The Great Room: ASK Theatre Space
ASK has a rich history in the Performing Arts. Our 99-seat flexible theatre space is ideal for theatre, dance, music, or any other performing art. With a “silent” duct system for HVAC, brand new lighting and sound equipment, and a variety of ways to stage your production, ASK can accommodate almost any group. Whether recording an album, live-streaming a poetry reading, putting on a play, holding a dance workshop, or any other performing arts activity, ASK has the capabilities to realize your vision.
There are a number of options to present work at ASK. ASK Presents provides a week of rehearsal time and three performances with a box office split at no cost to the artist. Members can apply for Spotlight performances, co-productions, or try out new work in our Member Showcases.
Membership with Performing Arts focus
ASK Members enjoy a reduced rehearsal rate during gallery hours, reduced rates for rental, options for “door splits”, and liability insurance coverage for performances. At ASK, our members drive the programming and decision-making. The Performing Arts Committee meets monthly to discuss all issues around performing arts at ASK and plan for the future. In addition, the PAC evaluates applications and curates the performing arts opportunities at ASK.


Beneath Springhill by Theatre Orangeville - This event has already occurred
Friday, February 10, 2023 8:00 p.m.
Upcoming Dates:Saturday, February 11, 2023 7:00 p.m.
Sunday, February 12, 2023 2:00 p.m.
Wednesday, February 15, 2023 2:00 p.m.
Thursday, February 16, 2023 8:00 p.m.
Friday, February 17, 2023 8:00 p.m.
87 Broadway, Orangeville, ON
View on Google Maps
Theatre Orangeville presents Beneath Springhill an incredible story of Maurice Ruddick, “the singing miner,” an African-Canadian who survived nine days underground during the historic Springhill mining disaster of 1958. The play is a celebration of hope, courage and community. This production was created by Beau Dixon and stars Jeremiah Sparks.


“Secrecy,” a well-reviewed documentary on national security secrecy, begins a theatrical run this month in selected theaters around the country.
By identifying secrecy as a problem, filmmakers Peter Galison and Robb Moss implicitly adopt a critical stance towards their subject matter. But they also make a determined effort to present articulate defenders of secrecy policy alongside the critics (among whom I play a minor role). And they do not impose an artificial resolution on the disagreements that are expressed, as there is none in reality.
Above all, Secrecy does a courtesy to the participants and to the audience by taking the subject seriously. Also, it’s beautifully made. A schedule of upcoming screenings along with other background information can be found on the film website.


In 1996, the youngest sound designer in Hollywood was on the payroll. At age 18, Blake Worrell was already working for the iconic figure Roger Corman, at New Concorde studios in Los Angeles. Roger Corman is a role model for Blake, so are the people that started from him: Francis Ford Coppola, Martin Scorsese, James Cameron, Jack Nicholson, Robert De Niro and many more.
After working on several films and a TV series, Blake was then hired overseas to do sound for one of the first 3D animated TV cartoons, with the German TV network RTL. In his spare time, he would produce music.
Then in 2000, he released his first album with great success and by 2013, he had performed in over 1,000 live concerts, featured in over 30 albums, produced 5 albums and had an estimated reach of around half a million fans. So then what...?
Suddenly, in 2015 Blake leapt in front of the camera and immediately got in to working on major film productions as an actor. In 2016 he met his wife, actor Arly Jover and they began their journey to work together writing, acting and directing. Their last 3 films won several awards around the globe.
Today, Blake has been recognized by the ACS (Australian Cinematographer Society) for skills in filmmaking. He has also been recognized by AFI and AACTA for being one of the leading filmmakers who has been using mobile technology to its full potential. With his extraordinary hard work and genuine passion in the entertainment industry, Blake Worrell is destined to reach his goal to tell stories that affect the audience in a way that makes them either change their perspective on life or simply just give them a good cinematic journey, no matter what genre.
This International Award Winning Short takes you on a journey into the mind of a father falls into an adventure in search of his son. He ends up in the most unsuspected places, but will anyone believe him?
Awarded for Best Cinematography, this unique short shot in 4:3 follows the rapid decent of a man whose life has changed in the blink of an eye, and witness the dissolution of the life he once knew.
SOMEHOW (MUSIC VIDEO)
Jazz, beats, lyrical drugs, this video explores depths of madness within the artist.
An online series starring the famous acting coach, Anthony Montes known worldwide for his successful teaching methods. He shares his techniques, views and stories.
THE WIERD SISTERS
When you enter the maze of your brain and can no longer differentiate reality from illusion, who is to say who is mad and who is sane? In "The Weird Sisters" we follow the struggle of a woman on the brinks of crossing that line of reason. That fine line that so many find themselves so close too, and so afraid to cross.
GOODBYE BERLIN (MUSIC VIDEO)
Nominated for Best Music Video at the Berlin Music Video Awards in 2015.


Hi! Today I am starting a new series of posts on the blog where I review or discuss other things I love. Some weeks it will be movies, other weeks it will be TV shows, sometimes it will be games, and in weeks like this, I will talk about web series. I am very new to the Critical Role fandom, but I am loving the journey on the Livestream every week. Note: The Legend of Vox Machina is a TV show on Amazon Prime, and I’m saving that for another week. This will be just about the Critical Role Livestream.
About Critical Role
From the website-https://critrole.com/.
What began in 2012 as a bunch of friends playing RPGs in each other’s living rooms has developed into a multi-platform entertainment sensation, attracting over half a million viewers every week. Now in its third campaign storyline, the show features seven popular voiceover actors diving into epic adventures, led by veteran game master Matthew Mercer.
I would describe this show as seven friends playing DND. You don’t need to know about DND to enjoy the show, you can simply enjoy the stories, characters, and have fun even without knowing much about DND. Matthew Mercer and the rest of the cast are fantastic and they all come together to tell a fantastic story.
Why I love the show
I love this show because it’s unconventional. I love seeing the story every week, and I love watching the antics the party gets into. Critical Role uses maps and minis to show where the characters are on the battle map. Critical Role is a mix of the story with the characters, and some battles with the enemies. They keep the stories interesting and heartwarming, and the battles are fun to watch because you get to see the characters get to use their spells and attacks.
The Legend of Vox Machina (Campaign 1)
This is the only area where I will talk about Vox Machina. I will use both the TV show and the streamed Campaign, which I’m at the beginning of watching.
Keyleth- Keyleth is the Half-Elf Druid, and I just love her so much. She’s so sweet and so kind to the group. Both the TV show and the Livestreamed campaign discuss the dynamics of the group, and Keyleth is the role of a healer. Keyleth is one of my characters because you learn more about her as the campaign goes on.
The gnome cleric Pike is another healer, like Keyleth. Pike has an interesting story, and I am interested in knowing more as I watch the campaign and more seasons of the TV show. Also, like Keyleth, Pike is so kind to the members of Vox Machina.
Vex is a twin and the Half-Elf Ranger of the party. She is honest, and she takes fights head-on with her bows and arrows. Vex is another character with an interesting backstory, and I can’t wait to see how her story plays out. Her relationship with Percy, another member of Vox Machina, is also very fun and interesting.
Bells Hells (Campaign 3)
Imogen was a character I enjoyed watching from the start of this current campaign. She is a human sorcerer and has purple hair, which is absolutely fantastic. In combat, she uses spells, as opposed to attacks, for damage, and I love seeing some new in DND. Story-wise, Imogen has some interesting plot elements to keep me entertained. I can’t wait to see where her story goes.
Laudna was an interesting character for me because it took me a few episodes to warm up to her character. She’s a multi-class warlock and sorcerer, which is interesting because she gets to do things that Imogen can’t. The last episode delve into her backstory, and I just loved it. I can’t wait to see where her story goes in the rest of the campaign.
Fearne is a character who appeared in a mini-campaign between C2 and C3. She is a Fawn from the Fey Wild, and she is absolute chaos. I love that she brings light-hearted vibes to the party. She is also very sweet and kind to the party.
Links Website. Twitch channel with the community chat to chat with other critters and emotes for subs to use during streams. YouTube for watching the episodes at your own pace and catching up. Twitter for interacting with the community and updates. Twitter for the Critical Role Foundation.


I was born on March 16, 1971, in a small town Kundra, located in Shahjahanpur district. After my theatre stint in Shahjahanpur theatre group, I enrolled for a two-year theatre course in the well-known Bhartendu Natya Academy in 1992-1994 and then in National School of Drama in 1994-1997. Giving up a cozy theatre job after my graduation, I moved to Mumbai to achieve my dream of becoming an "actor" in the Indian Film Industry.
An Entertainer, a dramatist etc. are certain descriptions, used for me by my fans. I have been given ample opportunities in varied roles to make the audience angry, make them laugh, and even cry in over 150 films through my various performances. I have always been motivated towards character-driven acting and known for my quirky portrayals and my devotion to acting. I'm indebted to all my fans all over the world for always showing their love and affection for me.
Mungeri Ke Bhai Naurangilal, a television serial for Doordarshan was my first foray into the colourful world of acting where I played the protagonist. The erstwhile director Ram Gopal Verma seeing my performance in the movie "Shool" decided to cast me in the challenging role of "Sippa" in the movie Jungle. It was this role that garnered me much appreciation and fans among cinemagoers and also made me win the "Best Actor in a Negative Role" award at the Screen Videocon Awards as well as the Sansui Awards in the year 2000.
I always believe and say that I want to be a KALAKAAR, not just an ADAKAAR and that's what I always strive to portray through each and every performance of mine!


