … But let's say there would be a season two (currently crossing our fingers). The second season began airing on September 24, 2015, with 15 episodes like the previous season, and concluded on March 17, 2016. Release year: 2020. Making A Murderer has become a global hit, from the season one premiere in … You're not going to want … We need, repeat need, to know what happens next. Official Netflix Renewal Status: Canceled although reportedly renewed (Last Updated: 08/21/2020) In early August 2020, we got word that the series was still going ahead for season 2.However, that changed on August 21st, 2020 when Netflix decided that it could not go ahead with season 2. "When I say life, I mean like a microorganism," says Goldberg to Inverse. I think there's so much more for it to says.". 555. Sadly as news of season two has not yet come to light, there is no trailer for a second season. Plot . This was made in a deal with Viola Davis that the series would be a limited series with only 15 or 16 episodes per season. Who's Who in the 'Tiny Pretty Things' Cast, 'The Queen’s Gambit': The True Story, Explained. A Unique look into the broad range of lives in the North East. While the show had previously been cast in Spain, Portugal, and Latin America, … Alex goes to work for Darius while PRIDE plots to kill Jonah. Here's your complete schedule of premieres for THURSDAY SEPT 24 on ABC:. Aashram season 2 release date… Aashram season 2 is currently scheduled to premiere on Wednesday, November 11th, 2020 on MX Player. Warning: Spoilers for Away, Season 1 Netflix’s new drama Away features a stellar cast of actors and a moving soundtrack that combines an original score with a diverse mix of other tracks. Editors handpick every product that we feature. Join over 250,000 others to get the top stories curated daily, plus special offers! As the mission launches, Emma finds her mettle as commander tested by an onboard accident, a divided crew and a family emergency back on Earth. It's crazy addictive, and after that finale, we're all wondering the same thing: What happens next? Season 1 ended with the crew landing on Mars, so perhaps season 2 will cover their time on the planet and their journey back to Earth. The second season began airing on September 24, 2015, with 15 episodes like the previous season, and concluded on March 17, 2016. How to get away with murder season 5 air date - Der Vergleichssieger . As of right now, Away has not been renewed for a second season. Oct 21, 2020 Netflix first ordered Away back in 2018. The kids struggle with their new lives as Runaways, but find a hideout. Upload season 2 has been confirmed on Amazon Prime Video. As for if we'll run into any out-of-this-world obstacles (read: aliens) when the team is trying to find life on Mars, showrunner Jessica Goldberg doesn't think the show will go there. The space crew consists of Vivian Wu as Lu Wang, a Chinese chemist, Mark Ivanir as Misha Popov, a Russian cosmonaut, Ato Essandoh as Kwesi Weisberg-Abban, a Jewish British-Ghanaian botanist with no prior space experience, and Ray Panthaki as Ram Arya, the mission’s Indian medical officer. Your privacy is safe with us. Commander Emma Green leaves behind her husband and daughter to lead an international crew of astronauts on a perilous three-year mission to Mars. Will There Be a 'Normal People' Season 2? Here is everything we know about the upcoming season including release date. Currently, the streaming giant hasn't announced whether Away will come back for season two. The first season of Away premiered on Netflix last week and fans are already wondering when the next installment of the sci-fi drama will come to the streaming platform. Emma and Jack Willmore coordinate a private clandestine phone call so that Mei and Lu can say goodbye until they meet again on Earth. Netflix officially renewed Gentefied for Season 2 to premiere in 2021 Track. This was made in a deal with Viola Davis that the series would be a limited series with only 15 or 16 episodes per season. Season 1 of 'Away' focused on Emma Green's (Hilary Swank) journey from Earth to Mars. Vikings’ Season 7: Release Date, Cast, Plot And All Other Details ‘The Crown’ Season 5: Renewal Status And Everything You Should Know Overwatch 2 :Cast, Trailer, Plot And Everything to Know If we consider the fact that Season 1 aired in June of 2019, and HBO generally seems to like releasing shows around the same time every year, we could be looking at a June 2021 Season 2 release date. 1. A lot could go right--or wrong--in those 18 months, but we’ll have to wait for another season to find out. ", Indigenous Reindeer Herders Fight for Their Rights, Bobbi Brown Believes in Vodka as Self-Care, I'm Afraid to Travel by Myself in My Own Country, These Women Are Making Space Vacations a Reality, This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. By no measure was it the easiest of journeys as not only did their apparatus fail several times but drama back home never goes away. EXCLUSIVE: Netflix has opted not to pick up a second season of Away, its space drama series starring Hilary Swank.The decision comes a little over a month after Season 1 was released on September 4. Given the positive reviews thus far for Away season 1, it seems that Away season 2 could be ordered in September 2020. Gentefied. Where is Annalise going? Season 1 ‘Perdida’ premiered on October 23, 2020, on Netflix, in all 11 episodes. Why I chose to give away; About This Blog; Contact Me; RAIL WARS! You literally are different people when you come back. I Am Not Okay with This Season 2 Netflix Renewal Status. Scheduled. Jonah initiates a plan to build a new box. Looking ahead, it seems likely that a second installment wouldn't release until the summer of 2022. By Josh St. Clair. Episodes Away. Stranger Things: How old is Eleven in real life? The show hasn't been renewed for Season 2 … ... 4.0 out of 5 stars How To Get Away With Murder - Season 2. Away follows the first crewed expedition to Mars, the Mars Joint Initiative. MEA WorldWide (MEAWW) will update this article when it does. But part of the reason the show is called ‘Away’ is we were always interested in that journey, and what happens when they go home. Official Netflix Renewal Status: Ended (Last Updated: 20/10/2020) We’d previously heard rumors that Away had already been renewed for a second season, but sadly this isn’t the case.. After only six weeks since Away made its debut, Netflix has already made the decision to cancel the series.. All Netflix shows . There’s no news to break in terms of whether we know that there will be future seasons, but the plan was always for a multi-season arc. Here is what series creator Andrew Hinderaker told The Cap Times about his plans for season 2: That is the hope, absolutely. Jonah initiates a plan to build a new box. Away touched down on Netflix on Friday, and there's a decent chance you've already binged all 10 episodes of this gripping space travel drama. It's impossible to answer this question given that a second season isn't currently on the cards, at least not for a long, long time. An American astronaut struggles with leaving her husband and daughter behind to embark on a dangerous mission with an international space crew. Josh Charles plays her husband Matt Logan, a NASA engineer, and actress Talitha Bateman plays their daughter, Alexis. In October 2020, the series was canceled after one season. The PRC demands CNSA remove Mei Chen from her assignment as an Atlas CAPCOM, which upsets Lu as they are secret lovers. Season 1 Trailer 2: Away. Hinamatsuri manga compared to the anime [Spoilers] Fri Jul 06, 2018 at … All Netflix shows . There's this phenomenon among astronauts, it's so fascinating, where home becomes space, and they feel away back home. “Deux is better than un. Andrew Hinderaker, the show's creator, wants there to be a second season as much as you do. ", The cast and everyone else involved has been raving about wanting to work together again. Counterpart Season 2 Episode 4 Trailer and Release Date. In August 2020, Disney confirmed that The Mandalorian season 2 release date is October 30. 1. Notify me. Season 2 Release Date RAIL WARS! Track Home and Away season 32 episodes. Here’s what we know so far about the second season. Was für ein Ziel beabsichtigen Sie mit Ihrem How to get away with murder season 5 air date? Hollywood was designed to be a miniseries from the get-go. No word yet on when the season 2 release date will be, but due to the pandemic, fans shouldn’t expect the new season until late 2021 or 2022. Here is what series creator Andrew Hinderaker told The Cap Times about his plans for season 2… RAIL WARS! How To Get Away With Murder Season 7 Release Date, Cast, Trailer, Episodes, Spoilers, Plot, News & ABC Updates How to Get Away with Murder came out in 2014 and was loved by everyone. Powered by Minute Media © 2020 All Rights Reserved. A release date for season 2 would likely be years away. And, of course, that’s amplified in a mission to Mars where you’ve been gone for three years. I Am Not Okay with This Season 2 Netflix Renewal Status. You may be able to find more information about this and similar content at piano.io, Shows With Lesbian Characters to Stream Now. Click Here for all ABC 2015-2016 Fall Series Premiere Dates Here's what we know we know so far. One thing that deserves honorable mention is Viola Davis. Busted! Each season outshines the previous one. Release date. In fact, it's been the plan all along. While Murphy mulls a second season of Hollywood, he's got a lineup of other projects to keep him occupied. The release date and number of episodes for Selena Part 2 are still unknown. We'll never pass along your email address to spammers, scammers, or the like. You literally are different people when you come back. "There's no news to break in terms of whether we know that there will be future seasons, but the plan was always for a multi-season arc," says Hinderaker to The Capital Times. Staffel von HTGAWM für Dich zusammen. Hinamatsuri Season 2 release date: Hina, Mao, and Anzu to return soon in a sequel? Track Home and Away season 31 episodes. The second season of the ABC American television drama series How to Get Away with Murder was ordered on May 7, 2015, by ABC. The Mandalorian season 2 premiere sets this latest series up to be similar to the first: a straightforward, effective, Easter egg-laden trip in that galaxy far, far away. The 10-episode show follows an international space team and their journey to Mars from the moon. The sixth and final season of the American television drama series How to Get Away with Murder premiered on September 26, 2019, and concluded on May 14, 2020. Away season 2 release date. Away season two Netflix renewal status. While Murphy mulls a second season of Hollywood , he's got a lineup of other projects to keep him occupied. Season 3 premiere for January 22, 2021 Track. Build your custom FanSided TV email newsletter with news and analysis on Netflix and all your favorite sports teams, TV shows, and more. Since the series has not yet been renewed, there is currently no trailer for season 2. The Season 2 season premiere debuted at a similar time as the first season, but the midseason hiatus means the finale will take place on March 17, so the Season 2 release date … That Time I Got Reincarnated As A Slime Season 2 release date in 2021: Tensei Shitara Slime Datta Ken Season 2 Part 2 set for summer 2021 [TenSura isekai anime Spoilers] - 23rd December 2020 Away Season 1, Episode 2: “Negative Return” Misha and Emma must work together to solve a problem with the ship that jeopardizes the entire Mars mission while Matt and Lex cope with the aftermath of Matt’s stroke. DIYAH PERA/NETFLIX © 2020. Scheduled. Your favorite teams, topics, and players all on your favorite mobile devices. 8:00-9:00 p.m. Grey's Anatomy - Season 12 Premiere 9:00-10:00 p.m. Scandal - Season 5 Premiere 10:00-11:00 p.m. How to Get Away with Murder - Season 2 Premiere. AWAY season 2 is looking like a possibility following the cliffhanger at the end of the first season. There are still plenty of stories left to tell on Away, so with any luck, the series will be officially renewed soon. Away est disponible sur Netflix ! Currently, the streaming giant hasn't announced whether Away will come back for season two. Season 31 guide for Home and Away TV series - see the episodes list with schedule and episode summary. The first season I felt had too many "flashbacks", but they changed this in season 2 ... so hang in there. Normal People season 2 release date: When will it air? Bianca Rodriguez is the digital fellow at Marie Claire, where she covers all your favorite podcasts, Netflix shows, and celebrities ranging from Rihanna to Harry Styles. It became one of the few shows to grab multiple Emmy awards as well. If you're very much like me and have a binging-TV-shows problem, you've most likely already finished Netflix's latest extraterrestrial drama, Away. (P.S. "I don't mean an alien. Date de sortie, renouvellement etc. “Into the Mystic” by Van Morrison - After the day’s events, Emma imagines that Matt is with her aboard the Atlas. Barring any complications, the entire cast of the Netflix show is likely to return to reprise their roles in season 2. Virgin River. Notify me. After years of creating long-running network shows like American Horror Story and Glee , Ryan Murphy is now embracing the miniseries. Away Season 1 is streaming now on Netflix. Netflix's space drama 'Away' chronicles a fictional 3-year NASA journey to Mars. 2. Until the much-anticipated premiere, to get your How to Get Away with Murder fix, you can watch Season 1 highlights, or catch up with the last five episodes of the season, available on WATCH ABC!. "The intention was always to start the first season and end the first season exactly how we did. Season 2 Release Date. Away season 2 release date, cast and plot - What we know so far Netflix By Sabienna Bowman / Sept. 20, 2020 5:53 pm EST / Updated: Sept. 20, 2020 6:32 pm EST Ordered in May 2019 by ABC, the season consisted of fifteen episodes, like its predecessors, due to a deal made with Viola Davis that the series would be limited to only 15 or 16 episodes per season. Cr. By Lauren Puckett. Netflix's Away Will Not Return For Season 2. 5 Netflix documentaries that will make you become a vegan, Netflix announces new Halloween movies and shows. It's certainly possible that Away season 2 could release in 2021, but — due to the scope of production — that seems improbable. How to Get Away with Murder Staffel 6 Episodenguide: Wir fassen schnell & übersichtlich alle Folgen der 6. Created by Andrew Hinderaker. Away is an American science fiction drama streaming television series, starring Hilary Swank and created by Andrew Hinderaker that premiered on Netflix on September 4, 2020. Will Netflix's 'Space Force' Get a Season Two. Away season 2 Netflix release date: Will there be another series? Away ist eine Fernsehserie von Netflix, in der es um die erste bemannte Mission zum Mars geht. Away follows an international team of astronauts as they journey to Mars– the first humans ever to do so. Following the first season run, let’s now summarize the details of season 2 of ‘Perida’. Netflix’s Away Will Not Be Returning for a Season 2. Go 58m. Renewed. Here’s everything we know about 'Away' season 2 on Netflix. Netflix is leaving us floating in space. Since the series’ primary focus is a three-year-long space expedition, season 2 will likely pick up where season 1 left off. Snapshot 24m. Season 1. Bonus: We Already Know the Plot of Season 2 Well, kinda. Disney+ released The Mandalorian season 2 trailer in September 2020, and, well, we have thoughts. The second season of the ABC American television drama series How to Get Away with Murder was ordered on May 7, 2015, by ABC. Netflix hasn't renewed 'Away' for Season 2 yet. If Netflix does order Away Season 2, fans should expect it in about a year's time, suggesting an early September release date for 2021. Submit. Watch as host Teagan Wright traverses jobs, hobbies and lifestyles that are intrinsic to the state of Maine. Season 32 guide for Home and Away TV series - see the episodes list with schedule and episode summary. Well, the only way we'll find out what happens next to our tight-knit group of astronauts is if there's a season two. 96 fans have subscribed. Where Is the Cast of 'Gilmore Girls' Now? Will There Be a Season 3 of 'Virgin River'? Ato Essandoh, who plays Kwesi on the show, told RadioTimes recently, "I'm sure there are plans for a second season like there would be any time, and I would definitely want to be a part of that. But part of the reason the show is called Away is we were always interested in that journey, and what happens when they go home. Marie Claire participates in various affiliate marketing programs, which means we may get paid commissions on editorially chosen products purchased through our links to retailer sites. If Netflix does order Away Season 2, fans should expect it in about a year's time, suggesting an early September release date for 2021. Verified Purchase. Is there a trailer for Away season 2? The intention was always to start the first season and end the first season exactly how we did. Wie sehen die Amazon.de Rezensionen aus? A release date for season 2 would likely be years away. With Hilary Swank, Josh Charles, Vivian Wu, Mark Ivanir. Release year: 2019. ... "For Season 2, I was like, ‘I want to do it. Time to Head Back to a Galaxy Far, Far Away: The Mandalorian Season 2 Has a Release Date September 4, 2020 by Grayson Gilcrease First Published: September 2, 2020 Si vous l’avez terminé, vous souhaitez surement savoir quand sortira une Saison 2, lisez la suite !En septembre 2020, l’actrice acclamée Hilary Swank a mis fin à la période sabbatique qu’elle s’était imposée avec la série Netflix Away. Counterpart Season 2 returned to Starz on December 9, 2018 and airs on Sundays at 9/8c. The show would never go in that direction. And, of course, that's amplified in a mission to Mars where you've been gone for three years. Ten master artists turn up the heat in glassblowing sculpture challenges for the chance to win $60,000 in prizes and the title of champion. Usually, when it comes to renewing shows, Netflix likes to … ", His co-star Ray Panthaki, Ram on the series, totally agrees. A release date for Demon Slayer season 2 has not been officially announced, but the series will likely return in either spring or summer 2021. 556. Will There Be a Season 2 of 'Tiny Pretty Things'? ‘How to Get Away with Murder’ Season 6 Returns on April 2, 2020. Demon Slayer season 2 release date…. Premise. Receive automatic notifications when AWAY Season 2 is renewed. Here's what we know about a potential season 2 of the show. Will There Be a Season 2 of 'Bridgerton'? Free CP Newsletters. Blown Away: Season 1 (Trailer) Episodes Blown Away. However, tvreleasedates.com lists season 2 of the show as ‘pending’ and states that “Netflix is yet to cancel or renew Blown Away for Season 2”. As of right now, Away has not been renewed for a second season. Usually, when it comes to renewing shows, Netflix likes to wait a couple weeks to see what audiences think of the show and if it's worth renewing. There’s this phenomenon among astronauts, it’s so fascinating, where home becomes space, and they feel away back home. Away touched down on Netflix on Friday, and there's a decent chance you've already binged all 10 episodes of this gripping space travel drama. Season 1. As soon as more details emerge on a second series of the show, we’ll be sure to update you with the start date and more here! The 'Lizzie McGuire' Reboot Isn't Happening, Shonda Rhimes' New Netflix Show Will Be Steamy. Netflix set Busted! Disenchantment. Hilary Swank, who plays Captain Emma Green, believes they'll continue to focus more on space's unknowns. Trotz der Tatsache, dass die Meinungen dort immer wieder manipuliert werden können, geben diese in ihrer Gesamtheit eine gute Orientierungshilfe! Season 2. Official Netflix Renewal Status: Canceled although reportedly renewed (Last Updated: 08/21/2020) In early August 2020, we got word that the series was still going ahead for season 2.However, that changed on August 21st, 2020 when Netflix decided that it could not go ahead with season 2. Ahead, every single detail we know so far about season 2 of Hollywood, and why it might not happen. He says, "Of course, I would love for there to be a second season of the show. Gangs of London is returing to Sky and AMC for Season 2. Emma leaves her husband and teenage … The Give Aways! 10 fans have subscribed. Toutes les infos concernant la Saison 2 de Away sur Netflix ! We may earn commission from the links on this page.


