In the Google docs app, you can edit documents and notes.There are several ways to do this, depending on how you want to do it.First, you'll need to open the Google docs app, go to the "Edit" tab, and click the "Save" button to save a document or document note.You'll need the latest version of Docs for this to work....
When a character from the television show “Blacklist” shows up in your phone, you have to be a little wary.
You can’t see who he is and who he’s talking to, or you might find out he’s an agent of the CIA or the FBI, and you might end up being on the receiving end of a blackmail or assassination attempt.
You might also discover that he’s just trying to get to the truth of the matter.
But once you’ve found the character, it’s pretty easy to find out who he really is.
That’s because he’s really just a big-time con man trying to bring down a lot of powerful people, like those at the CIA and FBI.
Here’s what you need to know about the world of “The Blacklisted.”
What’s in the show?
The Blacklists, which debuted in the 1990s, are a fictionalized version of America’s foreign espionage efforts in the late 1960s and early 1970s.
It’s a thriller, but the show has a bit of a twist.
Instead of targeting a specific individual, the Blacklists are targeting a whole family of people, who might be spies or other powerful figures.
These spies or people are all connected, and it’s all going to happen at once.
But there’s also a lot going on in the background.
In order to uncover who these characters are, the show tells you what’s going on inside their heads, and what they are really up to.
The show is based on the book The Blacklist by James Risen, and its premise is that the CIA has infiltrated a major American corporation, and a number of employees are trying to uncover the truth behind the corporation.
The Blacklists focus on a family of CIA agents, who are working for a mysterious man called Joe.
One of the agents, named Jack, is a former CIA operative, and he has a love affair with a spy named Claire.
But when Claire goes missing, Jack has to work with a local law enforcement officer to track down Claire.
When you watch the show, it all seems pretty straightforward.
Jack and Claire are both spies, but Claire is actually a lawyer who wants to expose the secrets of the corporation to the public.
Claire is a young lawyer and a former top lawyer for the U.S. military.
And Jack is a retired CIA operative who is trying to stop Joe’s plan.
But the show isn’t just about the spy and his love interests.
It’s also about what’s happening in the shadows.
The characters are trying their best to stay out of the public eye, but sometimes it’s hard to see who the characters are.
In “The White List,” the characters work for a man named Michael who’s working for the CIA.
When the man comes to the U:S.
government, Michael and his men try to stop him, but he’s more interested in protecting his own company and protecting his business than in doing any kind of good for the United States.
When “The Wire” was being written, it had some of the same problems.
The story was told in the present tense, and the characters were all present and in the moment.
But by the time the book was published in 1999, things were much more complicated.
The writers decided to introduce flashbacks in the book, to give the reader an idea of what was going on.
But they also had to deal with the fact that the book itself was based on an actual book, which meant they had to do a lot more research into the actual history of the United Kingdom.
So the characters would sometimes have flashbacks to the past, sometimes to the present, sometimes in a different timeline, and sometimes to a future.
There’s a lot to look at.
When you watch a show like this, you can’t just take what you read in the script and go with your gut.
You have to look closely at the history, and there’s a whole lot of information to look for.
And this means that if you’ve ever been a fan of spy movies, you may have to dig a little deeper.
But you’re not going to be able to do it if you just go with what you’re told.
When a character of interest appears in the plot, you might see clues about their past, and they might even give you some sort of explanation.
The details might be very important.
But it’s important to remember that it’s not really the details that are important, it is the person.
So if you find out that Jack is working with someone named Claire, it means that Claire and Jack are really close.
You know how many times you’ve seen the famous scene in the “Spartacus” series where one of the main characters says, “I know the guy”?
It’s actually a very, very important clue to understanding who Jack is and what he’s up to and why he’s acting this way.
It turns out that a lot


Sunday, January 23, 2011
A BOOK ON A GREAT CANADIAN...
... who was once one of the top leading men in Hollywood.
I'm an easy touch for classic films and their stars.
Although Glenn Ford passed away in 2006, failing health and a decision to retire in seclusion meant the Quebec City-born actor had long fallen off the radar of most filmgoers.
If you consider yourself a serious film fan, titles like Gilda, 3:10 to Yuma, Blackboard Jungle, The Big Heat, The Fastest Gun Alive, Pocketful of Miracles, The Sheepman, The Courtship of Eddie's Father and Experiment in Terror, to name just a few of his 107 film and TV credits, will stir a memory or two.
After nearly 10 years in the making, son Peter Ford will be releasing a biography on his father that is expected to straighten out some of the publicity-mill myths that were repeated as fact for many years. Glenn Ford's story starts as the only son of a railway employee (his mother escaped a burning building days before his birth), the family's migration to southern California, and his rise to starring in movies alongside Bette Davis, Fredric March, buddy William Holden and favourite leading lady Rita Hayworth. Married to Hollywood sweetheart Eleanor Powell, who at the time was a star who's film credits dwarfed those of her husband, Ford's career caught fire after returning from a stint in the U.S. Marines on the back of film noir masterpiece Gilda. From that point on, he was among Hollywood's top-10 male stars for nearly 20 years, and remained a 'name' on any film that attracted attention right into the 1980s.
One of his briefest cameos was a touching performance in Richard Donner's Superman, where he played Pa Kent.
Will the book correct stories about Ford's war record, his romances, and tidbits like being related to John A. Macdonald? All I can say is, from a dinner I had with the author and his-then collaborator Christopher Nickens in 2004, separating fiction from fact was a main goal. Even if some of the more 'glorious' pieces of publicity were subtracted from Ford's bio, it still promised to be very enticing for a film fan like myself. Here's hoping.
I've already ordered my copy, which is due out later this spring.
Posted by rockfish at 8:43 PM


Born in London. Started work in 1964 as a cinema projectionist. Entered British Studios in 1968 as projectionist and moved over to sound in 1969. Moved into
the editing rooms in 1974. Relocated to the US in December, 1979. Entered the Hollywood Film Industry in 1981 in the Sound Department. Worked for Universal,
Stephen J. Cannell, Filmation and worked for the Walt Disney Company from 1989 to 2011. I have a business, since 1997, Pickard
Video & Audio, specializing in the supervision of telecine transfer of feature and television films to Home Video.


The mission of the Cherokee Nation Film Office is to increase the presence of Native Americans in every level of the film and television industries, while creating opportunities for economic development and jobs in the Cherokee Nation.