Fyooz to revolutionize the film industry
Film is perhaps the most capital-intensive art form, which is why independent film in particular is suffering from current market dynamics. By Fyooz-ing film production, Fyooz will make history by giving the film industry and culture new vitality and impetus.
Hollywood is already listening and in a recent chat with Hollywood movie director Marc Forster, he said.
“Fyooz will be revolutionary for the film industry. Imagine a movie world, with new ways of fundraising. Someone who believes in a filmmaker has the opportunity to easily offer support and then benefit from their success. Movie directors and producers gain tremendous and powerful independence. Fyooz gives them the freedom to create and produce the stories they feel are important to this world.”
Economic Importance of Fyooz to the film industry
From an economic perspective, the greatest opportunity for the film industry is to diversify and invent new revenue streams, rather than focus exclusively on producing one product: the film itself. The tokenization capabilities of blockchain make it easy and inexpensive to derive value from many different aspects of film production. Via tokenization, not only does the film itself have value, but also actors, various goods, symbols and ideals in and around the film can have value, opening up new fundraising avenues.
At the same time, filmmakers can free themselves from the existing film production value chain, primarily dominated by a few large players who own the access to investment capital, talent and distribution, which in turn restricts artistic freedom, diversity and quality. By extending the revenue options and the potential investor pool to a global audience, independent filmmakers can begin to extricate themselves from the limitations imposed by the existing value chain.
Tokenization enables the creation of a direct channel between the issuers of a token and the audience who buys the token. This means that in addition to the speculative element of investing in a film, the purchaser of tokens can gain access and privileges. Film producers can offer access to benefits such as exclusive content, participation in events, meet and greets, or voting rights for decisions in the context of the production of the film. In addition, the audience can invest in more emotional aspects of a film, such as actors, fictional characters, filming locations or other assets, such as props, cars, paraphernalia. The broadening of options creates a new opportunity, based on emotion, closeness and connection.
The Challenge and the Solution
The possibility of assigning financial value to abstract concepts such as ideas, characters or brands can be an enormous opportunity for the film industry. Below we list many examples of how tokenization can solve some of the independent film industries’ toughest challenges.
New Sources of Revenue
The price-performance ratio between a visit to the cinema and other leisure opportunities is no longer acceptable for a wide audience. The shift of film consumption to the home reinforces this trend. More so than ever due to the current global pandemic, film consumption is home based. Film revenue is still mainly generated through the box office. To counteract the dwindling proceeds, films can no longer be viewed as a single product. By tokenizing film-related goods that also have financial value, film production sells more than just its end product. Films then become a platform for launching many different products and companies. The best part? Symbolic assets have no production costs and are independent of logistics and middlemen, so the additional revenue stream comes with almost no additional cost or effort.
Investors and Liquidity
Historically, film investments have always been a long-term investment with little predictability of the ROI. Apart from isolated crowdfunding projects, there has been no innovation that improves access to investment, and certainly no attempts to increase liquidity — neither through exit strategies nor secondary capital markets. Without an exit option, the potential investor pool is significantly limited. Illiquid investments are therefore less a matter for “investors” and more for “patrons”. With the introduction of the Fyooz marketplace, where even a film idea or concept can be a tradable commodity, millions of new potential investors are accessible. Thus, early on in the production cycle, filmmakers can assess the viability of a film project. If a token sale for the film’s concept is successful, the film producers receive pre-financing for the project and can offer a larger ROI for early investors if the film is successful. Since the film project can be traded on the Fyooz marketplace, like a share, there is always the possibility to enter or exit the project with financial means.
Owning the Audience
Filmmakers have no direct access to their audiences, a considerable risk in today’s world where streaming providers own the viewers. With Fyooz, filmmakers can now build their own audience well before the film is launched. Martin Kistler, Founder of Ignition Creative, when speaking about Fyooz said:
“This type of community generates huge value for the production, allowing micro-investors, fans, actors and friends of the production staff all unite behind the film’s success. The world is full of amazing filmmakers without direct access to their audiences. With Fyooz, filmmakers now have the opportunity to make their own audiences”
Most will even advertise, some passionately, their association with the film through their own channels, expanding the audience even further. Owning the channel by the audience shifts the balance of power considerably.
Marketing Tool within the Narrative
Filmmakers, distributors and marketers have accepted a dividing line between art and commerce, between content and marketing. Today, filmmakers are largely excluded from using marketing tools in their narrative. Bringing narrative techniques into marketing brings significant advantages for commercial success. Just as television has long since used the potential of value-added services for broadcasting, the inclusion of tokens for sale, and the associated added values in the narrative, opens up a completely new potential. Product placement serves as an example: A real product like a movie car can be embedded as a token in the narration, around which value-added services can be built. For example, the token owners have the right to participate in the draw for the real movie car.
The film business is still the domain of the privileged. Film is an expensive art form and is subject to fierce competition. In the film industry, practically everyone has to do an internship — and since the offer to work for free is unaffordable for many, participation in the industry is already closed off to a privileged few. Life in the film metropolises is also expensive. Because of this homogeneity, the film industry produces more and more of the same, applying to both people and the products of the film industry. The new financing options offered by Fyooz open the doors to new market participants: Filmmakers, investors and all sorts of talent, benefiting the entire industry.
Securing celebrities for a film entails significant upfront investment, putting significant strain on the budget. As long as the celebrities have not yet issued their own tokens, there is a great opportunity for film producers — by securing shares in the star tokens — that can be released as part of the film production.
Since the token means access to stars, products and content, it becomes a fetish/fandom object through which one can demonstrate their love of film and share it with friends.
Shared Event Experiences
So far, the film industry has given little thought to how to extend the value chain to events related to films. Pre-financing through token sales can highlight popular events that are networked with other arts or platforms. For example, possession of a film token can authorize entry to a live concert by the band that writes the movie theme. The world of experience and the character of the event can thus be expanded far beyond the actual film experience.
Extension of the Story
Not only can the world of experience be expanded, the story surrounding the film can also be elongated. New utilities related to the film can be continuously introduced and communicated. This permanently provides feed for the media and thus increases the attention span for film production.
Connectivity and Community
People are looking for connectivity and community more than anything else. Token owners are connected. And they are committed. They are much more than passive followers. They are believers. The film production brings with it a sense of community. Imagine the premiere of a film packed with highly committed token owners.
Extension of the Value Chain
Everything is linked. The value of an actor’s token largely depends on the production of the film and vice versa. A city that promotes film funding can use the income from a city token sale to attract film productions. Tourism in turn benefits from more films being produced in a given area. In a few years, hotels from a city that serves as a film set may accept a Film or Star Token, as well as fiat currency. Thinking outside the box, it becomes clear that it is in the hands of a film production company to extend its value chain into other areas such as tourism.
The film industry example shows how blockchain and cryptocurrencies have the potential to revolutionize entire industries. Fyooz brings money and liquidity. Fyooz symbolizes belief in ideas, brands and art. Fyooz turns a product into many. Fyooz extends the story. Fyooz connects and breaks boundaries at the same time. Fyooz turns film production into a global ecosystem and extends the value chain far beyond what is the norm today
Author: Remo Prinz, Co-Founder Fyooz


23 LAKE SHORE ROAD, BUDD LAKE NJ 07828 | 973-691-2100
ALL AUDITIONS ARE HELD AT
Pax Amicus Castle Theatre, 23 Lake Shore Road, Budd Lake, NJ (973-691-2100)
VACCINATIONS PREFERRED BUT NOT REQUIRED
Reservations/Appointments not accepted (except when stated) - simply show on the day most convenient for you.
(If multiple audition dates are listed, you only need to attend one.)
No experience necessary - beginners always welcome.
Auditions: Tues, October 3 @ 7PM and Sat, October 7 @ 11AM
Performances: December 1 - 17 (Fridays & Saturdays @ 7PM; Sundays @ 2PM)
This is no fee to audition and there is no participation fee if cast, outside of a possible costume piece (i.e. tights, etc.)
Please be prepared to sing "A Dream is a Wish Your Heart Makes" (from "Cinderella") and to read from the script (sides will be provided at the audition).
An all-new musical based on the classic JM Barrie story. Adapted by Stan Barber; Music by Richard Boyer; Directed by Stan Barber
An Open Cast Call is held 6-8 weeks prior to the first performance of each production, and is open to all community and professional performers over the age of 16. Rehearsals are usually held on weekday evenings and some weekend days.
Audition notices for the Shakespeare plays, POE, and Magical Caravan Players (Professional Adults performing for children) are usually posted here and in BACKSTAGE magazine. Artists auditioning for these productions need to be available for day-time rehearsals and performances.People interested in working on tech (lights, sound), stage managing, costumes, sets, publicity, etc. may call the theatre at any time, or come to any open cast call.
Pax Amicus is a non-profit 501(3)(c) organization.