Writing a letter to your friend: Going to the theater
17th June, 2012
Thank you for your letter. I’m glad to hear that everything is going well. Sorry I’m a bit late replying, but I’ve been really busy studying and visiting all the fascinating places of interest here.
Last night my friends invited me to go to the theatre with them. You know I’m not a great theatre-lover but I couldn’t refuse the offer. There are so many remarkable theaters in London but, to my mind, the most notable is. It is known for its productions of the plays of English poet and dramatist . It includes many leading actors of the British theater and has a very old history because it was first opened in 1818. Besides, it is located in a very attractive London area. The Old Vic had its ups and downs and was rebuilt several times. However, it still remains one of the most popular theatres in London.
The play we were going to watch wasby W. Shakespeare. You know the plot of this great and terrible tragedy well, I suppose. Lear, king of Britain, decides in his old age to divide his kingdom among his three daughters. He asks how much they each love him. The two elder daughters, Goneril and Regan, overwhelm him with expressions of their love, but the youngest daughter simply says that she loves him, as a child should. Enraged at his youngest daughter’s reply, Lear drives her into exile and divides the kingdom between the other two. After receiving their share of the kingdom, the ungrateful daughters treat so cruelly that he flees to the youngest, who in the meantime has married the king of France. This daughter, Cordelia, returns to Britain with an army, defeats the wicked sisters, but she is murdered by them and dies in her father’s arms.
Taken as a whole, King Lear is the story of the struggle between good and evil. It is often considered one of Shakespeare’s best poetic tragedies., a leading performer for the Old Vic, played the title part in King Lear. His work has received high acclaim. It was really an award-winning performance! So it was not surprising that he won some major British drama awards for his performance as King Lear. The other actors and actresses were also playing incredibly! The cast was fabulous! As for the music, it sounded superb and corresponded to the idea of the play. The costumes were gorgeous and the play itself was unforgettable. So I’ve got a great esthetical pleasure.
That’s all from me now. Anyway, I hope to hear from you soon.