The Cherokee Nation Film Office invites film and television projects to experience all the Cherokee Nation has to offer. From unique locations in northeastern Oklahoma to talent and crew directories, our film office serves as a liaison for your project. Based in Tulsa and Tahlequah, we have strong connections throughout the 14 counties of the Cherokee Nation to meet any film production needs.
“Cherokee Nation is deeply committed to developing the film and recording industry in Oklahoma. The opportunities for continued growth are substantial. We know it can be a powerful economic tool for creating quality jobs and supporting small, family businesses within the communities of the Cherokee Nation reservation. Creating the necessary infrastructure and programs will help this industry flourish and reach its full potential.”
– Chuck Hoskin Jr., Principal Chief, Cherokee Nation
HAVE A QUESTION ABOUT CNFO’S SERVICES?WE HAVE ANSWERS.
The Cherokee Nation is a 14-county tribal reservation area that covers most of northeastern Oklahoma. Covering 7,000 square miles and five ecoregions, you’re sure to find the perfect place to film your project.
Cherokee Nation Film Office provides several directories for filmmaker use. Those include the first-of-its-kind Native American crew, talent and film-friendly business directories for locations and Cherokee cultural and historical consultants.


Working in Germany in the 1920s, Murnau helmed some of the greatest silent features ever made. His roll of honour includes: Nosferatu (1922), The Last Laugh (1924) and Faust (1926). Taking up an offer of work with American producer William Fox, he left behind Germany for good. It would provide a legacy entitled Sunrise: A Song of Two Humans (1927), and his death.
It is worth remembering, too, Sunrise’s original negative was lost in a fire. A vast majority of films made before 1950 are gone. The lack of care attended to the highly flammable material and brittle celluloid; along with lack of foresight into film preservation, ensured their demise. There will always be an audience for this picture for as long as people and the medium exists. It still resonates as more than a curious piece of art from an even more curious period. One cannot say “they don’t make them like that now.” Nobody made them like that then. It is peerless filmmaking. Sunrise: A Song of Two Humans is one of the key texts in cinema history.
The fable-like, poignant story, subtitled A Song of Two Humans, is a silent-era melodramatic masterpiece - a beautiful, atmospheric, lyrical and poetic work of art with roots in the German Expressionist movement (from 1914 to 1924). The story of corruption and redemption involves a rustic farmer in a romanticized rural town who falls prey to the seductive wiles of a city vamp in an illicit affair. He plots to murder his loving wife during a boat trip to the temptation-ridden city. His conscience is awakened during the attempted killing and he relents, and in the city the couple fall in love again. On their return trip, a tempestuous storm appears to drown the wife, but she is eventually found and the family is reunited and reconciled.
Eureka Entertainment’s newly distributed 2-DVD set of F.W. Murnau’s Sunrise: A Song of Two Humans is a magnificent treat for first time Murnau-viewers and seasoned cineastes. DVD-1 contains the groundbreaking American version with a synchronized original score and gorgeous in-camera effects. It also includes commentary by ASC cinematographer John Bailey, outtakes, the first trailer and a documentary about Murnau’s lost film, Four Devils (1928). This unique archive by Janet Bergstrom pieces together publicity stills, two motion picture ghost images, charcoal sketches and the 1927 screenplay. From these traces, Murnau’s missing film emerges.


• Now I'm on my own side
It's better than being on your side
It's my fault when you're blind
It's better that I see it through your eyes
All these thoughts locked inside
Now you're the first to know
When darkness turns to light
It ends tonight,
It ends tonight.
Just a little insight won't make this right
It's too late to fight
It ends tonight,
It ends. •
She met him before. So many times, now. He's been at the edge of her life, one of the people who's influenced it, and yet not fully part of it. He's not "different" like she is, he's different in a way that sets him apart.
She used to like him.
She doesn't know when it started, she doesn't know how it happened, but he's not who he used to be. His hair is wilder, his eyes are colder. His face is fixed in an eternal smirk, a sort of smugness she doesn't recognize. He stands at the edge of the circus and watches the people who pass him.
She starts towards him as she always has, a smile on her face. She thinks about the things she'll tell him, the things she thinks he wants to know about her life. But as she walks towards him, she stops. It's that smile. It's how different it looks.
It's like he's the Doctor, but she's looking at Sylar. That insanity, it's there. It's frightening. Even moreso because she's always seen the Doctor as a friend. She's tempted to believe it's not him, it's a shapeshifter with his face, but part of her knows it isn't. It's him, he's just…different.
"Doctor?" she asks.
"Claire," he replies. She expects more out of him (when has he ever not found time for talking?), but he stays quiet, staring out into the circus. It's calculating. It's a way she's never seen him look at the world around him before.
"What are you----?" she starts.
"I'm waiting," he says. Again, she expects him to elaborate, but he doesn't. It's like the excitement she's always seen in him has been ripped out, replaced by…she's not sure what.
"For what?" she finally asks.
"Something's coming. I've decided I want to be part of it," he says. In his voice, she can hear the excitement she remembers, but he still holds back.
"What's coming?" she asks.
He smiles. It's a twisted, cruel smile. A mockery of the grin she so often saw on her friend before. It curls at the edges and twists into something grotesque.
His reply is both cryptic and excited. It's almost like he used to be, only it's wrong. Something about him is wrong now.
Muse: The Doctor (Valeyard)
Fandom: Doctor Who
Word Count: 375


Season 1 • DCUniverse.com • May–Aug. 2020
Season 2 • The CW • ??
Starring Brec Bassinger as Courtney Whitmore and Luke Wilson as Pat Dugan.
Nearly the entire cast appears in the first episode. This chronology notes a characters' first speaking appearance in bold.
King Arthur bestows his sword Excalibur sword unto his page, Justin.
Sylvester Pemberton (age 15) and his driver, Pat Dugan (age 20) become the Star-Spangled Kid and his sidekick, Stripesy.
Star-Spangled Kid and Stripesy join the Seven Soldiers of Victory (with Shining Knight, Vigilante, Crimson Avenger, Wing, Green Arrow, Speedy). They stop Japanese scientist Dr. Shiro Ito from destroying New York City with his weapon.
The Seven Soldiers go their own ways but Shining Knight pursues Dr. Ito to Blue Valley, Nebraska, is captured and tortured. Pat loses touch with the other members.
1947: Dr. Ito is tried for war crimes (creating biological weapons, plague bombs used in China) and is executed.