Bill and I went to the Toronto Storytelling Festival today to see our puppeteer friends, Mariella Bertelli and Mary Anne Cree perform as Toy Theatre.
We got to the Gladstone Hotel as a member of In The Kitchen was telling the story of The Gingerbread Man. Our storyteller lamented the Gingerbread Man climbing up on the fox's back, but reminded us, "He's only a cookie. What does he know?"
Next up were Mariella and Mary Anne, aka Toy Theatre, to perform Cinderella, or, The Tiny Shoe.
When we meet Cinderella, she is the household slave of her ugly stepmother and two ugly stepsisters.
One ugly stepsister says, "Cinderella, make me a gown for the Ball and make it now!"
Cinderella says, "It would be my pleasure dear step-sister."
Her mother and her stepsisters say, "Cinderella, we're off to the Ball in the beautiful gowns you made us. Too bad you can't go because you have nothing to wear."
Cinderella says, "I wish I had something to wear to the Ball."
Cinderella's fairy godmother appears and says, "Cinderella, you will go to the Ball in a beautiful dress and in a magic coach."
Cinderella goes to the Ball in her magic coach.
Her mother and sisters have arrived at the Ball and, oh my dear, are they making an impression!
The Prince sees Cinderella at the Ball and wants to marry her.
At midnight, Cinderella, runs from the Ball, before her magic evaporates. The Prince runs after her but finds only one shoe. He travels across the kingdom looking for a girl whose foot will fit the shoe.
"Could the shoe fit you? Sorry, Sir. Of course not."
The Prince finds Cinderella.
The End. Thank you, Toy Theatre.


No I am not paying tribute to R.E.M. and Michael Stipe, but instead trying to capture the prevalent sentiment of the main decision makers in the fall of 2008 as portrayed in the HBO movie Too Big To Fail.
I found the movie and the supporting materials frustrating for a variety of reasons, but I do not doubt that the portrayal of the beliefs of those in positions of power is fairly accurate.
As I watched the movie I was impressed on how the interweaving of real news clips from 2008 with the actor portrayals was done so seamlessly. I find it amazing how Barney Frank escapes in this (and so many other discussions) unscathed when he is so culpable for what he did to compel banks to lend and his stance on Fannie and Freddie. And rather than heroic, I consider the behavior of Paulson and Geithner to be perhaps the best example of what Ayn Rand called "The Aristocracy of Pull". They are political actors, not market participants. (This is especially evident in the scene where they bring all the banks in, and explain the US government 'take over' --- when pushed why a solvent bank should sign, Paulson pointed to the head of FDIC and simply said that if you refuse to sign bank auditors will visit your bank and show that your bank is not as strong as you believe --- this is said in the movie almost in a whisper and passed over quickly, but it is the full force of the state being brought to pressure others into doing what they otherwise wouldn't do).
Bernanke's portrayal in the movie fits with my own interpretation of his behavior --- he sincerely believes the credit transmission mechanism was about to shut down completely. In the documentary about the making of the movie Ken Rogoff endorses this Bernanke story, and with the sentiment that we were faced with the end of the world as we know it. Leave no doubt about it, Rogoff says.
But I had, and continue to have, very big doubts about this narrative. If the movie gets people thinking about this and the tremendous power of the state that was entrusted in the hands of a few due to the expediency born of panic, then it will have done its job. But, if the movie leaves the impression that extraordinary men had to engage in extraordinary acts in order to save us from an extraordinary crisis, then it will simply reinforce the mythology of the ruling elite.


Hollywood Africans is a large-scale painting produced while African American artist Jean Michel Basquiat was in Los Angeles in 1983. Completed in the artist’s unique style, it features three crude portraits of the rapper Rammellzee, the painter Toxic and himself. Alongside the portraits are a host of words and symbols. Basquiat’s great talent was combining and colliding meanings, associations and symbols. In semiotic theory, art historians will talk about the representation of an object or concept on canvas and how that meaning changes depending on the other objects and the wider context. Like poetry or prose, Basquiat layers words and symbols to build up a thunderous and powerful singular message.
Some meanings are more opaque than others. Understanding what is meant by “self-portrait as a heel #3” is central to a clear understanding of the painting. The term “heel” is a wrestling term for the “bad guy” or the actor best suited to play the villain, its opposite being “face” as in “babyface” for the good guy. With Hollywood Africans, Basquiat is presenting his take on the Hollywood film poster complete with title, images of the actors and a seven-star rating. His self-portrait is marked as “heel” because that is the only type of role he believes Hollywood agents cast men of colour. Now, considering the network of signs in the image we can find further ideas that reinforce Basquiat’s suggestion that Hollywood misrepresents black people.
With “WHAT IS BWANA?” in the top left portion of the composition we can see Basquiat has deployed “sous rature” (or crossing out) to intentionally draw the viewer’s attention. The word “BWANA” means “Master”, “Sir” or “Massa” and has long been associated with slavery. Basquiat’s inclusion of this term is another signal the image is about race. Furthermore, its inclusion alongside references to Hollywood suggests that this painting is a critique of African representation in popular film. It could be a specific nod to Call Me Bwana starring Bob Hope. A farcical comedy, where the film’s black actors are limited to stereotypical “African” roles such as bellboys, servants and savages. Alternatively, it could be a reference to an earlier film, Bwana Devil which also presents Africans as primitive, simplistic, dangerous and in need of rescue from civilised white men. Both films demonstrate the Hollywood film industry’s disinterest or inability to create a fair, nuanced and realistic portrayal of black people. Basquiat’s inclusion of “WHAT IS BWANA?” can be combined with “GANGSTERISM”, “SUGAR CANE” and “TOBACCO” to emphasise the limited roles on offer to black people in Hollywood with “SUGAR CANE” and “TOBACCO” making clear that Basquiat attributes this to the history of plantation slavery.
Unpacking our final series of signs requires a short segue into Hollywood history. In 1940, Hattie McDaniel, who played a maid in Gone with the Wind, was the first woman of colour to win the Academy Award for Best Supporting Actress. She approached the stage from segregated seating and graciously thanked the Academy, stating that she hoped she could be a credit to her race. However, as a visual representation of blackness, she continued to be cast in subservient roles and when criticised for this she replied, “I’d would rather be paid $700 a week playing a maid than earning $7 a day being a maid”. McDaniels was an example of a black actress being rewarded for playing the stereotype subservient negro at a time when black actors in roles contrary to this stereotype would be ignored and effectively punished by the Academy. Basquiat is able to signify the story of McDaniel through three signs: the word Hollywood, the outline of the Oscar statuette and the inclusion of the year, 1940. He has reduced her life and complexity to three small inscriptions on a canvas, but by selecting these particular signifiers we are able to discern his subject and what he has to say about the nature of race in Hollywood.
What do the allusions to the life of McDaniels and “WHAT IS BWANA?” tell us about Basquiat’s sense of self? His critique of Hollywood portrayals of black people is obvious, but his inclusion of Rammellzee, Toxic and himself seems to suggest the Hollywood distortion of identity has bled out, off the screen, into the rest of American culture. Rammellzee is a rapper whereas Toxic and Basquiat are both artists, yet all of them by Hollywood terms would be reduced to the “heel”. Their black skin makes them the villain, or at best a subservient racial stereotype like McDaniels. Basquiat is demonstrating that the construction of black identity has been in the hands of white people. Basquiat is using his own art to protest the mass media’s misrepresentation of African-Americans.
February 5, 2024


Family Movie Night
July 28 6:00 pm | YMCA Camp Zehnder
Jump in the pool, play some games and hangout with us on the lawn at Camp Zehnder! Bring a blanket, lawn chairs and dinner for you and your family. We will take care of the water, popcorn and candy as we watch Wreck – it Ralph 2!
This night is for everyone so invite any and everybody!
We will also be giving away a big screen tv and movie theater tickets, so don’t miss it!


May 25, 2012
Need some Saturday night plans next weekend? How about a trip to the movies with fellow parishioners?
Join Father Roberts as he accompanies a group of parishioners to see, For Greater Glory, a film that treats the Catholic rebellion against brutal government repression of the Church in Mexico at the beginning of the last century.
After seeing this movie, Carl Anderson, the Supreme Knight of the Knights of Columbus, observed that "Americans of all faiths should watch this film."
The group will depart promptly from the church for Castleton at 7 p.m. on Saturday, June 2 for a 7:40 p.m. showing.
Please be advised: This film has been rated R, so any minors coming will have to be accompanied by their parents.
Learn more about the film at ForGreaterGlory.com


The Glamour of 1960s Hollywood in El Rastro, Madrid
Known as Grace Kelly
Grace Patricia Kelly was an American film actress who won an Oscar and later became the Princess Consort of Monaco as the wife of Prince Rainier III. Grace Kelly’s acting talent was rewarded with an Oscar for her performance in ‘The Country Girl’ (a film in which she fell madly in love with William Holden, whom she almost married) and a previous nomination for Best Supporting Actress for ‘Mogambo.’
Her title as a princess marked the end of her acting career
Although many people believe that Grace Kelly met Prince Rainier while filming “To Catch a Thief,” this is not true. Grace first got close to Rainier at the Cannes Film Festival when she attended the French event to promote ‘The Country Girl.’ The wedding, held on April 19, 1956, marked the end of Grace Kelly’s career as an actress and her transformation into a Monegasque princess.
Nuevas Galerías have always been a center of attention for glamour and artistic avant-garde.
Artists, the curious, tourists, and treasure hunters have always frequented the New Galleries, where more than 30 merchants of unique items await you in a talented and glamorous environment. Nuevas Galerías, along with the Piquer Galleries just opposite, are one of the most interesting and curious corners of El Rastro in Madrid, and a great example of the so-called ‘new Rastro,’ known for its high-end antique shops, collectibles, and design objects.
Following the forced hiatus due to the COVID-19 pandemic, new establishments with special services, such as interior design consulting, are reinforcing one of the most important antique markets in Europe.