Microgaming has signed a licensing agreement to develop a new online slot based on Halloween horror movie.
Halloween is the 1978 American independent slasher film directed and scored by John Carpenter, co-written with producer Debra Hill. Halloween horror movie starred Donald Pleasence and Jamie Lee Curtis in her film debut. The film focuses on the character Michael Myers, who on Halloween night in 1963 at the age of six, murdered his sister. 15 years later, he returns to the fictional midwestern town of Haddonfield, Illinois to continue his killing spree.
Halloween horror movie was produced on a small budget of $300,000 and till now it has grossed $47 million at the box office in the United States, and $23 million around the world, making a total of $70 million worldwide. The movie was the first instalment in what has become the Halloween franchise, with 10 films in total released to date.
Nearly 40 years later, Halloween horror movie continues to be a firm favourite with viewers and critics. In 2006 the movie was selected for preservation in the United States National Film Registry by the Library of Congress as it is believed to be “culturally, historically, or aesthetically significant”. It also features in many movie polls, including being named in 2010 as one of The 100 Greatest Movies of All Time (Total Film).
David Reynolds, Games Publisher at Microgaming:
Ryan Freimann, SVP of Compass:
Microgaming has signed an agreement for Halloween through Compass International Pictures, brokered by Creative Licensing Corporation. The new game is now in development. The slot is scheduled to be released later in the year. It will offers the film’s iconic characters and the renowned soundtrack.