While robbing a bank, the villain Brainwave falls for a super-hero, Merry the Girl of 1000 Gimmicks. She makes him question his loyalty to the Icicle and the Injustice Society of America. This leads the Icicle declare all-out war on Mary's friends, the Justice Society of America, which includes her brother, Starman. Brainwave kills Mary then lies to his son, Henry Jr., saying that his mother, Mary, drowned in a pool.
Ten years prior: The Injustice Society kills most members of the Justice Society of America. Hourman escapes. Starman (Sylvester Pemberton) asks his sidekick, Stripesy, to guard over his cosmic staff until its next rightful owner comes along. Elsewhere, young Courtney Whitmore is disappointed when her estranged father fails to show up for Christmas. Her mother Barbara leaves Courtney with a sitter, friends Maggie and Mary Kramer. Note: In comics, Merry Craemer is the name of Sylvester's adopted sister.
Hourman secretly tracks the Injustice Society to Blue Valley, Nebraska.
Nine years prior: Hourman (Rex Tyler) and his wife Wendy flee from the Injustice Society. They leave their home and son, Rick, with her brother, Matt Harris. As they flee, they are found and killed by Solomon Grundy. Hourman's notes and research are sent to Pat Dugan, who fails to find a trace of the villains.
Stargirl S1.E2, E5
Eight years prior: Jordan Mahkent’s wife Christine dies. She urges him to continue his mission to “fix this country” and destroy anyone who stands in his way.
Cindy Burman accidentally kills her mother. Afterwards, her father, the Dragon King, begins training her and turning her evil.
Two years prior: Barbara Whitmore returns to Blue Valley to sell her parents’ house and meets Pat Dugan at a local diner. They marry and settle in Los Angeles.
Stargirl S1.E1, S1.E10
Popular girl Yolanda Montez is running for class president. But her life is destroyed when her boyfriend, Henry King Jr., persuaded her to sending him a nude photo. The next day at school, Cindy Burman intercepts it and sends it to the whole school.
"Pilot" • Barbara Whitmore and Pat Dugan, and their kids Courtney Whitmore and Mike Dugan, move to her home town of Blue Valley, Nebraska, where she takes a job at The American Dream (run by Jordan Mahkent, the Icicle) and Steven Sharpe (the Gambler). Pat secretly reviews classified Justice Society files on Brainwave, the Wizard and Icicle. Pat sets up an auto mechanic shop. At school, Courtney meets loners Beth Chapel, Yolanda Montez, and Rex Tyler, and makes enemies out of Cindy Burman and Henry King, Jr. At home, Courtney discovers Pat's JSA paraphernalia — and Starman's cosmic staff, which awakens at her touch. She becomes convinced that Starman was her real father. Brainwave attacks Courtney. Pat comes to her aid in a giant robot suit.
Stargirl S1.E1 (18 May 2020)
"S.T.R.I.P.E." • At the Blue Valley High open house, Principal Anaya Bowin (Fiddler II) introduces her son Isaac. "Crusher" Crock (Sportsmaster) and Paula Brooks (Tigress) brag about their daughter, Artemis. Courtney shows an attraction to Cameron Mahkent. Brainwave provokes Courtney into a fight. She makes a costume from Starman’s and announces herself as Stargirl. Her staff puts Brainwave into a coma. She proposes that Pat be named S.T.R.I.P.E. (Subatomic Tactical Robot Internet Pat Enhancer). Icicle meets Gambler at the I.J. headquarters beneath the city. Grundy is locked up there. Councilman Zarick (the Wizard) is hesitant to participate in the villains’ plans. Notes: Pat says that Ted Knight built the cosmic staff.
Stargirl S1.E2 (25 May 2020)
"Icicle" • Stargirl and S.T.R.I.P.E. are attacked by Icicle, who ends the battle by endangering a school bus. The Wizard's son, Joey Zarick is killed. The Wizard retaliates but is also killed by the Icicle. Pat introduces Courtney to the Justice Society of America's history. She meets Dr. Mid-Nite’s owl and later returns to take the JSA's abandoned gear; she intends to recruit new heroes.
Stargirl S1.E3 (1 June 2020)
"Wildcat" • Courtney recruits Yolanda to wear Wildcat's uniform. When she dons his helmet, the suit fits to her body, produces claws, and gives her increased strength and agility. Yolanda tries to break through to her parents, who maintain that she is a disgrace to the family. The Icicle meets with Dr. Shiro Ito, the Dragon King. Note: Mike Dugan mentions his friend, Jakeem Williams.
Stargirl S1.E4 (8 June 2020)
"Hourman and Dr. Mid-Nite" • Pat and Courtney figure out that Rick Harris is Hourman's son. Beth snoops in Courtney's room and finds Dr. Mid-Nite's goggles, which have an artificial intelligence installed: a digital version of Dr. Charles McNider. Rick activates his father's hourglass and gains super-strength. Beth runs into the school janitor, Justin (the Shining Knight). The Gambler receives blueprints for the Injustice Society's secret device (but success requires Brainwave’s mental powers).
Stargirl S1.E5 (15 June 2020)
"The Justice Society" • When Artemis Crock is sidelined by her football coach, her parents (Sportsmaster and Tigress) kill him. Beth and Rick suit up as Dr. Mid-Nite II and Hourman II and fight the Injustice Society. When S.T.R.I.P.E. steps in, the villains retreat. Rex Tyler's notebook contains anomalous diary entries that reference Calvin College and life in Michigan. Note: The Tigress wears a costume like her daughter's from JSA #9 (Apr. 2000).
Stargirl S1.E6 (22 June 2020)
"Shiv Part One" • Cameron Mahkent asks Courtney to the Homecoming dance. Henry King Jr. begins manifesting telepathic powers. Janitor Justin keeps a fancy sword in his closet, and he recognizes Pat as Stripesy. Cindy Burman is revealed as the daughter of the Dragon King, with artificial ‘shivs’ in her wrist. She kills one of his henchmen and demands membership in the Injustice Society. She steals a flame-throwing scepter and costume; as Shiv, she attacks Stargirl, putting her in the hospital. Cindy's skin quickly heals from a scorching blow from the cosmic staff.
Stargirl S1.E7 (29 June 2020)
"Shiv Part Two" • When Shiv threatens to hurt Courtney's friends, Stargirl attacks her again. Dr. Mid-Nite discovers the Injustice Society's lair under Cindy's house. Henry King manifests telekinesis power and finds his father’s costume and records. He stumbles across the girls fighting and sending both of them flying. The Dragon King's men grab Shiv and lock her up.