Jacksonville Public Library's annual film series explores 'Justice and Injustice'
Jacksonville Public Library is hosting the third annual Humanities Film Series, in conjunction with MacMurray College, and will screen the film “Examined Life” at 6:30 p.m. Thursday, March 24, at the library, 201 W. College Ave.
This year's theme is "Perspectives on Justice and Injustice." Each film will be followed up by a discussion led by instructors from MacMurray and Illinois Colleges. The community is welcome to participate.
“Examined Life” explores philosophy’s practical applications in the modern world. Nick Sciullo, Illinois College assistant professor of communication and rhetorical studies, will host a discussion after the film.


Tom Hanks Signed Display. This is a must-have piece of memorabilia for true fans of Tom Hanks. Showcasing a bold signature from the iconic actor himself, it's a timeless work of art that will bring a touch of Hollywood glamour to any room!
We believe in bringing events to life and have worked with charities and clients across the UK and overseas. Our friendly, professional and highly reliable team have a combined 60+ years’ experience working across a range of events including fundraising, golfing days, corporate, and an audience with.


On today’s episode of Project Melway, Phil and Andy take on the final movie in the Lethal Weapon saga…Lethal Weapon 4. This movie is absolutely terrible. Phil certainly hates this movie…but, frankly, Andy can’t really handle it. So in this podcast, you get to see him go absolutely bonkers. It’s fascinating. Enjoy!
What did you think of Lethal Weapon 4? Let us know in the comments! Got questions for the Mailbag? Email us at email@example.com!