Despite living in what is widely regarded as the second major city in the UK, for some reason on release The Runaways was only shown in Manchester at one cinema, on two nights, at the rather inconvenient time of 4.45pm. The film had received good reviews so the feminist in me couldn't help but suspect that this may have been partly due to the fact that The Runaways is a film about women in rock, a subject that doesn't exactly drag in the dollars. I mean why else would a film starring one of the most prominent actresses in Hollywood have such a limited output in the UK? Anyway whatever the reasoning, rather than wait until February when it was due to be released on DVD I paid out for a German copy via ebay.
For those of you unfamiliar with the back-story, The Runaways were a 70s American all-girl rock band co-led by the legendary Joan Jett and Cherie Currie. OK so there was an element of manufacture about them, their super-domineering manager Kim Fowley pulled the strings from day one, but the concept was new and led the way for a succession of riot-grrrls.
Whatever you think of them or their music, one thing is for sure the film looks amazing and Kristen Stewart and Dakota Fanning are totally believable in their roles, Kristen's likeness to Joan being particularly impressive.
Below are some stills from the film which documents their wild and rather short-lived ride together.


Co-producer of the Riders world premiere and a visionary driver of this project since its inception, Arizona native Kristin Atwell Ford is an Emmy Award-winning documentary filmmaker capturing the creation of Riders in a feature-length documentary.
Riders of the Purple Sage: The Making of a Western Opera follows Zane Grey’s experiences writing his iconic novel and the synthesis of artists coming together a century later to build a multi-dimensional live performance though music, visual arts, and the human voice.
Atwell is no stranger to such synthesis, having grown up with an uncommon immersion in both theatre and wilderness adventures. Between apprenticeships at the Berkshire Theatre Festival, teaching writing at Perry-Mansfield School of Performing Arts, and graduating from Stephens College with a dual degree in English and Women’s Studies, Kristin explored the canyons and rivers of the American Southwest.
After working at Concentric Media in San Francisco for seven years with Academy Award-nominated filmmaker Dorothy Fadiman, Kristin produced her first documentary short, Quartzite’s Fall: A Wilderness Tale. The film is narrated by Peter Coyote and screened with the 2001 Best of the Banff Mountain Film World Tour.
After returning to Arizona, the home of so many themes that inspire her work, Kristin became the in-house producer for Quantum Leap Productions. In 2011, Kristin co-directed and wrote the documentary, Theodore Roosevelt Dam: Arizona’s Living Legacy. Narrated by Peter Coyote and produced by Salt River Project, it won the Emmy Award for Best Historical Documentary.
In 2013 Kristin produced the nine-part The Arizona Centennial Series that aired on PBS/KAET. The series welcomed notable guests to recount Arizona’s colorful political history with U.S. Supreme Court Justice Sandra Day O’Connor. Recently Kristin wrote and co-produced a new documentary for SRP about forests, fire, and water. Protecting the Source aired on PBS/KAET and won the 2016 Emmy Award for special environmental program.
Header image by Robert Pflumm, courtesy of Quantum Leap Productions


WHO IS JERRY JOSEPH?
a film by cutter hodierne
INSPIRATION FOR FORMAT
The melding of fiction & documentary to tell true stories is an emerging filmmaking method in the zeitgeist, and I think for good reason. We can employ the best storytelling method at any given point and pick from any cinematic pallet to express a particular narrative idea, without any restraint from genre. It’s freedom and in my opinion, pure filmmaking. There are so many groundbreaking versions of this style, but I am particularly inspired by the use of this aesthetic in I, TONYA and the new series from Errol Morris called WORMWOOD.
The story of Jerry Joseph is true. And as a film, it works incredibly well to stick to the ‘truth’, and visualize the absolutely bizarre and conflicting ‘truths’ surrounding the identity of a man called Jerry Joseph, also known as Guerdwich Montimere. The true story is stranger than fiction, and so I want to adhere to that bizarre truth as closely as possible.
Recently, I went down to Texas with Andrew Hevia, and spent a few days with the real life Jerry Joseph, the main character of the screenplay. It was a fascinating experience, and one during which I had a vivid epiphany: we must absolutely work with the real life Jerry Joseph on making this film.
There was something profoundly magnetic about Jerry Joseph. He looked me in the eyes and told me he was ‘a great actor’ and he’s right. He is. I believed every lie he told me. There was something so special about sitting there face to face, and really feeling him tell me his version of events. He was so convincing. So engaging. So clever with his smoke and mirrors, misdirections and diversions. We recorded a four hour audio interview with Jerry, but I knew I needed to come back with cameras and work with Jerry to tell his version of the story on camera, and that it would merge somehow with the movie we are making.
So that’s exactly what I’m doing.
We will go down to Texas and film an interview with Jerry Joseph, and four other real life characters that I am depicting in the movie. Then, those interviews will be transcribed, and used to inform the next draft of the screenplay. Then, select parts of the interviews will be performed by the cast of the film, and the ‘interview’ aesthetic will be utilized as a storytelling device in the movie.
The new perspective we gain from these real life characters will be enormously beneficial to the next phase of our writing process, and the documentary footage we capture will also be used as part of an interactive digital experience we create to lead up to the film’s release. We will have chunks of video online that users can click their way through, piecing together a narrative that excites and informs the audience. Think Soderbergh’s new interactive piece MOSAIC.
I cannot wait to call action on this one. Filming these interviews are a critical part of my process in telling this story, and this shoot is going to be incredibly revealing, one that will most assuredly change the course of our film. I am chomping at the bit.


Name: Anarkali (2020) South Hindi Dubbed Full Movie HDRip
Genre: Drama, Musical, Romance
Duration: 2 hour 30 minutes
Release Date: 13 November 2015
Starcast: Prithviraj Sukumaran, Biju Menon, Kabir Bedi
Description: The story of a Naval officer who falls in love with the gorgeous daughter of a harsh and disapproving Vice Admiral.
Download This Movie