Stargirl S1.E8 (6 July 2020)
"Brainwave" • Henry King Jr. finds his father’s uniform and secret recordings, learns his villainous history. He experiments and discovers his own telekinetic powers. At the hospital, he wakes his father from his coma. When Barbara invites the Mahkents over for dinner, Courtney deduces that Jordan is the Icicle. Dragon King plots to power the Injustice Society's machine with Brainwave Jr.'s power. Barbara discovers Pat and Courtney with the cosmic staff.
Stargirl S1.E9 (13 July 2020)
"Brainwave Jr." • Barbara discovers Courtney's life as Stargirl and orders Pat to leave the house. Henry King Jr. learns the true fate of his mother: a super-hero called Merry who was killed by his father. He joins the Justice Society to crash the Injustice Society's headquarters. Father and son fight to the finish and Henry Jr. apparently dies under a collapsing pile of rubble.
Stargirl S1.E10 (20 July 2020)
"Shining Knight" • Janitor Justin (the Shining Knight) finds Pat, who helps him shake off the Dragon King's brainwashing. Courtney's’ father, Sam Kurtis, shows up but it only causes sadness for her. Knowing that Starman was not her father, she puts the cosmic staff away. As the Injustice Society's plan nears readiness, the Icicle sends the villains to kill Pat and Courtney and their family.
Stargirl S1.E11 (27 July 2020)
"Stars & S.T.R.I.P.E. Part One" • Mike Dugan saves his father by surprising the Sportsmaster with a drill to his torso. The heroes regroup. When Anaya Bowin accuses the Tigress and Sportsmaster of being unfit parents, they kill her; her violin is left on their floor. The Dragon King and Brainwave activate the I.S.'s mind control device — a huge chamber and transmitter. Dr. Mid-Nite hacks the villains' plans but the device has already begun its mass hypnosis of the population.
Stargirl S1.E12 (3 Aug. 2020)
"Stars & S.T.R.I.P.E. Part Two" • Dr. Mid-Nite hacks the Gambler’s bank accounts and he goes into retreat. Solomon Grundy is released and Hourman nearly kills him in revenge for his parents, but shows mercy and lets the creature escape. Wildcat recognizes Brainwave's illusions and kills him; she admits this to Courtney. Stargirl finds the villains' control room and blasts their machine apart. The Icicle makes his last play by kidnapping Barbara. He is knocked off a building to the street, and then hit by a speeding truck (driven by Mike Dugan) and shatters into pieces. Dr. Mid-Nite's goggles are frozen to bits. Justin heads out to search for his horse and the Seven Soldiers. Shiv rifles through her father’s storage and discovers the black diamond of Eclipso. The Shade watches the news reports of it all. In Los Angeles, Sylvester Pemberton reappears, looking for Pat.
Stargirl S1.E13 (10 Aug. 2020)


Michael Jackson’s property has criticised a documentary alleging the late pop star sexually abused kids.
Leaving Neverland will premiere on the Sundance Movie Competition this month and consists of interviews with two alleged victims of Jackson.
Representatives for Jackson’s property have responded in a press release.
“That is yet one more lurid manufacturing in an outrageous and pathetic try to use and money in on Michael Jackson,” it stated.
Two males who seem within the movie say they have been aged seven and 10 when Jackson befriended them and their households.
Now of their 30s, they allege they have been sexually abused by the late singer.
The names of the accusers within the documentary haven’t been launched, in line with the Related Press.
Police raided Jackson’s Neverland Ranch in California – referenced within the movie’s title – in 2003 whereas investigating allegations Jackson had molested a 13-year-old boy.
‘Energy of celeb’
The case went to trial and Jackson was acquitted of all fees in 2005.
The synopsis for the documentary reads: “By means of gut-wrenching interviews with the now-adult males and their households, Leaving Neverland crafts a portrait of sustained exploitation and deception, documenting the ability of celeb that allowed a revered determine to infiltrate the lives of starstruck kids and their dad and mom.”
The 2-part movie is directed by Dan Reed, who can be behind documentaries together with The Valley, Terror in Mumbai and The Paedophile Hunter.
It should debut at Sundance in Utah on 25 and 26 January.
Jackson died on 25 June 2009 aged 50 after receiving a deadly dose of the anaesthetic propofol.
Observe us on Fb, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. If in case you have a narrative suggestion e mail .


When Crash Landing on You released its very first episode on Netflix in late December , no one had any idea that it’d be the absolute hit that it is today. Fans from all around the world followed the lives of 2 star-crossed lovers, South Korean heiress Yoon Se-ri and North Korean army officer Ri Jeong-hyeok and watched their love story unfold over the 16 episodes that were aired. The romantic drama became so critically acclaimed that it was the second highest rated K-drama in cable television history, beating out other popular K-dramas like Mr. Sunshine and Days My Prince. When the show started gaining traction in early , fans became even more interested in the life of the lead actress, Son Ye-jin. Some had seen her work in past K-dramas before, while others saw her as a fresh face in the industry. Well, we’re here to unpack some of the things you might not know about this Crash Landing on You actress. The year-old actress always knew she wanted to be in the acting industry, even when she was younger. She studied film at the Seoul Institute of the Arts, a prestigious school that’s the alma mater of many other popular Korean actors as well.
Why Hyun Bin And Son Ye Jin Are Still Rumored To Be Dating Despite Repeatedly Denying It
During the film, the actors only shared a couple of scenes together and spent most of the film in two different sets. Shortly after, both agencies of the actors returned with statements refuting the rumors and explaining their side of the story. He heard that Son Ye Jin was in the United States so they met up with other acquaintances and went shopping at the supermarket.
Korean TV dramas often cast actresses who are older in real life than their leading men. Take the case of the drama ‘Hyena,’ which stars.
Oftentimes, co-stars describe each other as second family. Some of them even end up falling in love. Other times, their relationships are actually quite rocky when the cameras stop rolling. Co-star feuds are some of Hollywood’s best-kept secrets, but when actors finally spill about how they really feel when it comes to their actor counterparts on set, that’s when things get interesting. From celebs who ran away in fear after kissing their co-star to the ones who ended up leaving the show mid-season to avoid ever speaking again, these co-stars, ahead, reportedly didn’t get along behind the scenes.
With the amount of drama here, you’re going to want some popcorn. Aniston was reportedly not thrilled when actor Jay Mohr beat out her then-boyfriend Tate Donovan to be her on-screen love interest in the movie, Picture Perfect Mohr says instead of taking her anger out on the studio, Aniston took it out on him instead. In an interview with ELLE from , he explained how it was one of the worst filming experiences of his life.