Wondering how Game of Thrones will end? So were we! For a Boston University TV course, students wrote six full scripts for season 8, cast awesome New York and Boston actors, then live-streamed a staged reading worldwide in April 2018. HBO sent us the Iron Throne! Fans cheered, cried, and called us brutal for making heartbreaking, character-driven decisions about who lives and who dies. Our season 8 episodes have drawn more than 3.6 million views! Now you can binge-watch our vision for the final season, read the annotated scripts, and go behind the scenes with our inclusive writers, director, cast, and showrunner. Welcome to Game of Thrones: The Virtual Final Season. For updates, sign up at bit.ly/GoT_VFS.(more…)
Matt Bretschneider launches our season with a visceral, visual cold open. He gets us right into the heart of the issue for Daenerys Targaryen as well as the realm. Matt was our maester. He has a deep knowledge of The World of Ice & Fire. He also thinks through problems in myriad ways. He was an invaluable resource for our entire season.
Aleeza Klarman takes us into the anticipated reunions as well as the big Jon-learns-his-true-parentage moment. Her description and character work are sublime. Her dialogue and subtext touch on universal truths, which makes her writing resonate with readers and viewers. There are so many wonderful opportunities for characters to come together in this season. With only six episodes, we wanted to get into these important character moments as quickly as possible.
While much of episode 801 takes place in the North, one significant storyline takes place in King’s Landing. Cersei Lannister deals with uprisings. In our season, Molly Greville gives a subtle performance as Cersei. It’s easy to write or play Cersei as arch, but in episode 801, she is more threatening the cooler she gets. In our production, Molly does a terrific job conveying Cersei’s intelligence and menace.
Throughout the series, our cast members delivered a bittersweet range of emotions and humor so nicely – and they did so with no rehearsals. This was purely a staged reading.
One of the anchor roles is our narrator. Our narrator has lines on nearly every page, and there are hundreds of script pages! We were fortunate to land Brian Savage, who is an accomplished actor and a delight to work with. He has a great voice and delivery. We needed someone who could carry us through tense battle sequences as well as subdued romantic scenes. Brian has the gravitas to help create tension and suspense, and the gentleness necessary to establish intimacy.
Brian is new to the GoT universe, though, and he found some of the pronunciations challenging – particularly on live television. We’re thankful he was game to learn a new language on stage!
Speaking of daunting tasks: director Marissa Dianas tackled two days of live television in three-hour blocks with no do-overs. She coordinated four cameras and called the shots with 14 actors. Marissa didn’t just deliver – she crushed it. And we knew she would.
Marissa was the director for all of the Boston University men’s and women’s basketball broadcasts. She was the camera operator and production assistant for broadcasts of BU men’s and women’s soccer, ice hockey, and softball games. So, Marissa mapped our Game of Thrones staged reading like an action-packed sporting event. She captured important moments among our actors. She put viewers in the middle of the action. She and her stellar BUTV10 production team helped bring our season to life.
Episodes 1-3 were performed on Saturday, April 28, 2018. The performances were live-streamed on BUTV10. All episodes are available in HD up to 1080p, starting with episode 801 – “The Last Hearth.” And be sure to check out Chris Christian’s enhanced edits of our Game of Thrones: The Virtual Final Season episodes for his great SmokeScreen channel. He added vivid images to help orient viewers during the narration. His enhanced episodes are all available here in HD, too.
Episode 802 focuses on King’s Landing. Ruth Johnson enjoys writing about Game of Thrones’ politics. She takes us into Cersei Lannister’s mindset after her brother, Jaime Lannister, has left her to rule the realm alone. Ruth’s sense of humor and her bent for drama comes out in her pages. In fact, you’ll also see Ruth onstage acting in every episode.
Ruth did a fantastic job playing multiple roles, including a young Catelyn Stark and Sandor “The Hound” Clegane. She crushes it as Lord Mazin. (Watch it, Craig Mazin! Ruth is coming to take over your House.)
Later in this episode, Emily Raymond delivers an actor’s Emmy reel sequence for Theon Greyjoy. Emily writes about Theon sneaking aboard the Silence in search of Yara Greyjoy. There he meets the specters of his past. This sequence was inspired by The Winds of Winter pre-release chapter, “The Forsaken.” The Theon/Silence sequence cements this character’s redemptive arc for our season. As Theon Greyjoy, Roman Gutierrez gives us the many sides of Theon, including Reek.
Throughout our season, Ben Bocko plays Euron Greyjoy with elan. Ben makes Euron a delight, even while Euron torments his niece, Yara Greyjoy, who is portrayed by Tamar Gelber. Tamar gives us the spunk that defines Yara, along with the fear she would no doubt feel while being held hostage by the madman Euron.
We were fortunate to have Ben play Tormund Giantsbane and Jaime Lannister, too. Ben has a great range. Euron, Tormond, and Jaime are very different from each other. Though all three have swagger and have been great warriors, they are in different places in their lives. In his performances, Ben found their confidence as well as their vulnerabilities.
All episodes are available in HD up to 1080p. Episode 802 is “All Men Must Know Fear.” Be sure to check out Chris Christian’s enhanced edits of our Game of Thrones: The Virtual Final Season episodes for his great SmokeScreen channel. He added vivid images to help orient viewers during the narration. His enhanced episodes are all available here in HD, too.
Episode 803 focuses on the Battle for Winterfell. Kaely Malik starts our episode eight thousand years in the past. She takes us back to Bran the Builder as he constructs Winterfell – which also gives us a preview of the recently announced HBO Game of Thrones prequel series. She did considerable research on this era using The World of Ice and Fire and other references. It’s important to note that Kaely wrote this episode well before HBO’s prequel announcement.
Kaely taps into details that make an event or a scene seem like it really happened. This grounds her writing, which is important for a fantasy show. She also delivers valuable character moments that grab the viewer. For example, the pre-battle moment for Greyworm and Missandei is so effective. Fans have cited it as one of the great scenes in this standout episode. Marcus McDermott as Greyworm and Lauren Sabbag as Missandei deliver emotional, moving performances that resonate with viewers. It feels real and true because of Kaely’s writing.
Madi Goldman handles ensemble casts with aplomb. She is especially good at rapid-fire launching of character-driven storylines. Madi connects character and action seamlessly, which she demonstrates especially well with her Tyrion/Arya/Jaime/Daenerys/Viserion sequence.
Josh Koopman is transcendent as Tyrion Lannister. Josh wanted to honor this character. He finds the humble longing within Tyrion, along with his intelligence and insight. He also taps into Tyrion’s tenderness. Josh plays many shades of Tyrion’s personality. We were incredibly fortunate to find him.
On and off the page, Madi Goldman has a wicked sense of humor. She injects dire circumstances with a hint of levity. Classic Madi: “The Night King is... not amused.”
Kaely and Madi did an outstanding job. We had two audiences for our Game of Thrones weekend – our studio audience and our live-feed viewing audience. While we asked our studio audience to be reserved while we streamed and recorded the production, our live-feed viewing audience members were shouting, gasping, and straight-up crying during this episode.
“Kings of Winter” is one of our most brutal, poignant episodes.
We're halfway through, but it’s far from over! Go to the “Day two” tab above for episodes 804, 805, and 806.
Kasey Collins delivers a gut-wrenching emotional rollercoaster in “The Pack Survives.” The Stark-Targaryen forces have been defeated at Winterfell and have fled to White Harbor. Our heroes regroup as they mourn their dead and lick their wounds. For those familiar with story structure, this was the end of the second act, our emotional squeeze, for the season.
Kasey is great with dialogue. She dug into the characters and took them to raw places they hadn’t been before. Jaime Lannister has a particularly notable arc in this episode. Kudos to Ben Bocko for taking Jaime on this journey.
There is a heart-rending scene with Gilly and Baby Sam. The incomparable Finley Smith portrayed Gilly. (She also portrayed Lyanna Mormont and Little Girl in episode 801.) Finley is so affecting as Gilly. She conveys all of our sorrow in one scene. Kasey’s deft writing and Finley’s spot-on acting demonstrate how monumental one short scene can be. Bravo!
Kasey also wrote one creepy wedding. It’s Game of Thrones – we couldn’t have a wedding without some massive drama.
Josh Gluck as Brandon Stark gives a stellar performance throughout our season. He delivers the eeriness of the wedding with subtly. We were so lucky to find Josh, because Bran is such a difficult character to fathom. Josh understood where we thought Bran was going in season eight for the show. He gave us an outstanding and, at times, chilling performance.
Josh is often partnered with Sam Nolte, who portrays Sansa Stark. Sam plays Sansa’s dignity, courage, and intelligence with sensitivity. She also conveys the resilience Sansa has developed over the years. In our season, Sansa faces something she hasn’t been exposed to in the past – the supernatural. While Arya, Bran, and Jon have come face to face with the supernatural, Sansa’s horrors have been very human. Sam was able to convey the newness of these supernatural aspects while maintaining Sansa’s strength.
John Hughes does a wonderful job portraying Sander “the Hound” Clegane in this episode. His voice is perfect for the Hound. John projects the Hound’s not giving two f–ks attitude, yet he still has some tenderness for Arya. This is an important quality in this episode, because the Hound is the one who spurs Arya on after her injury.
Episodes 4-6 were performed on Sunday, April 29, 2018. The performances were live-streamed on BUTV10. All episodes are available in HD up to 1080p. Here are the final three episodes, starting with 804 – “The Pack Survives.” And be sure to check out Chris Christian’s enhanced edits of our Game of Thrones: The Virtual Final Season episodes for his great SmokeScreen channel. He added vivid images to help orient viewers during the narration. His enhanced episodes are all available here in HD, too.
Jacob Levy ignites The War for the Dawn. Jacob builds moments deftly. He also delivers layered character moments. He can work with the spectacle as well as on a subtextal level. His writing has a lot of gears.
In episode 805, Jacob creates a powerful, emotional sequence as Jaime Lannister and Sandor Clegane return to King’s Landing. Varys helps get them into the Red Keep.
In our season, Emma Krishnaswami plays two enigmatic characters – Varys and Qyburn. She is absolutely amazing. It’s as if both characters were meant to be gender flipped. There’s no disconnect for characters the audience already knows. She makes the transition seamless. We’re simply taken into our story, which is how it’s supposed to be. Emma makes the experience immersive.
Jacob also delivers one of the most difficult scenes of the season for our writers room. When the room came up with the hard, cold decision in the scene, it was gut-wrenching, but one the writers decided was ultimately necessary.
Jacob writes this heartbreaking scene well, and he gives Jess Stark the chance to deliver a particularly emotional performance as Daenerys Targaryen. It’s very difficult to convey riding a dragon while seated in a chair, but Jess nails it. Throughout our season, Jess portrays Daenerys with strength and vulnerability. Daenerys faces her greatest tests, triumphs, and failures in our season. Jess delivers a compelling, facile performance.
Episodes 805 and 806 were conceived as two continuous episodes. Brittany Spurlin worked with Jacob Levy to make a seamless, sensational handoff after the big 805 cliffhanger.
In “Lightbringer,” Brittany delivers an emotionally satisfying conclusion that weaves together Bran’s, Jon’s, and Daenerys’ storylines. She handles character-driven action well. She did extensive research, and she layers the script with ASOIAF lore. She wanted the final episode to have echoes from the show’s pilot episode and other first season episodes.
Arya Stark is crucial to Jon Snow’s storyline. Sophie Gore, who plays Arya Stark in our production, and Liam Bowes, who plays Jon Snow, embrace these characters and this relationship. Brittany had the honor – and the challenge – of bringing everything home. From their reunion in episode 801 to their crucial scene in 806, Sophie and Liam sell us on the Jon and Arya relationship and their fundamental love for each other. It’s a relationship we’ve been longing to see resumed since Jon gave Arya Needle in the show’s first season.
Sophie channels Arya Stark’s pluck and fearlessness. Liam nails Jon’s humble command presence as well as his self-sacrificing nature. They also encourage each other’s lighter natures, which makes the dramatic scenes all the more heartbreaking.
Strong female characters run throughout Game of Thrones, but Brienne of Tarth stands out. She has such a clear vision of herself at the beginning of the series, and she is one of the few characters who never wavers. Alexandra Cooney portrays this strong woman in our season. Alexandra plays Brienne with that true center. In many ways, Brienne is the ideal role model for other characters – Jaime, Arya, Sandor Clegane.
Thank you for taking this journey with us. Here’s the final installment in our virtual final season, episode 806 – “Lightbringer.”
Here are the scripts for all six Game of Thrones: The Virtual Final Season episodes. There are introductions for all six scripts in the Episodes section. The scripts are fully annotated. If you’re using a phone or tablet, you may want to download the script PDFs and open them using the free Adobe Acrobat Reader available from the App Store and Google Play.
In Game of Thrones: The Virtual Final Season (FT 552), students learned how to work in a writers room, collaborate with other writers, break a season of episodic drama television, understand decisions behind long-arc storytelling, build a story based on an existing series/property, and make deadlines for performance.
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Vice Versa is a sci-fi bodyswap comedy about privilege.
Ginny Park believes the world would be a better place if everyone could just empathize with each other—so she develops an empathy machine. But when it unexpectedly turns into a body-switching device, she gets a dose of privilege she wasn’t expecting and decides to take it for a ride.
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Show Creator, Executive Producer
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“Myrtle Gonzalez: The Enigmatic Gem of Silent Cinema”
In the glittering era of silent films, where stars were born amidst black and white frames, one name stands out with a charm that’s both mysterious and enchanting: Myrtle Gonzalez. As the cinematic world evolved, many words from this era faded into obscurity, but Gonzalez’s legacy, though lesser-known today, merits revisiting.
The Dawn of a Starlet:
Born in the early 1890s, Myrtle Gonzalez embarked on her cinematic journey when the industry was nascent. These were times when actors didn’t have the luxury of dialogues; they expressed through their eyes, gestures, and the very aura they brought on screen. And Myrtle excelled in this domain.
Her Silent Symphony:
Gonzalez’s filmography boasts over 70 films, a remarkable achievement for any era actor. But what set her apart was not the quantity but the quality of her performances. Each role, as the leading lady or a supporting character, was played with a depth that enthralled audiences.
Trailblazing for Hispanic Actresses:
In an industry still grappling with representation, Myrtle Gonzalez stood tall as one of the first prominent Hispanic actresses in Hollywood. Her success paved the way for many future Latina actresses, breaking barriers and challenging stereotypes.
Challenges and Tribulations:
But like every luminous tale, Gonzalez’s journey was not devoid of challenges. Working in an industry still finding its feet meant coping with unpredictable work schedules, rudimentary film techniques, and, often, the skepticism of naysayers. However, Myrtle faced each hurdle gracefully, making her triumphs even more commendable.
A Legacy Cut Short:
Tragically, Myrtle Gonzalez’s radiant journey was cut short. She passed away at a young age, leaving behind a legacy that, unfortunately, dimmed as time went by. But those who delve deep into silent film archives know the treasure they discover in her performances.
Rediscovering Myrtle Gonzalez:
The digital age, with its penchant for resurrecting the past, has given cinephiles a chance to rediscover gems like Gonzalez. As more silent films get restored and digitized, newer generations get a glimpse of this enigmatic starlet, reigniting interest in her life and works.
“Myrtle Gonzalez: Hollywood’s Silent Era Luminary Revisited”
Hollywood’s Golden Age has given us myriad stars whose names echo through history. While some enjoy perennial fame, others, despite their immense contributions, have been relegated to the shadows. One star who deserves to be celebrated with the same enthusiasm as her contemporaries is the inimitable Myrtle Gonzalez.
Early Beginnings in a New World of Cinema
Born in 1891, Myrtle Gonzalez was a beacon of talent in an era when the film industry was still embryonic. With no dialogues, soundtracks, or color to enhance the narrative, actors of the silent film era relied heavily on raw emotion, facial expressions, and body language. Gonzalez, with her expressive eyes and riveting on-screen presence, quickly became a force to be reckoned with.
A Flourishing Career
Myrtle Gonzalez’s cinematic journey was nothing short of phenomenal. Boasting over 70 films under her belt, she showcased a chameleonic ability to slip into any role – be it drama, comedy, or romance. Movies like “The Red, White, and Blue Blood” and “The Code of Honor” testify to her versatility, displaying her finesse in capturing the audience’s imagination without uttering a single word.
Pioneering Hispanic Representation
Gonzalez wasn’t just a star; she was a trailblazer. As one of the first Hispanic actresses to make a mark in Hollywood, she shattered barriers and debunked myths about ethnicity and talent. Her success story was an inspiration for countless Latina actresses who followed, making her not just a symbol of artistic excellence but also of cultural pride.
Beyond the Silver Screen
While Myrtle’s on-screen charisma was evident, her off-screen persona was equally compelling. She was known for her graciousness, philanthropy, and deep-rooted love for nature. An advocate for conservation, she often emphasized the importance of preserving natural beauty – a passion that transcended her roles.
The Fragility of Life and Legacy
The world lost Myrtle Gonzalez far too early. She succumbed to the Spanish flu in 1918, leaving a void in cinema. While her life was brief, her impact was indelible. Sadly, as years rolled on, her legacy dimmed, overshadowed by the luminance of new stars and the evolution of cinema.
Reviving the Memory of a Star
Today, in the digital age, there’s a renaissance of sorts as film enthusiasts and historians rediscover the jewels of the silent era. Myrtle Gonzalez, with her vast repertoire of work, is once again in the spotlight. Digitized versions of her films, available for new generations, ensure that her legacy is not just a footnote in Hollywood’s vast history but a chapter worth revisiting.
Myrtle Gonzalez’s tale is a poignant reminder of the transient nature of fame. But as we dive deep into her work, we recognize the timeless nature of talent. Her story, though tinged with melancholy, inspires us to remember, celebrate, and pass on the legacies of those who’ve paved the way. For in the silent frames of her films, Myrtle Gonzalez speaks volumes, reminding us of a golden era gone by and the stars that made it shine.