Aleksander Johan Andreassen
In the solo exhibition Haptic Habitat, Aleksander Johan Andreassen shows new and older works that explore points of convergence between the body and urban space.
The exhibition consists of the films Alle Tankers Slekt (All Thoughts Are Kin), Strim, and Centarium, along with a new installation. In addition, the artist presents a number of performances and interventions developed with local creatives. Developed for specific locations in and around Molde, these were documented on video and will be shown in the Art Centre’s project room. The participants are the actors Sara Fellman and Kjersti Botn Sandal, the skater Kristina Westad, the visual artists Anne Brit Krag and Sivert Bjørnerem, and the dancer Alma Bø.
In recent years, Andreassen has produced a number of theme-based and site-specific films, performances and interventions in public space. In these works, he explores the patterns of physical movement and social norms that public spaces elicit, while simultaneously challenging preconceptions about normality, belonging, and passivity. Andreassen is interested in the ways architecture and the design of urban space influence our social interactions, and how artistic interventions can generate new encounters. In his recent work, Andreassen has turned his attention to semi-public urban spaces, such as shopping malls and retail stores, and social media platforms such as Facebook.
Born in Bodø (1982), Aleksander Johan Andreassen is currently based in Oslo. He works primarily with performance, film, and installation. His artistic practice includes not just his own film and exhibition projects, but also collaborations with other artists, performers and creatives from the fields of film, dance, performance, and theatre. His work has been presented both in Norway and abroad. His film Strim (2017) won the Golden Chair for best Norwegian short film at the Norwegian Short Film Festival in Grimstad, and he won the Critics Award in 2015 and 2019 at the Trøndelag Exhibition. He trained at Nordland kunst- og filmskole, Bergen Academy of Art and Design, and Konstfack – University of Arts, Crafts and Design in Stockholm. In autumn 2021, he will begin a research year at the Jan van Eyck Academy in Maastricht, Netherlands. For a selection of his works, see www.aleksanderjohan.com
The exhibition is supported by Arts Council Norway’s Fond for lyd og bilde and by Public Art Norway.
Alle tankers slekt (All Thoughts Are Kin) (2015) 24 mins.
The film follows a young man who claims to be possessed by demons. With his open attitude and unique perspective, he gives us an insight into what it is like to live on the margins of society and the consequences it has for him.
Strim (2017) 19 mins.
In the film Strim, we join Sigrid on her quest to find her missing cat Liv. As Sigrid searches, her inner monologue gradually becomes externalised in action and movement. As she collides with her local community, she is led on in new directions. Sigrid is played by the dancer Sigrid Marie Kittelsaa Vesaas. Strim was filmed and developed in Groruddalen in Oslo.
Centarium (2020) 22 mins.
Staged and filmed in chosen shopping centers during mostly normal opening hours, a chain of events is started by a mannequin coming to life. A cleaner glimpses this, and the film follows these two bewildered characters’ meetings and movements in the shopping centers. Centarium is a hybrid film that combines genres such as documentary, fiction, and stop-motion animation. First edition of Centarium has been produced in Mo I Rana, a town where shopping centers have had a defining impact on the public spaces.


OMG THE GREAT GATSBY. OMG THIS TERRIBLE FUCKING MOVIE.
The Academy Awards are a time to celebrate the year’s most uniquely challenging films, a delicate ensemble of messy failed attempts of the grandest spectacle and tiny indies that devastated audiences with emotional gusto and studio adventures that dared to dream beyond the boundaries of the megaplex.
At least, that’s what the Academy Awards would be if they didn’t suck fucking big time.
Instead, they’re a tepid mix of boring political wishy washiness, tarred and feathered into something a bunch of old white men can stick on a pedestal and feel proud to call their own. Sure, every so often something truly great like No Country for Old Men or Silence of the Lambs wins Best Picture. But the Best Picture category is mostly an enormous embarrassment. Look at all of the epic trash that’s won in the past few decades. You guys: We live in a world where Forrest Gump beat Pulp Fiction at the Oscars. Where The English Patient beat Fargo. WHERE SHAKESPEARE IN LOVE BEAT SAVING PRIVATE RYAN.
The acting categories can also be totally bunk and totally great in the same year, with equal measure. For every Sandra Bullock lifetime achievement award, there’s a Marion Cotillard “thank you life, thank you love” punch to the tear ducts. The year she won was the year Daniel Day Lewis, Tilda Swinton and Javier Bardem all took home acting trophies. Remember how great that was?
But part of the fun of watching the Oscars is laughing at the terrible injustice. We take it so fucking personal in such a stupid, self-congratulatory way. Like how last year I swore to God on my life that I would walk out the door if Meryl Streep beat Viola Davis. And then she DID and I just sat there instead and kept watching because duh, I was never going to actually leave. I just wanted to make an unnecessary point!
So I decided to do the ultimate self-important film fan thing: I’m making my own Oscars goddammit. And here are the nominees:
Did you see The Hobbit: An Unexpected Journey yet? Did you like it? Are you happy Peter Jackson is making a 9-hour trilogy out of a 328 page book? I just re-read the book for the first time in at least ten years and I’m pretty sure I finished it in like 7 hours and 32 minutes, which means it will take longer to watch a movie about The Hobbit than it will be to read The Hobbit. How does that make you feel? Good? Bad? Tired?
So yes, I saw The Dark Knight Rises. Twice now, actually. Once in glorious IMAX and once in poor people size. IMAX was great and all, but holy uncomfortable adjustment Batman! (You might as well prepare yourself for a lot of holy Batman jokes fyi.) Because a third of the movie was filmed in full-fledged IMAX mode and two-thirds of the movie was not, the constant morphing from MEGA HUGE FULL SCREEN to kind of decent but slightly low-def widescreen was… different. One second you have a tiny Jim Gordon spewing exposition and the next second you have BANE THE GREAT AND POWERFUL huffing down his medicine gas on a screen five stories tall.
In light of the horrific and depressing shootings in Colorado, it seems a little indignant to joke so airily about a movie that will forever be synonymous with insurmountable tragedy. As many speculate, this incident will likely usher in a new wave of movie theatre security, disrupt a once prosperous and hopeful box office opening, and make folks nervous about sitting down in a theatre and taking in a good show. But in the spirit of Badass Digest’s awesome response to the event, I’m going to soldier on with the puns, bad jokes and occasional mocking because… that’s what I do. And that horrible fuck can’t rob me of that, just like he shouldn’t rob people of their ability to see movies in a safe and welcoming environment. Bow your heads for those lost, feel the wrath of contempt (or the pangs of sadness) for the mentally deprived, but don’t let the Jokers of the world win. OKAY?
I’m about to talk about pretty much everything that happens in this movie, so, SPOILER WARNING.
Last night, I saw a preview screening of The Dark Knight Rises. I KNOW, I KNOW, YOU HATE ME. It was also free. It was also in IMAX.
Unfortunately, all of the jokes I want to make about The Dark Knight Rises involve spoilers. And because the movie doesn’t officially come out until Friday (or tonight at midnight for you nerds), I won’t be a dick and I won’t spoil you. UNTIL TOMORROW. Then all bets are off. But it’s not really a spoiler to give a rating, right? I give The Dark Knight Rises 8 and a half Bane morphine drips out of 10. It was pretty good! It was not great, but it did things I liked and also Joseph Gordon-Levitt.
I mean, come on.
Like any good science fiction hag, I saw Prometheus this weekend. Woof, am I right? As Vulture so kindly pointed out, Prometheus is the least answer-friendly movie of the summer, full of big head-scratchers and even bigger giant man makers. Or Space Jockeys. Or Engineers. Or whatever the fuck, UGH THIS MOVIE.
There’s this funny thing Netflix does. It involves just randomly ploppping something important in Instant right when you least expect it. Like, things are going really good for your life and you’re being very productive and getting things done on time, and then WHAM! The Wonder Years just decides to be there, every episode, every season, every Winnie Cooper/Kevin Arnold make-out sesh in high def at your fingertips. It’s pretty unfair, all things considered. Unfortunately, it’s the trash barrel TV that really whets your appetite. It took me years to just sit the fuck down and watch Breaking Bad, but the second Saved By the Bell went up… yup, bye, staying inside all weekend, what are “friends?”
I heard nasty rumors about Dawson’s Creek showing face on Netflix Instant, but I laughed because it was only one of my biggest dreams, and surely life is never that easy. BUT BEHOLD. It IS that easy. So guess what I spent my Memorial Day weekend doing? Go on, guess!