Between takes. To other actors on set. However, when the cameras stopped rolling, the two reportedly couldn’t stand each other. It got so bad that the film crew nicknamed their love scene “the hate scene. When filming the romantic comedy A Countess from Hong Kong, Loren detailed in her memoir , Yesterday, Today, Tomorrow: My Life , an uncomfortable day on set when her co-star groped her.
Crash Landing On You stars maintain they are only close friends
3 K-Drama Love Teams That Turned Into Real-Life Couples And the actress’ agency responded to news of the divorce right after by This medical-fantasy drama which was the first leading role of the actor made the viewers heart After 5 months of dating and being together they couple called it quits.
Username or Email Address. Remember Me. Gt the current it couple. Jtbc dating british comedian. Stories you spot the ice, a place to find love, the actor was rumored that you a. Source history log in drama? Instead of. Did you know before they finished filming in south korean actor’s bio, original broadcast date: the fantasy medical drama stars korean drama. K-Drama blood type 1 july is he got into a chinese web series adapted from blood boiling youthnbspnbsp.
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Famous Co-Stars Who Didn’t Get Along in Real Life
The Molly-Andrew relationship is part of a larger cultural trend in which black women, especially those of medium-to-dark-brown complexions — long positioned at the bottom of the aesthetic and social hierarchy in the United States because of racist standards — are increasingly appearing as leading ladies and romantic ideals in interracial relationships onscreen.
In many ways, these romances push back against racial bias in the real world. In , the online dating site OkCupid updated a study that found that of all the groups on its site, African-American women were considered less desirable than, and received significantly fewer matches than, women of other races. These works grapple with race in very different ways. While their union, in part, reflected the landmark ruling Loving v.
The passionate rendering of that couple recognized racial difference only to transcend it.
The year-old actor and the year-old actress starred together on the South Korean media outlets have reported that neighbours had.
Hwang Jung-eum debuted with K-pop girl group Sugar in as a lead vocalist, but left the group in to pursue a solo career. She officially made her acting debut in the television drama The Person I Love in In , she and real-life boyfriend Kim Yong-jun of boy band SG Wannabe joined the second season of reality dating show We Got Married as the first real-life couple to be featured on the show. I realized my passion for acting during High Kick.
You tend to do well when you get compliments and with director Kim Byung Wook encouraging me, I had fun acting. And because it was fun, I was able to achieve good results. Hwang then began playing leading roles in television series. Hwang was cast in her first big screen leading role in the romantic comedy film My Sister, the Pig Lady ,   which was screened at the 39th Montreal World Film Festival as part of their World Greats selection. In , Hwang returned to the small screen with romance comedy drama The Undateables.
She was reunited with Namkoong Min , whom she had starred alongside seven years ago in Listen to My Heart. Hwang dated Kim Yong-jun for nine years. Yonhap News Agency broke the news on May 15, , that the couple had ended their relationship after she wrapped up the filming of Kill Me, Heal Me. On December 8, , Hwang’s agency, C-JeS Entertainment, confirmed that she had been dating Lee Young-don, a professional golfer and businessman, for the past four months.
Want to Learn These 20 Korean Slang Words? “Call!”
Isn’t it sweet? Their generous donation to the ward, which they decided to give instead of holding a costly wedding, will be used on childhood disease research and to create a rest area. That’s very heartwarming!
Lee Ki Woo & Lee Chung Ah.
Copyright Singapore Press Holdings Ltd. Regn No E. All rights reserved. Min Ho was involved in a tragic car accident in when he was He was on a car trip with fellow actor Jung Il Woo and two other friends when a car from the opposite lane crashed into them head-on. The two actors were the only survivors and both of them suffered severe injuries. Min Ho was in a coma for a month and had to stay in the hospital for nearly a year.
He even had to insert a 46cm metal plate in his thigh for three years. Although the front of the car was wrecked after it crashed into a stationary truck, he miraculously only sustained minor injuries and resumed filming shortly after. Due to the severity of his previous injuries, Min Ho was deemed to be unfit for combat duties after undergoing a physical examination. He was unable to serve as an active duty soldier and became a public service worker at the Suseo Social Welfare Centre in Gangnam, Seoul.
However, he was still able to wear the military uniform after going through four weeks of basic military training during his public service duty. On his final day of service, the media and hundreds of fans showed up with balloons and banners to welcome him back to civilian life. Min Ho has received a lot of love from the public and he makes sure to give back as well.
Station 19 Cast’s Real-Life Couples
View this post on Instagram. Despite the constant support and prodding from fans, the duo have maintained that they are only close friends and are not in a romantic relationship. Her agency confirmed the matter but said the actress was suffering from fatigue. It added that she had been discharged and had resumed filming.
Jung Eun Woo & Park Han Byul.
Your account is not active. We have sent an email to the address you provided with an activation link. Check your inbox, and click on the link to activate your account. You shouldn’t mix work with love, and you should never date your coworkers, right? Well, seemingly this rule does not apply to Hollywood power couples who fell in love on movie sets. Have you stopped to consider that maybe the reason the acting in some films with the romantic storyline is so good because it’s not always an act?
It’s true, and there is a list of behind the scenes romances between costarring famous actors to back it up. Maybe these movies are among their best performances because each shoot is filled with genuine feelings between the celebrity couples.
10 Korean Celebrity Couples We Love
Even if the industry still has a long way to go — for instance, the major issue of whitewashing or casting white actors in Asian roles — it’s comforting to watch these young stars kill it on the big screen. From Fresh Off the Boat ‘s modern Asian family to the majority-Asian cast in Crazy Rich Asians , the importance of appealing to all audiences is finally starting to become a priority for producers.
And it’s about time. Representation matters! Hollywood, are you listening? Ahead, discover the best young actors and actresses from Asian countries, including Korea, China, Malaysia, India, and more.
We can’t get enough of these Asian actors and actresses. The half-Chinese, half-Korean American entertainer does it all — she’s a She is now starring in the ABC comedy Splitting Up Together and Yellowstone on This Asian actress got her start as a reality star on MTV’s The Real World: San Diego.
If you thought nothing lasts forever when it comes to K-drama, think again. Here are 5 pairs of K-actors who took their love on-screen to off-screen. Your email address will not be published. Toggle navigation. Be France Marie france asia Gourmand asia. Our websites Be France Marie france asia Gourmand asia.
Fashion Fashion News 5 things to know Style advice Streetstyle.


Free Streaming The Phoenix Incident in Best QualityNow you can enjoy The Phoenix Incident in best look with duration 81 Min and was released on 2015-06-16 with MPAA rating is 1.