Diana the musical will be streamed on Netflix next year before it makes its official Broadway debut.
This is an unprecedented move for the entertainment industry which is dealing with coronavirus restrictions.
Broadway theatres remain closed during the pandemic and may not reopen this year, according to experts.
The musical, based on the life story of Princess Diana, is now not scheduled to open on Broadway until 25 May next year.
A filmed version of the musical, featuring the original Broadway cast, will be made without an audience in New York. Neftlix hasn’t given a date for when this will be streamed on its site.
«Though there is no substitute for the live theatre, we are honoured to be a part of the quality entertainment that Netflix provides its subscribers worldwide,» the producers of Diana said in a joint statement.
The production, which was originally set to open this March, had been running in previews at the time of theatre shutdowns in the US.
This is the first time a Broadway show has gone straight to the small screen before its theatrical debut.
Other Broadway shows have also been streamed but only after they were performed to live audiences.
The Disney+ service began streaming a filmed version of Hamilton, the runaway Broadway hit, earlier this summer.
Production companies have been reluctant to release filmed versions of shows while productions are still running in theatres, let alone before they have started their run.
The concern is that once audiences have seen the movie version at home, they might not want to watch the live version in a theatre.
But the industry is changing its views and adapting to theatre shutdowns by looking at online alternatives. Experts say the film version can put a show on an audience’s radar and gain global exposure.
The film industry faces the same dilemma with many studios opting to release movies straight to streaming services rather than cinemas.
Disney decided to do this for its summer blockbuster Mulan which will debut on its Disney+ TV platform bypassing US movie theatres.


Let me be the first to call bullshit on Pacific Rim.
Pacific Rim came out today and everybody loves it. It’s got mecha and kaiju and it’s a stomping good time. This is all true. The fight scenes are thrilling, the story (mostly) works, the cinematography is fantastic and Idris Elba gives a career-making performance.
It’s also kinda sexist.
It’s not that the men talk down to the women and pat them on the butt. It’s quieter than that, and in a way more insidious because of how unconscious and oblivious it seems about its own acceptance of a sexist standard that says men are more important and interesting than women. There are sixteen men and boys with speaking parts, many of whom have complicated, multi-layered relationships with each other. There are two women with speaking parts, who never have a scene together. One is a bit part, and the other–Mako, the co-pilot of the “hero” mecha Gypsy Danger–is barely more than a supporting character. Men drive the plot and women, when they are allowed on screen at all, are mostly along for the ride. Once the fight scenes start, Mako basically shuts up and lets Riley drive. I think she spoke once during a battle. Maybe. She certainly doesn’t have as much to do as her co-pilot Riley, getting conveniently knocked out of action in the final fight scene. (Oh I’m sorry, did I spoil that for you? Suck it up.)
It feels like a slap in the face. The press for this movie was all about MECHA! KAIJU! HUMANITY BANDING TOGETHER! and then they all but ignored half of our species. There is no reason, no reason at all, that more of those supporting roles couldn’t have been given to women. The film makes several almost-shot-for-shot homages to Neon Genesis Evangelion, but has only a fraction of that show’s understanding that humanity is more than IMPORTANT MEN (and the women who stand next to them). This movie was couched as a love letter to nerds and monster freaks everywhere. I grew up watching Godzilla, and the first time I saw Gundam I freaked out with joy. Here was a movie that was going to celebrate the things I grew up loving, that says yes, I remember those too and they were AWESOME. All summer long we’re getting pumped for this thing…
…and then it comes out and it becomes clear that they were really only thinking about the men who grew up loving this stuff. They’re only interested in creating something for little boys to fall in love with. The little girls who like Godzilla? Who like robots and fighting and saving the world? Well, they’ve got Mako and that Russian chick without a name, so it doesn’t matter that they’re sort of pushed off to the side, right?
No. No that’s not all right. It’s 20-fucking-13, and we still have movies that are almost entirely about men. In fact, it’s getting worse. This is not acceptable. We can’t tolerate this from our culture. Women exist and they matter and it’s absurd that our biggest forms of entertainment need to be reminded of that. The Chinese jager could have been piloted by sisters, or the ground control team could have had more (by which I mean any) women in it. The Australian father-son team could have been a father-daughter team (even I’m not optimistic enough to think Hollywood would ever show a soldier who was also a mother). The scientists could have been a bickering slap-slap-kiss-kiss couple. The friggin black marketeer could have been a woman! Any or all of these parts could have been gender swapped and it would have made the movie so much stronger if only to reinforce its stated theme of being about humanity fighting back. Instead it’s about men fighting back, with a few chicks thrown in for variety.
This could have been a movie for the ages, a true popcorn masterpiece that combined heart with intelligence with style and fun. It could have reminded us why movies can be great. Instead it reminds us–well, the half of us that notice we’re not on screen very often–that movies can kind of suck even when they’re being really amazingly well made.


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Lightning McQueen, a hotshot rookie race car driven to succeed, discovers that life is about the journey, not the finish line, when he finds himself (…) in the sleepy Route 66 town of Radiator Springs.
For the sake of honesty, I´ll say that I went to see Cars almost forced by a friend. Though I usually love animation films, the way the cars are portrayed looked somehow too bland, too gentle, so to say, and I feared that the whole would share that same spirit.
In fact, while perhaps mild, Cars is nevertheless a good movie. Its main achievement is that of making believable characters out of cars, a difficult task given the lack of points that can be animated for expresiveness (no hands, for instance). From a technical point of view the film is outstanding, from the shines to the perspectives, from the tiny details to the vast landscapes. The music and sound effects are also high quality; Randy Newman, Pixar´s composer of choice, has written a score (linked from the picture above) which does its job subtly, conveying the appropriate emotions when needed and never demanding too much attention from the public.
This said, Cars is a very nice movie, but for some it may lack “punch“. The story is not very original -I would dare to say that it is not original at all: a variation on the “hero´s journey” theme, it has points in common with a myriad other stories. One could say that our friend Luke McQueen landed in Dagobah! That the plot is so familiar is not bad per se: it´s not what you say, but how you say it. Unfortunately, there´s nothing special in the way the story unfolds or in how the situations are treated other than the gags derived from the characters being cars, which are in fact the best moments of the film.
That the end is so utterly happy, that the Dark character is not really dark but just shallow, even the cheesy song, all these things may perhaps be “too Disney-ish” (better: disney cliches), but I believe that there´s still enough Pixar (sense of humour, self parodies) to make Cars appealing and worthwhile.


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Osahon Tongo is a Nigerian-American filmmaker from Naperville, Illinois. Currently, Tongo is writing a feature film for Forest Whitaker and Nina Yang Bongiovi's Significant Productions. He has created branded content for Unicef, Morgan Stanley, Nike, Microsoft, USC, and Emory University among others. He is one of the inaugural Ryan Murphy Half Foundation Directing Fellows. As a writer/director he focuses on creating change by developing empathy through nuanced storytelling and poetic cinema. Tongo holds an MFA from USC School of Cinematic Arts film production program.
He is a former linebacker from Georgia Tech (’06-’10) where he earned BS in Management. While at Tech, Osahon lobbied for college athletics policy reform with the National College Players Association. Tongo has worked on art installations like Question Bridge that premiered in museums around the country including the African American Smithsonian and a series called Activism Through Art. He has worked in virtual reality on a project called Greenwood Avenue VR. He is an advocate for mental health awareness and he is a change agent in the world.


Movies! I love them. Last year I said "I watch too many movies," and set a goal of watching fewer than 52 movies, which I did. I set the same goal for this year, but I have a feeling I'm going to go over and I am okay with that.
Here are the movies from the previous post!
- Austenland (13)
- Guys & Dolls (55)
- Jurassic Park (93)
- Mad Max: Fury Road (15)
- Much Ado About Nothing (12)
Did you know that Marlon Brando starred in a musical with Frank Sinatra and that it was the best? Go out and watch Guys & Dolls, at your soonest opportunity, you will not be disappointed. PLUS, will you have heaps of new songs to sing? Yes. Worth your time. (All these movies are worth your time.)
I went to see Jurassic Park at a free drive-in theater with my boyfriend, and it was equal parts fun and exasperating. Fun parts: Jurassic Park itself! Eating din, playing crib, and watching a movie with my boyfriend! Not as fun parts: arriving in a huge traffic jam line at five for a movie at nine-thirty! That's basically it. I recommend Jurassic Park and drive-in theaters, but maybe not free ones that a zillion people are trying to get to while a zillion other people are trying to use those same roads to get home from work.
If you haven't seen Mad Max you are missing out big time on a minute-by-minute basis. BIG TIME. Who knew a movie that is basically entirely made up of a car chase could be more subtle in it's treatment of gender and class than a HEAP of the other movies I have seen??? AM I RIGHT. I am right. It's so good. Not only did I want to peel out of the parking lot after seeing the movie I ALSO had a ream of things to think/talk about and use as examples when discussing things like sexualization, representation, and agency in movies. YES. MAD MAX FOREVER.
Last but not least, Much Ado About Nothing. See it, it's great. I love Shakespeare, I love Joss Whedon, I love this movie.