The Greater Santa Fe Film Office has been Nominated for the Outstanding Film Commission Award at the 2018 LMGI Awards
The Santa Fe Film Office (SFFO) has been nominated for the Outstanding Film Commission Award at the 2018 Location Managers Guild International (LMGI) Awards for their work on "Only the Brave" which was released in the fall of 2017.
This award is for entities who work with location managers to make sure everything goes as planned, navigate the various permitting, and any other challenges. Eric Witt, Santa Fe Film Office Executive Director noted, “Generally speaking it's an award for "going above and beyond the call of duty" on particularly difficult or challenging productions.” He continued, “In this case "Only the Brave" about the Granite Mountain hotshot crew entailed huge pyrotechnics, special effects, multiple aircraft shots, and water drops, just to name a few and of course it was shot during fire season, just to add a little spice to the mix.”
This film was shot primarily in Santa Fe County and there were multiple county agencies and personnel involved, including: Santa Fe County Fire Department, Sheriff’s Office, Growth Management Land Use Division, Public Works Department, and others in addition to the SFFO. Witt stated the SFFO may be the "face" office of film in the area, but it really does take the entire team to get it done. Jennifer LaBar, Film Office Manager emphasized, “We can’t stress enough that his nomination reflects the entire team, everyone who helped make this production possible.”
To put this nomination in perspective, thousands of feature films and television series are made around the world every year. To be submitted and accepted in the final handful of semi-finalists for this award is a significant recognition (submissions themselves have to be reviewed by an executive committee before they're even accepted).
“We've come a long way in our first 18 months of existence at the SFFO in terms of making a name for the region (Santa Fe was also named this year as a top 3 place to live/work in the film industry in all of North America (US/CA/MX) by MovieMaker Magazine),” said Witt. He continued, “This is the kind of reputation we're making for the entire Santa Fe region. Especially, in a business that's as word-of-mouth driven as is the film business, that is why these operations are so important.”
The Location Managers Guild International is an organization of experienced career professionals in the motion picture, television, commercial and print production industries. They are dedicated to the establishment of professional standards of personal conduct and business ethics.
About the Santa Fe Film Office
Since its creation in July, 2016, the Santa Fe Film Office has been busy! Notable films and television series from Santa Fe and surrounding areas from this past year include:
• “WACO” - six-part series
• “Hostiles”- starring Cristian Bale and Wes Studi
• “Woman Walks Ahead”
• “Logan” – on DVD/Streaming (note: 2018 Oscar nomination for Best Adapted Screenplay)
• "Godless" - Netflix original series
• “Only the Brave”
• “The Brave”
• Runaway June - song “Wild West” - Music Video
• “Booze Traveler” and “Bizarre Foods” (Travel Channel)
• “Moveable Feast with Fine Cooking”
• “Travels With Darley” (PBS)


Star of The Originals, Joseph Morgan, talks about the differences between The Originals vampires and The Vampire Diaries vampires in this new interview clip. “The Originals is a show about supernatural beings who truly embrace their nature,” he admits, adding, “As opposed to the vampires on The Vampire Diaries—it was all tied in with the shame of having to take human blood.”
The Originals season 1 comes out on Blu-ray combo, DVD, and digital HD on September 2!
Jen | Categories: Interviews, Joseph Morgan, Season 1, The Originals, The Vampire Diaries, Videos | Comment
Aug 29th: (SPOILERS)Nina Dobrev on Intimidating Guys, ‘Let’s Be Cops,’ and the New Season of ‘Vampire Diaries’
Jen | Categories: Interviews, Nina Dobrev, Non TVD Projects, Season 6, Spoilers, The Vampire Diaries, TV Series, Videos | Comment
“Extra” Lifestyle Correspondent Hilaria Baldwin was at our New York studios at H&M in Times Square with “Vampire Diaries” star Nina Dobrev.
The single actress, who’s no longer dating “Vampire Diaries” co-star Ian Somerhalder, and was recently spotted with Orlando Bloom at Comic-Con, told Hilaria that it’s tough finding guys who aren’t intimidated by her.
Nina also chatted about her new film, “Let’s Be Cops,” and shared her excitement for the upcoming season of “Vampire Diaries.”
VIDEO CONTAINS SPOILERS!!!
Tags: Tags: extratv.com, Interview, lets be cops
Aug 29th: The Originals : The Fans
Jen | Categories: Charles Michael Davis, Fan Experiences, Interviews, Season 1, The Originals, Videos | Comment
dvd video clip. Charles Michael Davis talks about the fans of the show