- Original Title : The Phoenix Incident
- Movie title in your country : The Phoenix Incident
- Year of movie : 2015
- Genres of movie : Thriller, Science Fiction,
- Status of movie : Released
- Release date of movie : 2015-06-16
- Companies of movie : PCB Entertainment, Concourse Media,
- Countries of movie : United States of America,
- Language of movie : English,
- Durationof movie : 81 Min
- Average vote of movie : 6
- Youtube ID of movie :
- Translation of movie : EN,
- Cast of movie :Troy Baker (Ryan Stone), Elise Muller (Krissy Thompson), James C. Burns (Ken Adams), Yuri Lowenthal (Glenn Lauder), Jamie Tisdale (Melissa Henessey), Liam O'Brien (Jacob Reynolds), Mason Shea Joyce (Glenn (Aged 4 )), Leah Stoltz (Young Susan Lauder), Karl Girolamo (Young Bill Lauder), Matthew Grant Godbey (Avondale Officer), William Goldman (Dr. Robert Weissman), Travis Willingham (Mitch Adams), Michael Adamthwaite (Walton S. Gayson), Brian Bloom (LAFB Pilot), James Patrick Stewart (David Collins), Mark Withers (Bill Lauder), Constance Broge (Michelle Stone), Scot Ruggles (Lt. S. Jordan), Ryan Keating (Lt. Col. James Edwards), Holgie Forrester (Marsha Reynolds), James Brewster (Maj. Jonathan Shepird), Ron Ross (Henry Reynolds)
Movie summary of The Phoenix Incident :
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Producer : Adam Lawson, Writer : Keith Arem, Producer : Keith Arem, Producer : Ash Sarohia, Producer : Fahad H. Enany, Music : John Paesano, Director of Photography : Brandon Cox, Editor : Cory Brosius, Casting : Chad Ritterbach, Production Design : Tom Lisowski, Costume Design : Bonnie Stauch, Visual Effects Supervisor : George Loucas, Sound Effects Editor : Brad Whitcanack, Sound Re-Recording Mixer : Jeremy Grody, Costume Supervisor : Alisha Silverstein, Director : Keith Arem, Still Photographer : Erica Parise, Gaffer : Kevin Massey, Makeup Department Head : Cristina Waltz, Script Supervisor : Magan Rutledge, Script Supervisor : Taylor Chen, Additional Camera : Ryan Cooper
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Ronn and I had the privilege to attend a private screening of a wonderful film, “The Southside” that should be seen by all. The cast was amazing and Kristos Andrews is one terrific actor that you lose yourself watching! Nicolas Coster also makes a wonderful cameo in this film.
Based on a true story, Robert Areizaga Jr., (Kristos Andrews, Emmy®-nominated THE BAY), determined to make a better life for himself, struggles through a series of trials and tribulations that take him dangerously close to the edge. Always struggling to get ahead, Robert isn’t ready to give up the party life with his ‘goons‘ just yet. Lured by the prospect of quick cash, Robert takes a foolish chance with the law, a decision that costs him nearly everything. Robert realizes he needs to change his life and decides to take the Yonkers police exam. When his life takes a positive turn, Robert attends a house party unaware that members of a brutal gang would also be there. When the night quickly turns into a nightmare, the lives of everyone are changed forever.
THE SOUTHSIDE is written and directed by record-breaking, Emmy-nominated producer Gregori J. Martin (THE BAY / RAVEN). The film stars Kristos Andrews (X Games Skateboarding Champion and Guinness World Record Holder), Douglas Santiago (star of the Green/Renzi and Independent Film Channel’s blockbuster hit GIRLFIGHT), Hip-Hop sensation of the early part of the millennium, Cuban Link, and featuring Puerto Rican film and TV icon Miriam Colon, best known for her role as “Mama Montana” in the Universal Pictures motion picture SCARFACE. Please visit their media pages and website and show your support for this amazing film.
Official Website – http://www.gregorijmartin.com
Facebook – http://www.facebook.com/gregorijm
Twitter – http://twitter.com/GregoriJMartin


(WES CRAVEN & RANDY)
|Q: How did you
get started in films?
Wes CRAVEN: I wasn't allowed to see movies when I was a child. It was against the religion I was raised in, Fundamentalist Baptist. I didn't go into a commercial movie house until I was a sewnior in college, and that was on the sly. It wasn't until I was in graduate school that I immersed myself in films. Then, I went to see all the films by Bergman, Fellini, etc.
The first film I made was when I was teaching. Some students came to me and said, "We see you have a camera, would you be our faculty advisor on a movie we want to make? You can shoot it." I said, "Sure", and got all of these free rolls of film from the drama department, and we went out and made a 45-minute MISSION IMPOSSIBLE spoof. We taught ourselves how to edit just by doing it. We didn't have any sort of editing machine, so we did it on a school projector. Splices were scotch-taped, and then glued for the final version. We couldn't figure out how to put sound with the movie. We knew that there was some film that had sound stripes along one side, but then we couldn't figure out how to do any sound overlap, or put music on there. So we did all our sound on a 1/4-inch tape, and then ran it at the same time with the projector, and we had a rheostat so we could slow it down a little bit or speed it up to keep it roughly at the same place.
We showed the picture at the local school auditorium. Well, we were smart enough to put everybody at the school, and everybody in the town that was of any significance, in the movie. So we had this huge turnout, and we made more than the cost of the movie in the first night! The next week-end, we showed it at the college that shared the town, and had another sell-out crowd. Then, we showed it at another college, that was fifteen miles down, and they all came to see it. So we made a lot of money. We had this great cast and crew party afterwards, and we spent it all on that!
From this, I got the bug. I wasn't happy teaching. I was enjoying the teaching, but not the grades. The students that would come and say, "I'm going to be drafted if you don't give me an A". The Department Chairman wanted me to get a PhD on Elizabethan Lutes in the Time of Chaucer, or something that obscure. So I quit my job, I went to New York, and I looked that summer for a job in film, but I wasn't able to find anything.
I went back to upstate New York, and I taught a year of High School at a terrible school. At the end of that summer, I was talking to a student friend of mine, and he said he had a brother who was a film editor. That was Harry Chapin, who had once won an Oscar for, I believe, the editing of LEGENDARY CHAMPIONS, a short film on the great champion boxers.