Who is Charlie Sheen?
Born Carlos Estevez, Charlie Sheen is an American television and film actor who is best known for his roles in Platoon, Major League, Wall Street, Hot Shots and the hit TV show Two and a Half Men. Charlie Sheen grew up in the spotlight; he is the youngest son of actor Martin Sheen and starred in, Platoon, an Oscar-winning film at the age of 20. Aside from his acting talents, Sheen’s personal life has also garnered the spotlight; the actor has had numerous struggles with alcohol, marital problems and drug abuse. For his mercurial nature, legal troubles and addictive personality, Charlie Sheen was fired from his starring role on CBS’ Two and a Half Me.
Charlie Sheen Arrested:
The majority of Charlie Sheen’s arrests and legal troubles have stemmed from the star’s addiction to alcohol and cocaine. Throughout the late 1980’s and the majority of the 90’s Sheen was in and out of court rooms and hospitals, as a result of his habitual drug and alcohol abuse. On May 20th, 1988, while on probation for possession of illegal drugs, Sheen overdosed on cocaine and was immediately rushed to the hospital. Just a few months later, in August, Charlie Sheen had his probation formally extended for an extra year and as requested by the California state court system, Sheen was forced to enter a rehabilitation clinic.
In December of 2009, Charlie Sheen, then 44 years of age, was arrested after an emergency call was received from a ski resort in Aspen, Colorado. Police on the scene stated that the Two and a Half Men sitcom star was suspected of assault and criminal mischief. Sheen, who was then married to Brooke Mueller, was accused of hitting his wife over an argument that took place around 3:30 AM on Christmas morning of 2009. Mrs. Mueller told police that the feud started in the couple’s bedroom and grew intense after her maniacal husband grabbed by the throat and presumably threatened her with a knife.
Charlie Sheen’s legal troubles continued into 2009, when the actor, following a drug binge, ransacked his hotel room at the Plaza in New York City. Capri Anderson, an adult film star, who had been partying with Sheen in the room that night, filed a police report with the NYPD accusing Sheen of assault and batters, as well as false imprisonment. After an investigation and a review of witness testimonials the charges against Sheen were ultimately dropped; however, the star is no longer welcome in the Plaza hotel. Sheen’s laundry list of charges and legal troubles was the deciding factor in firing from the insanely CBS sitcom.


The most important Hollywood film prizes were awarded again last night. The Academy Awards (Oscars) 2020 had a number of surprising winners. The Golden Globes are awarded annually in January and they often give a good prediction of the Oscar winners. That is less true this year. The films 1917 and Once Upon A Time In Hollywood were the big winners at the Golden Globes. The South Korean film Parasite turned out to be the big, and surprising, winner last night.
Parasite was nominated for the following 4 Oscars and won all of them:
Best international film
Best director (Bong Joon-ho)
Best original scenario (Bong Joon-ho, Han Jin-won)


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Danforth’s first job in the professional film industry was as a sculptor and artist for clay-animation pioneer Art Clokey, who had previously produced the beloved children’s series Gumby during the 1950s.
Danforth was then hired by a company known as Project Unlimited and assisted a team of effects technicians on George Pal’s celebrated 1960 feature-length science-fiction film, The Time Machine (1960) Working with two other animators and a team of artists and technicians at Project Unlimited, Danforth did the model-animation effects for the fantasy film Jack the Giant Killer (1962) and to animate the dragon in The Wonderful World of the Brothers Grimm (1962).
In 1963, Danforth was hired by special visual effects pioneer Linwood G. Dunn to animate miniature versions of the comedians in Stanley Kramer’s all-star comedy, It’s a Mad, Mad, Mad, Mad World.
While still at Projects Unlimited, Danforth was again hired by George Pal to do model animation for 7 Seven Faces of Dr. Lao(1964). Danforth garnered his first Oscar nomination for his work animating the shape-shifting Loch Ness Monster near the end of the film. (The film lost to Disney’sMary Poppins.)
In the late 1960s, Danforth aided fledgling film maker Dennis Muren with the making of Equinox in 1970. Danforth appeared as several ‘extras’ in the film and lent a hand animating cells, painting mattes, and constructing sets and equipment, but did none of the film’s stop-motion animation (handled by Dave Allen and Dennis Muren).
England’s Hammer Films hired Danforth to animate the dinosaurs inWhen Dinosaurs Ruled the Earth (1970). Danforth refined the ability of his dinosaur models to realistically convey emotions. The film merited Danforth a second Oscar effects nomination, but lost to Bedknobs and Broomsticks (1970).
Next, Danforth was hired to create the visual effects for the spoof comedy starring ex-Beatle Ringo Starr, Caveman (1981). Danforth designed the dinosaurs and directed the live-action scenes in which the dinosaurs would appear, but the hands-on animation was done by David Allen, Randy Cook and Pete Kleinow. Danforth left the project “about two-thirds of the way.”
Then Danforth returned to England to assist on Ray Harryhausen’s last film, Clash of the Titans (1981). Danforth animated portions of the Kraken and two-headed wolf sequences and most of the Pegasus scenes.
During the late 1980s and early 1990, Danforth was involved with the John Carpenter films Body Bags, They Live,[Prince of Darkness, and Memoirs of an Invisible Man, supplying, depending on the productions’s needs, matte paintings, optical effects, stop motion animation, and second-unit direction.
Throughout the 1990s, Danforth has kept a somewhat lower profile, mainly providing matte paintings and supervising composite matte work on scores of films, a continuation of his matte work on films going back into the 1960s. Danforth continues to live and work in the general Los Angeles area and is currently doing fine-art and fantasy-genre paintings.
Stop motion and miniature Filmography:
1994 Dragonworld (animator)
1993 Robot Wars (additional stop-motion)
1993 Bogy Bags (TV Movie) (animator – uncredited)
1973 Jonathan Livingston Seagull (animator – matte supervisor)
1971 Diamonds are forever (model animator: submarine – uncredited)
1971 Willy Wonka & the Chocolate Factory (model animator: Wonkavator – uncredited)
1970 When dinosaurs ruled the earth (special visual effects- Animation supervisor)
1970 ITV Saturday Night Theatre (TV Series) (animation producer – 1 episode)
1968 The Gumby Show (TV Series) (animator – 2 episodes)
1968 Here’s Lucy (TV Series) (animator: “Lucy” puppet, main title)
1966 Around the World Under the Sea (miniature crew -scenic artist – uncredited)
1965 The War Lord (model maker – uncredited)
1965 That Funny Feeling (animator – uncredited) / (matte artist – uncredited)
1965 Strange Bedfellows (model maker – uncredited)
1964 Father Goose (miniature maker – uncredited)
1964 I’d Rather Be Rich (animator – uncredited)
1964 7 Faces of Dr. Lao (special visual effects) / (stop-motion animator – uncredited)
1963 It’s a Mad, Mad, Mad, Mad World (miniature maker – stop-motion animator)
1963–1965 The Outer Limits ((special photographic effects)
1962The Wonderful World of the Brothers Grimm” (stop-motion animator)
1962 Jack the Giant Killer (stop-motion animator – uncredited)
1962 Journey to the Seventh Planet (stop-motion animator: cyclops – uncredited)
1961 Flight of the Lost Balloon (stop-motion animator – uncredited)
1961 Atlantis, the Lost Continen (stop-motion animator – uncredited)
1961 Master of the World(miniature maker – uncredited)
1960 The Time Machine (assistant animator – uncredited)
1960 Davey and Goliath (TV Series) (animator – 5 episodes)
1960 Goliath and the dragon- La vendetta di Ercole (stop-motion animator)
1959 The Dinah Shore Chevy Show (TV Series) (animator – 2 episodes)
For matte painting works of Jim Danforth see: http://bigerboat.com/indexfx/?p=507


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Siam Organic was happy to host a film crew from Asian Development Bank (ADB) last week. The ADB film crew was on the last leg of a project to film all six finalists of last year’s ASEAN Inclusive Business Awards. Selected from countries throughout the ASEAN region, the finalists included inclusive businesses from the Philippines, Laos, Malaysia, Singapore, and Thailand.
For their project, ADB is producing a series of short films on all of the inclusive business finalists, telling the stories of their social impact through interviews with the people they are helping. During their visit with us, ADB interviewed the leader of one of our Jasberry farmer cooperatives as well as two of our Jasberry farmers. Our farmers were happy to tell their stories in their own words, and we look forward to sharing the finished video once ADB completes editing and production next month.