Weston Biggerstaff (actor)
Biggerstaff was born Weston Marion Biggerstaff in Orange County, California to Rachel and Ethan Fletcher Biggerstaff on 11th July 1941. As a child he was beset by the rare medical condition, Prolangatus Pedias, or ‘squid foot’ as it is more commonly known, which causes an abnormal lengthening of the toes. Doctors employed the now discredited practice of Chinese Foot Binding to control the growth, but this only led to him being teased relentlessly by the other schoolchildren who called him ‘Li’l Chiney Girl.’ It was in the school production of South Pacific, however, that he suddenly shone forth as a talented dancer, thanks in part to the extra balance provided by his abnormally long toes. Biggerstaff left school as a star and went directly into paid engagements at the age of twelve.
His career spans decades beginning with his appearance as a young Morris dancer among the chorus in Rufeld Ziegler’s That’s Morris Dancin’! (1954). Weston’s unusual dancing style (caused by his Squid Foot) caught the eye of the producer, who cast him in the supporting lead part of cheeky street urchin, Gavin Poxley, in the film’s sequel, That’s More Morris Dancin’! (1955). However, the powerful RBMD (Regulatory Body of Morris Dancers) took to the streets in protest at Weston’s unorthodox style. The Times’ headline that day read, “The streets ring with bells of fury as RBMD stomps on Biggerstaff.” The resulting riots killed the That’s Morris Dancin’ franchise.
Biggerstaff refused to hang up his specially adapted dancing shoes and went on to star in screwball musical comedy Japs Ahoy! (1958), a low-brow romp following the misadventures of three Americans on shore leave who uncover a spy ring of Japanese prostitutes in a San Francisco brothel. It was a success on initial release, but through the years has slipped into infamy for its allegedly racist portrayal of the Japanese. Particularly notorious is the film’s signature tune, Yellow Fever. To this day, Biggerstaff is frequently targeted by the Japanese -American Anti-Defamation League for his unwillingness to apologize for the film’s use of racial stereotypes.
Biggerstaff remains defiant, stating:
Seafaring musicals were proving to be Biggerstaff’s lucky charm, and he jumped at the chance to play the lead part in World War II musical, Dancin’ Out of Dunkirk (1959). The finale called for Weston to tap dance furiously in the back of his rowboat, rousing the retreating British soldiers to a show-stopping, morale-boosting dance routine. The producers did not anticipate that the cast’s tap-dancing shoes would severely damage the hulls of the little, wooden boats, and the entire fleet sank. Ironically, Weston was rescued by a passing German freight vessel, but had to have his toes amputated due to hypothermia. That spelled the end of his dancing days.
Biggerstaff took this tragedy as an opportunity to explore different film genres and subsequently starred in 1959’s low-budget sci-fi horror film, The That!, in which he played Steve Ryder, a security guard stationed at a remote military library plagued by an unseen, monstrous menace. Though the audience never sees the monster, Weston’s blood-curdling cry of “The…the…the..thaaaaaaattt!" upon first encountering the off-screen beast set their imaginations ablaze. Word spread like wild fire with audiences walking away describing the monster (which they never saw) in evermore explicit, horrific detail. This subtle filmic ploy of the unseen menace made the film an unexpected hit.
A little known fact about the film is that Weston fluffed his famous line. The working title of the film was The Monster Behind the Book Stacks, in which Weston was merely meant to say, “Oh my goodness! It’s the horrible monster! Behind the book stacks!” However, having forgotten his lines, his awkward and sputtering exclamation of “The Thaaaattt!!” made the scene altogether more real, and had critics calling him the Brando of the B-Movie.
Modern-day critics, however, have a different take on the film, calling it a paranoid example of McCarthyism in which the unseen monster clearly represents the threat of Communism. Weston’s final act of destroying the monster in a pyre of burning books is considered by many sociologists to be a blatant call to crush America’s intellectuals. In fact, on close inspection of the scene, one can see the books on the surface of the pyre are, The Communist Manifesto, The Origin of the Species, and The Cat in the Hat.
According to Weston Biggerstaff:
Biggerstaff had officially become a star. The offers flowed in and he was soon a regular fixture of the Hollywood party scene. But films like Death Before Tea Time (1960) and Next Stop Sarajevo (1963) failed to match the hysteria of the The That! and the parts soon dried out.
When The That! producers went to visit him at his Orange County villa to discuss a sequel, they found him living in his drained pool, furnished only with a filthy mattress and fully-stocked trolley bar.
From Weston Biggerstaff's autobiography:
Allen Ungerwood and Rik Bohburger threw Weston a line and dragged him out of the pool. The trio went on to create the sequel to their 1950’s hit, The That! But it was 1969 and values had changed. The film would have to be sexier and more exotic, so they concluded that Weston would be a Space Security Guard stationed at a remote Girls-Only School on Venus, once again plagued by an unseen menace. The film would also have to be bigger, and that was their lightbulb moment. They would have not one That, but two Thats. Thus, Those Thats! was born. However, Weston’s cry of, “The…the…the…those thaaaaattt’s” was considered less blood-curdling, and more laughable by cynical audiences. It remains a cult hit with ironic college students.
The 1970’s relegated Biggerstaff to the disaster film genre, starring in films such as Tsunami! (1971), Avalanche! (1975), and Gnats! (1977). Biggerstaff played more or less the same character in all of them, a cynical and unscrupulous authority figure who fails to heed the hero’s warning of some impending doom, and is subsequently killed by whatever is in the title of the film.
By the early 80’s, Biggerstaff’s career had become little more than a series of maudlin caricatures on shows such as The Love Boat and Fantasy Island. His most lucrative role remains the character, Headmaster Bates, in the Nutballz series of films (I – IV), due to its near constant screening on late-night channels.
The steady money was not enough to fund Biggerstaff’s next big project, the construction his home in the hills of Montana. Biggerstaff went back to The That! cash cow and starred in the third in the trilogy: That Darn That! (1985).
That Darn That! presented another departure in style, this time gearing towards the popular suburban family comedy genre with Biggerstaff as the befuddled dad alongside Swoosy Kurtz’s practical mum, two kids (Ricky Shroeder, Justine Bateman), and their cute yet mischievous family pet, which was none other than the That. Producers blamed the film’s failure on Biggerstaff’s inability to play against an animatronic puppet, but Biggerstaff shot back by blaming it on the animatronic puppet’s inability to play against him.
Biggerstaff was to descend another notch after a disastrous appearance on Columbo as the villain of the piece. Drunk on set and annoyed by Peter Falk’s trademark badgering, Biggerstaff lost his temper and personally confessed to the fictional murder in the first scene before walking off set. No major studio would touch Biggerstaff after that incident.
It was Direct-to-Video after that with appearances in films including Tearjerker: the Dirt Loveless Story (1993) and Beast Sword 3: the Eye of Gonax (1990).
Biggerstaff made his directing debut in 1995 with Hair of the Dog, a film concerning an alcoholic lawyer trying to dry out who magically turns into a dog whenever he got the DT’s. Roger Ebert gave it an unprecedented “…two thumbs up in Weston Biggerstaff’s eyes.”
Undeterred by his inability to get his face on screen anymore, Biggerstaff is now lending his voice as narrator on nature documentary series, Tooth & Claw (in production). Biggerstaff’s narration is a far cry from the high-brow, well-researched narration from the likes of Sir David Attenborough.
Initial press reviews have criticized his loose style and, in particular, his lack of knowledge about animals, but Biggerstaff maintains, “Yes, I do sometimes stray from the script, but I improvise in order to give the footage a more natural feel. After all, does nature have a script?”
In 1992, Weston Biggerstaff followed in the line of other Hollywood actors, such as Bruce Willis and Sylvester Stallone, by founding a chain of restaurants. The Mutton Hut, however, was a less glamorous affair due to its exclusive reliance on goat meat instead of lamb, as the restaurant’s name would suggest. Biggerstaff reportedly did not know the difference between goats and sheep and simply went for the cheaper option.
Ever the entrepreneur, Biggerstaff changed tack and targeted the menu as healthy and affordable fast food for kids, announcing, “Kids will eat anything provided a lovable cartoon character tells them to.” Thus, Mutton Man was born. In a shrewd move, Biggerstaff bankrolled a 26 x 22 minute animated series based on the adventures of a half-man, half-goat cartoon superhero who obtained super-strength from eating goat meat.
The Mutton Man animated series goes down in television history as the only show to be cancelled five minutes into broadcast of its pilot episode. Broadcasters saw it as blatant advertising for his restaurant, while Christian groups objected to a superhero sporting horns and cloven hooves. There were also ethical issues surrounding a goat creature eating goat meat. Biggerstaff argued that Mutton Man was only half-goat.
Today, only one Mutton Hut remains in Swansea, Wales, where animation cells from the show are available for sale, all 858,000 of them.
IN POPULAR CULTURE
The vocally heterosexual Biggerstaff is strangely regarded as a gay icon on the west coast of the United States due to his supporting role as Boots the Cabin Boy in the Captain Swashbuckle film series; Captain Swashbuckle and his Merry Brigadeers (1964), Captain Swashbuckle and the Dastardly Scallywags (1965). Biggerstaff has always been quite vocal in his distaste for this reputation, claiming that the association ruins the movies for heterosexual people who just happen to like pirates. In fact, Biggerstaff even made a cameo appearance in John Waters’ camp send up of the films, Captain Swashbuckle and the Mincing Rainbow Fairies (1983). It wasn’t until the film’s premier in San Francisco that he was even aware of his gay icon status. Footage of the colourful event shows Biggerstaff as appearing genuinely surprised and bewildered.


The story I am illustrating for my BFA project takes place in the arctic. I was researching arctic icebergs, flows, and glaciers and came across a documentary called “Chasing Ice”. In short, it is about photographer James Balog’s project to document receding glaciers. It show’s indisputable proof of our changing climate and raises concerns about the dire consequences of such a change. In addition to that, it is also an engaging story of how the project came about and was executed.
The film is full of beautiful photography and time lapse. I recommend watching it if only for the stunning visuals. However, I was also touched by what may be the last fleeting glimpse of an incredible part of our earth’s history.
The images in this post are from the film. I hope Mr. Balog and the producers of “Chasing Ice” won’t mind my showing them here. The film is available for streaming on Netflix and you can watch a trailer or find out more at chasingice.com
I also loved the soundtrack, thanks J. Ralph.