So, I sat down with Harry, and he was very kind. He was working on a Steinbeck. He showed me how a film was put together. I sat with him for about a week, just watching him cut. He explained to me why he was cutting, pacing, and a great deal of things which stuck with me to this day. At about the end of that week, a man whose offices we were renting the room in, fired his messenger and said, "If you know anyone who wants a job as a messenger, I'm looking for one." I was 30-year old, had a Master's Degree in Philosophy, two kids, and took the job as a messenger! That's how I got into film!
It was a film post-production house and, within ten months, I was Assistant Manager! Then, I quit that job for an assistant editing job. During that time, I crammed myself on film. I would work at night, synching up rushes or documentaries all over town, and got to know the young documentary film crowd in new York.
After that job, I drove a cab in New York for about three months, looking for a job in actually making a film. I finally got a chance on this small film that was being done by a 27-year old named Sean Cunningham. It was a small, homemade film, and I got the job of synching up rushes determined on the system editing, and it turned into a full-time editing job, and even some directing, because he was having a falling out with the film-maker that was working with him. We ended up finishing this film together.
The film came out, and made around $7 million. It had costed about $70,000. It was called TOGETHER, and very few people have heard of it, but it played all over the country for a summer. It was sort of like a sensitivity-training course for couples. It had a little nudity here and there. We all called it "Reader's Digest Sex". It was Marilyn Chambers' first film. She did a nude diving scene in it. But it had nothing beyond that. It talked about how to be more attuned to your huzsband's or wife's needs.
The releasors of this film, a small company called Vanguard, offered us $50,000 to make a horror film. Sean said yo me, "Why don't you write it, direct it and cut it, and I'll produce it. We'll do it for $40,000 and pocket the $10,000. We'll do it in three weeks." So, I went out and wrote the script for LAST HOUSE ON THE LEFT, and the reaction to it was so strong, because it was just a crazy, wild script! Our agreement was that we would just hold nothing back. We would do the most outrageous things we could think of. So I wrote this crazy sort of ribald comedy, horror thing. And we couldn't get it out of the mimeograph place! That was the first sign that we had something special: they were all passing around the mimeographs to read!
We went out and we made the film. We went over-budget, and Vanguard had to give us another $40,000, so we ended up doing it for $90,000 after all. When it came out, it was immediately a big hit, and it's still playing. It was a sort of phenomenon, and I've been directing ever since -- or trying to direct. (laughter)
Q: Why was it also called KRUG & CO on some prints?
WC: It's an interesting story about how an advertising campaign and a title can influence a film. Originally, the working title of LAST HOUSE ON THE LEFT was THE NIGHT OF VENGEANCE. When it came out, we didn't like that, so we did a big contest among all the friends and relatives, and we came up with three titles: SEX CRIME OF THE CENTURY, which is part of the conversation Sadie and Krug have in the car at the beginning, when Sadie concludes that the greatest sex criminal of the century was Freud, because he made everybody self-conscious about sex. We also came up with KRUG & CO, because Krug was the main villain. Finally, LAST HOUSE ON THE LEFT was a title suggested by an ad man, whom we all though was terribly off the wall for suggesting such a title, which had nothing much to do with the film.
They opened it up in three towns simultaneously, all with the same demographic profiles, but using different ad campaigns. What an ad campaign determines is, who comes out those first, crucial two nights to get the word-of-mouth going. The first two nights in the towns with SEX CRIME and KRUG, nobody came. And in the town where they had the LAST HOUSE title, and the ad campaign that said, "Keep repeating, It's Only a Movie!", a crowd came out. And the next night, there was double the crowd, and it just took off. So it was a very dramatic example of how a title change and an ad campaign can work. To this day, there are people who still remember the ad campaign. You can hear the audience repeating, "It's Only a Movie!"
Q: Had you had any ideas for scripts before?
WC: As I said, they gave us money specifically to do a crazy horror film. Before that time, when I graduated from college with a Bachelor's in English, I was sort of undetermined between a musical career -- I was playing guitar in some of the cabarets in Chicago -- and I also had been writing short story and poetry. I received a full scholarship to John Hopkins' writing seminars under a poet named Coleman, so I decided to do that. So I studied writing and philosophy at Hopkins, and got my Master's Degree.
Then, when I got out, I didn't know what I could do for a living. So, after someone suggested I teach, I did just that. I was very fortunate. I put in an application at a place and there were no openings, so I started a job selling rare coins in Baltimore. But then, some English professor in Pennsylvania dropped dead of a heart attack the day before the classes started! I got this telephone call, and they said, "If you come out right away, you can have this job!" It's the story of my life! So I jumped in an airplane and ended up in Pennsylvania teaching college.
Q: Other than for the fact that it got you in films, do you feel that LAST HOUSE was a worthwhile experience?
WC: Absolutely! It's funny because I would never have thought of going out and doing a horror film, but now, I can see through whatever set of circumstances and luck that I was well-suited to doing that. The horror film is a typical way for a young film-maker to gain entree into the film-making world. It is a kind of film that can be made on a low budget, and that can make a great deal of money.
As I look back over my entire life, I can see that I always enjoyed spooky stories, and I always enjoyed doing outrageous things. So I was indeed suited to doing that kind of film, although it would have never occurred to me, at that time, to actually do a horror movie on my own. I was trying to write very artistic stories and poetry. I was going in totally different directions, and not getting very far, and all of a sudden, somebody gave me a chance to do something that I never would have allowed myself to think about doing. Because I was totally anonymous at the time -- I was living in New York on a shoestring -- I figured I would do this picture and nobody would ever know I did it, or even go see it! So I just went crazy and did this really bizarre movie. And then, everybody knew that I had done it, and I became notorious for doing that kind of movie. It's kind of ironic how it all happened!
Q: Did you have fun making LAST HOUSE?
WC: Yes, we had a LOT of fun making it! It was all friends that did it. Sean Cunningham and I were friends by that time, and we shot most of it in the homes of either his mother or his own backyard. We used friends of ours as actors, so it was a very homemade fun family movie, in a weird sort of way. Compared to some other shoots that I've had since, it was relatively trouble-free. I believe the original was shot in three weeks, then we went back for a fourth.
At the time, I didn't know about storyboards. I was sort of feeling my way as a director. So, I did weird things, like drawing lines in the script, like "this shot is sort of smilar to that shot on this page", and I would draw lines until it was such a mess I couldn't follow any of it! I really didn't know what the established procedures were for organizing a film. We had it budgeted, and we knew we had a certain amount for props and costumes, but beyond that, there was very little organization.