Classic, avant-garde, stunning solo performances – trips to Dublin are never complete without at least one evening’s theatrical performance and if the last few days are anything to go by, there is tremendous variety to choose from.
If it’s nostalgia you seek, look no farther than ‘the Grand Old Lady’ – The Gaiety on South King Street, close to St. Stephen’s Green. Opened in 1871, this sumptuously decorated theater with plush seating and ornate frescoes has been home to Ireland’s greatest playwrights and actors for generations.
Right now it is honoring one of the nation’s most prominent writers, John B. Keane, by hosting his satirical work ‘Moll,’ courtesy of Verdant Productions Ltd. focusing on the lives of three conniving priests and their even more conniving housekeeper.
Shocking revelations recently about the Catholic church’s skullduggery in Ireland and its abuse of public trust helps this play maintain its timeliness and social relevance and it is with bittersweet amusement we learn just how much of its ‘public service’ focuses around the collection of money and how much of that contributes to the preservation of priestly comforts and prestige. Though it is still open to question whether Keane intended any serious social commentary.
The play opens with three priests sitting at a table despondent at having to embark on a search for a new housekeeper. Ultimately, what they end up with in Moll, played wonderfully by Clare Barrett, is more than they bargain for. The wily woman manipulates their daily lives until she not only has them cleaning, dusting and clearing up cutlery but also makes a few pennies on the side via commissions on what is known within Catholic circles as “the Mass card business,’ selling prayer cards signed by priests for a considerable profit on special occasions such as illness and deaths. A witty scene even has the two curates waving wilted sausages and dried peas in the air complaining about the quality of their breakfasts.
Couched in humor, the play reveals the superficiality of the Catholic religion, emphasizing priestly fixation on fund-raising by mention of jumbles sales, raffles and silver circles, with one frustrated curate finally exclaiming, “Is the ultimate role of the Catholic church the propagation of bingo?” The Catholic church’s inherent misogyny is referenced in frequent remarks by the two curates and their Canon with one exclaiming, “Choirs are for women who have their children reared and nuns who are tempted to desert” and when a visiting bishop says he has to leave quickly “to crush a women’s lib movement.” Moll herself mocks some of the theatrics of the church when – in face of an angry priest tossing obscure Latin at her – she responds with gibberish phrases that include the words ‘tapioca’ and ‘semolina.’ Priestly condescension is highlighted when one curate remarks, “Make my bed? I’m a priest not a parlor maid.” Ultimately, the mercantile nature of the housekeeper merges with that of the priests when she remarks confidently to the Canon, “If there’s money out there we’ll get if from them.”
The play, a witty satire on the underlying hypocrisy of churchly matters, provides an amusing and entertaining evening, pitting the wits of one wily woman against three spoiled and gullible priests, causing one of them, Father Brest, the most colorful of the trio played delightfully by Damian Kearney, to compare her dictatorial inclinations to those of Hitler and Stalin.
‘Mesmerising’ is the best adjective to describe Aoife Duffin’s impassioned solo performance of the stage adaptation of “A Girl’s A Half-formed Thing,’ the debut novel by Eimear McBride.
On a bare, black stage at the Project Arts Center and dressed only in T-shirt and pajama pants, the Trinity college trained actress gives a riveting performance combining multiple voices, streams of guttural sound and body movement that drag the audience down into the dark, soiled world of a young girl trying to deal with sexual abuse.
This entertainment is not for the faint-hearted. It is both depressing and heartbreaking as well as emotionally draining, both for audience and performer (I could swear Aoife had real tears in her eyes at the end of what must have been a grueling 80-minute stint without a break).
In many ways, the play draws back the curtain of hypocritical Ireland – with religion, family and sexual abuse dominating themes throughout. The girl’s narrative (the main character is never named) is a harrowing monologue tracing her life from birth to adulthood and how her uncle’s actions besmirch her view of the world leaving only her innocent reminisces of childhood with her young, sick brother providing token relief from the harsh adult world she endures. At best, this is an uncomfortable journey inside the mind of a young, vulnerable and isolated girl trying to come to terms with the unthinkable leading to a spiral of hopelessness and chaotic sexuality.
Yet for all her suffering and while Girl remains damaged, she is also defiant, especially in the scene when she stonily humiliates her uncle by confronting him directly with his heinous crime.
Composer and sound designer, Mel Mercier, provides unsettlingly eerie background music whose tone matches the protagonist’s intense inner struggles while Lian Bell’s sparse stage design emphasizes the stark barrenness of Girl’s life.
In ‘Lippy’ at the Peacock Theatre, writer Bush Moukarzel takes the strange case of four women who starved themselves to death in Leixlip, a Dublin suburb, and creates a challenging piece of ‘integrated theatre’ combining music, dialogue, video, movie clips, dance and special effects.
In an innovative approach that turns standard theater on its head, the play begins with a simulated ‘post-show’ chat with the director interviewing one of the actors. The latter turns out to be a lip-reader who has helped police in this particular investigation. But when he demonstrates his skill on-stage, he is shown to misinterpret many of the interviewer’s words thus hinting at the obscurity and communicative confusions that are to follow. In effect, “Lippy” focuses less on the four deaths than on our inability to understand clearly what happened to them. Even the projection of visual aids, including YouTube and movie clips (including ‘The Godfather’ and ‘2001: A Space Odyssey’), is muddied by imperfect technology.
The disconcerting opening segues into a series of ever more disconcerting scenes. Four hulking shadows materialize and pluck floating black bags from the air. Are these the bodies of the dead women? Or their souls? They then reappear as figures in Hazmat suits in a stark and shabby room and draw chalk outlines on the wall as if recreating the crime scene. But then the four suited figures step out of their gear to reveal themselves as the four soon-to-die solemn women as played by Joanna Banks, Caitriona Ni Mhurchu, Liv O’Donoghue and Eileen Walsh.
Overall, this edgy production from the Dublin-based Dead Centre company offers a multilayered, multiform examination of the real-life suicide pact of three sisters and their aunt, who in 2000 died by voluntary starvation in the house they shared. If anything, the fog of confusion just keeps thickening as the play goes on, taunting our ultimate lack of understanding of what drove the women to suicide but also of the lives of others around us.
The performance features ingeniously choreographed sequences including a slow-motion ballet that eerily evokes the death throes of the four women.
Adding an even more opaque layer to a tantalizing theatrical experience, the play ends with a video close-up of a woman’s lips and a monologue written by playwright Mark O’Halloran.


The Animated Video Marketing Production Process
So you’ve signed on to make an explainer video that tells a great story and makes your brand shine. What exactly goes on once you’ve signed that contract? What follows is a high-level overview of the animated video production process.
Research & Kickoff
At this point, the video production house will dig into your resources – website, sales deck, personal expertise, etc. – to gain a deep understanding of your business. With that deep understanding in mind, they’ll work with you to develop a direction for your video.
This is easily the most important part of the process. If you don’t have a solid script, you don’t have a solid story. And without a solid story, your audience won’t connect with your video – no matter how high the production quality is.
Storyboards & Styleframes
Once the script is finalized and your messaging is set in stone, the video producer will create storyboards, sketching out your video scene by scene. A designer will also create a couple of style frames for your video – still shots of what your video will look like once animated. This is the time to make sure that you love your visuals! Make sure they’re on brand.
Audio is every bit as important as your project’s visual quality! Any video producer worth their salt will find a high-quality narrator that perfectly matches your story and your brand. Whether they’ve got in-house voiceover talent, or they sift through hundreds of submitted auditions, a great explainer video company won’t compromise on quality here.
Design & Animation
Once you’ve approved your style frames, the designer will style out the rest of your storyboard for an animator. The animator will execute animation with painstaking detail, making sure to match each piece of animation to the voice over recording.
You’ve got animation and a solid voice over. What more could your video need? You need a great music track and sound effects to really flesh out your video and give it the texture and depth it needs.
Your producer will take the full mixdown of your project’s music and audio, combine them with your video, and render the whole package as a high-quality video in a downloadable format.
And there you go! Your video is ready for use on your landing page, in social media, and at pitch meetings. We’ll teach you more about how to promote your online video in Part IV of this series!
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The new Superman film, Man of Steel, has broken box office records, earning more than $200 million worldwide during its opening weekend. Based on the popular 1930s comic book serial, the film “reboots” the Hollywood franchise with an edgier, grittier take on the classic superhero story.
Amazingly, despite even more violence and destruction than seen in earlier film and television depictions, the studio marketed the film to Christian churches as a story with deep connections to Jesus Christ …
“Warner Bros. Studios aggressively marketed ‘Man of Steel’ to Christian pastors, inviting them to early screenings, creating Father’s Day discussion guides and producing special film trailers that focus on the faith-friendly angles of the movie.
“The movie studio even asked a theologian to provide sermon notes for pastors who want to preach about Superman on Sunday. Titled “Jesus: The Original Superhero,” the notes run nine pages. … How might the story of Superman awaken our passion for the greatest hero who ever lived and died and rose again?” the sermon notes ask.”
Ironically, the creators of Superman wanted him to be a type of Moses. But today, “Christ-like imagery [is] planted throughout Man of Steel. One blaring symbol occurs during a climactic battle: Superman jumps from General Zod’s … ship and hovers in the sky with his arms out-stretched like the crucifix. Freeze-frame it and you can have your own Superman prayer card.”(Read about many more connections here and here.)This isn’t just Christian conspiracy theory either—the film’s director, Zack Snyder, has said, “I didn't make that stuff up. … That is the tried-and-true Superman metaphor. So rather than be snarky and say that doesn't exist, we thought it would be fun to allow that mythology to be woven through.”While some pastors around the country embraced the marketing as an opportunity to share the gospel story in a contemporary way, others have rejected the notion altogether. One church leader said, “Any pastor who thinks using `Man of Steel Ministry Resources' is a good Sunday-morning strategy must have … very little confidence in the power of God’s word.”What do you think? Should Christians be willing to embrace Hollywood’s attempt to connect with them? Or do we need to be especially wary about what comes out of Hollywood? Let us know in the comments below …Amazing Facts carries a very timely DVD documentary called The Replacement Gods that investigates the recent comic book film phenomenon now ongoing in Hollywood. It’s an extremely insightful look into popular culture and the open doors Satan can exploit to deceive and distract believers and skeptics alike from the true message of Jesus Christ. It’s a must-have, especially as TV and film are ratcheting up their comic book adaptations in the years to come.
It’s available right now at afbookstore.com.Click here to learn more and to order.
Amazing Facts is a non-profit, donor-supported ministry.We greatly appreciate your prayers and financial support.