- Actors: Beppe Fiorello
- Directors: Giacomo Campiotti
- Format: NTSC, Box set
- Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
- Number of discs: 2
- Run Time: 200 minutes
The film titled ST. GIUSEPPE MOSCATI: DOCTOR TO THE POOR was so interesting that the undersigned viewed it more than once. Rarely does this reviewer ever write about films most of which are a waste of time. However, this film grabbed the unsigned's attention. The film deals with many of human characteristics such as greed, professional envy, false pride, compasssion, bona fide love, mercy, kindness, etc.
The setting of this film is in Naples, Italy. Guiseppe Moscati was an aspiring medical student whose skill and ability led to both spiritual and medical insights that most of his professors and colleagues did not share. One of Moscati's excellent professors was not Catholic and was an agnostic with whom Moscati had numerous debates which were not angry exchanges. Both men remained close friends.
Early during the film Moscati showed mercy and compassion for those who were despartely poor. This antagonized assciates, but Moscati's skill as a diagnostician and physician were impressive enough to silence his critics. Some of Moscati's critics were proud snobs who would irritate and anger most. However, the film portrays Moscati as wise and understanding in confronting such people. A nun who helped run a hospital and worked with Moscati disapproved of Moscati's unorthodox style. She was "a stickler for the rules" because as she said, her family was ruined by the unfairness of the law, rules, and fair play. Yet, Moscati changed her when she commented that the rules and regulartions mean nothing without love and charity.
There are touching scenes whereby Moscati befriends a street urchin. The little fellow shows wisdom and understanding. The relationship ended in a moving scene when this little fellow died in Moscati's arms. The little fellow died peacefully when no one except Moscati was able or willing to help.
The film has numerous scenes of poor patients who are brought back to life from the brink of death. These scenes showed colleagues who disapproved of Moscati's intense care and love for the poor, but the critics were powerless to stop Moscati. Some of these scenes showed the typical wonderful Italian sense of humor as well as the typical Italian sense of honor.
Moscati surrendered marriage to a beautiful woman, family, fame, fortune, etc. He gave up an offer of a teaching position to a colleague who was bitterly jealous of Moscati. Moscati fell in love with his work and the penniless patients with whom he assiciated. In one scene, Moscati literally risked his life saving the lives of others in a hospice during a volcano erutpion and earthquake.
Moscati changed those around him, and he changed them for the better. His sister dropped her social pretenses to be a kind woman. Moscati was able to attract ambitious young medical students to help him with his work. One scene showed a young medical student who was told that Moscati was crazy. The young man responded that he (the young medical student) was crazy enough to join Moscati.
As mentioned above, Moscati had an influence on others including those who hated him. One of Moscati's antagonists married the woman whom Moscati loved. This fellow sired a child whom Moscati pulled from an orphanage. The resentful antagonist and his wife could not have children. Moscati arranged for the little fellow's adoption, and Moscati's resentful antagonist finally realized his own shallow pride and loved Moscati for what Moscati did for him.
A few lines from the film are worth noting. Moscati's great professor and colleague died. Moscati honored this man with an eulogy stating that friends can appreciate each other because of their differences and in spite of their differences. When Moscati had to sell prized family possessions, he was told that these beautiful paintings and furniture would be missed. Moscati responded that the smiles on the faces of the poor patients were much more beautiful.
The acting in this film was good. Moscati (1880-1927)did not live to be 50. Yet, this film protrays a saint's short life which transformed those around him. Moscati did not help the less fortunate because he felt compelled by God and his Catholic Faith to do so. Although this may have played a role. Moscati helped the less fortunate because his joy was to bring joy and healing to others especially those who were abandoned.
This is a good film and was so good that the undersigned took the time to review it which is rare. The film is a good antidote to culture of lethal criminal greed and shallow pride. The film undermines what is called "cheap grace." The film is a welcome relief to the current culture and should be enjoyed.


The Academy Awards, popularly known as the Oscars are arguably the most sought-after awards on the Hollywood calendar. The 91st edition is nearing, fans around the world have started making predictions about who they think will sweep the board. As a lead up to the most anticipated night in entertainment, Sterkenikor invited media to experience the #OskarBuzz
with an exclusive screening of Greenbox at its head office in Johannesburg – ahead of the release this Friday.
I have obviously watched a lot of movies before, I hold a qualification in television production and journalism but that’s as far as my prowess goes when it comes to that field. I do enjoy a beautiful story though and Mahershala Ali and Christian Bale did an incredible job of telling one.
Greenbox, which is based on a true story boasts a few Oscar nominations. It is a cheering film about two men, black and white who come together to defy all odds in an era of segregation.
If I am being entirely honest, the beginning of the movie didn’t grab my attention, I kept checking my Twitter timeline in an attempt to entertain myself and to occasionally express how incredibly bored I was. But when I eventually got into it, I was encapsulated by Mahershala’s performance, a beautiful justification of his Best Supporting Actor nomination.
His character Don is an African American world-class pianist. A regal but troubled man who hides his loneliness well – if there was any escaping this, it was through his work. He meets his soon to be life-long friend Tony just in time for his tour and asks him to be his personal driver. They get on almost immediately after the meet, completely unaware of what lies ahead.
Tony is kind and loyal, he loves his wife Dolores dearly and this is something we see throughout the movie, he finds joy in penning down letters to her detailing his journey with Don. Prior to the tour, Don works as a bouncer in the Bronx.
Although Tony is white, he possesses exhaustive knowledge of the ‘ghetto’ unlike Don, who one would define as a white man trapped in a black man’s body.
Don struggles to find his place in the world, while he is welcomed into prestigious events to play the piano and entertain the rich, he faces violent racism. He feels alienated by the black community but also knows that hell would break loose before the white community offers him a sit at the table. There is an alarming scene in the movie where he had to drive back to his hotel room amid a performance after they wouldn’t let him use the same restroom as white people. Moreover, he must deal with the fact that he is gay in a backward world that won’t accept the colour of his skin let alone his sexuality.
Tony helps him tackle these issues, supports him, and teaches him the importance of friendship. There is a direct intimate connection between Tony and Don and it is beautiful to witness. I would definitely watch Greenbook again.


We are noticing that so much of what we see in TV and movies right now still harkens back to old paradigms:
“You must be married.”—referring to a glum look on a colleague’s face.
“They talk like they’ve been married for years!!”—implying that bickering is the inevitable outcome of marriage.
“You don’t share everything in a relationship, you hold back something, everybody does.”
We’d love to create a context where filmmakers explore the possibilities of joyous long-term relationships, marked by appreciation, creativity, wonder and respect, instead of the usual blame and criticism escalating into adrenaline (fear interactions), which most people think is normal.
What would it be like to explore the foundational opening created by being real with each other, being open to authenticity and to hearing what is really going on? What if we saw partners liking and enjoying each other, having fun together?
We can’t wait to see what you come up with this year.
We are delighted to sponsor this festival through our non-profit Foundation For Conscious Living. We are especially pleased that Stephen Simon and Anna Darrah have again joined us as co-directors of the festival. Stephen and Anna have achieved worldwide recognition for their work with The Spiritual Cinema Circle, which has brought attention to the films of more than 600 independent filmmakers since its debut in 2004. With their leadership, we hope to inspire the filmmaker community to explore the always-fascinating world of relationships.