I didn't have much of an idea about what a director actually did, beyond shouting "Action!" and "Cut!". My orientation was more in documentaries, because that was the type of films I had worked on during that first year in New York. So I covered a lot of LAST HOUSE as a documentary film-maker would cover an event. The scene in the woods, for example, where the girls are first taken in the woods, I covered three times continuously, never stopping the action. Just played the entire scene as an event, and I had the camera stand in three separate places in general, and follow the action, and then planned to cut it together later. That scene had a real spontanous feel, so we would rehearse it before hand, and then just do it.
As a result, the editing of LAST HOUSE took nine months because it was such a mess. I didn't know what a master was. I didn't know how a master and reading a close-up could be used together. All of these things, I learned by either shooting a lot of material and then, finding out later that I should have done something else, or by finding from experience what worked and what didn't. But somehow, in the end, it all turned out O.K.
Q: Did you have to do a lot of trimming down on LAST HOUSE because of the violence?
WC: We had requests from sub-distributors, people in other sections of the country, who said that this film was too wild to play. They were getting audiences, but the audiences were tearing up the theaters! We had reports of people faiting, threats of lawsuits, fist fights and near-riots. We had a case of people trying to get in the projection booth and the projectionist had to barricade himself in! (laughter) Wait! We had a case of half an audience leaving and cowering in the lobby! (laughter)
We had lots of cases of projectionists and theater managers editing the prints themselves with scissors. We would get the prints back in pieces in the cans. So we voluntarily took out several scenes, two of which I don't really miss because they were so outrageously painful to watch, and one of which I think really hurt the film.
In the murder of Phyllis, the first of the girls to die, my whole intention was to show murder in a film that was as I would imagine it to be, rather than as it was depicted in films normally at that time. That is, the person delivered the killing blow, and the victim died, maybe with a few gasps, but not always. They would never fight a protracted fight, and would suffer clearly in front of the camera. So I did that with Phyllis, and I carried it through all the way, and the people that were killing her then went into a sort of psycho-sexual frenzy, where clearly they were going beyond what they even thought they were going to do, and it ended with them realizing that they had partially disemboweled her, and reaching down and pulling out a loop of her intestine. That was the point where a lot of people fainted...
But that, to me, was the REALITY of murder, because at that point, their whole character changed, and they were suddenly sober and horrified by what they had done, and we had to cut that out. To me, now, that murder, as it stands, loses the whole climactic rhythm of that sudden realization. I think it gave the film a truth that was very painful to watch, but also very real.
Q: Was there anything about LAST HOUSE that you didn't like?
WC: Oh, yes! The comedy scenes. I think the cliches of the stupid rural sheriff and his assistant did not work. All of us, for years, were under the influence of IN THE HEAT OF NIGHT and the stupid Southern Sheriff. Some of the sound is also terrible: the scene in the old Cadillac where Krug and the others are riding along and do the bit about the Sex Crime of the Century, was one of my favorite scenes in the script, but you can't hear it, because we didn't know how to mike people, and how to make any post-production dubbing either!
Q: Did you feel able, after LAST HOUSE, to go out and be a director?
WC: Yes, but the phone never rang! (laughter) It was quite a period of time. Because LAST HOUSE was so upsetting to the Establishment, I think I had only one call in two years, even though commercially the film was a big hit. That was from the producers of LET'S SCARE JESSICA TO DEATH, a horror film of about the same period. But Sean and I went out and wrote scripts for quite a while after that. We wrote comedies, we wrote a script on Vietnam, we tried to get serious, but nobody would take us seriously. So, I ended up accepting an offer from a friend of mine to do THE HILLS HAVE EYES. By the time, THE HILLS was out, people saw that there was not only this wildman, but somebody who knew how to sit and direct. From that, I got on a television show, and from there to some more wide acceptance.
Q: How did HILLS happen?
WC: Someone came to me and said, "Let's do another LAST HOUSE." He'd waited and watched me for years, and he knew that I wasn't having any success getting out of the genre. So he said to me, "So it might not be what you want to do, but you need some money to live on." At that time, I was virtually broke.
The idea of the specific story was my own. I researched quite a while in the New York Public Library on murder and mayhem in general, and ran across a story of a weird family which lived in Scotland in the 17th Century. They were cannibals living in a cave overlooking the ocean, and they would way-lay travelers between London and some other town. The whole countryside got the reputation of being haunted because those that went in didn't tend to come out. Finally, a husband and wife were attacked on their way home, and the wife was grabbed, but the man escaped and saw the people. He went back to London and brought back help. They discovered a cave with this in-bred family of about 25 people, and vats of human bodies pickled in sea-water. This wild and crazy family was captured and dragged back to London, and executed in a most bizarre and uncivilized way. That was my inspiration for the family in HILLS, which lived on the Nevada gun-range.
Q: Did you have a much bigger budget to shoot HILLS?
WC: Yes, but with inflation, it ended up being just about the same. We spent about $230,000 and we shot for five weeks. We still shot in 16mm, but we had special effects, like we blew up a big trailer, which was very exciting to us. We had animals; we did some stunts, which we had an actual stuntman do. We actually did some fun things!
Interview © 1999 Randy Lofficier


When it first started airing, the main criticism leveled at Hyouka was that the mysteries didn't really have consequence to them, nor any particular reason or point to them. On the other hand, the (or at least one of the) aspects of the show its proponents lauded most was its characters. What surprises me about this is that no one seemed to see the correlation between these two statements.
|Gratuitous background screen capture for lack of a more relevant image.|
Simply put, Hyouka is a story about its characters. "Now hold on Sato," you might be saying. "This is a new low even for you. Saying any random, obvious garbage so you can publish a post to make up for your horrible negligence? Of course the story is about its characters! You know, like, every story in existence?" And you're right - but only half right. A story always involves its characters, yes. But not everything is about its characters. Take the Indiana Jones series, for instance. Those movies aren't so much about Indy's character, the arcs or changes he goes through (or rather, doesn't), or any kind of epiphanies he has. They're more about the adventure, the spectacle. On the opposite (or rather, a different) side of the spectrum, we have series like Hyouka, which are character stories.
Now, I suppose I should support that claim, but it seems kind of obvious to me. The only constants (i.e. always there) in the series are the characters. The types of mysteries and settings both change all the time, and there isn't really any overarching plot or narrative that holds the episodes together. But the series does have a story to tell, and there's clearly some kind of glue that holds the episodes together. After all, there is a sense of progression, and events happen in a chronological order (which is important, because references to earlier events are fairly common). Since the plot sure isn't doing it, then the only remaining possibility is that the characters do. Indeed, it's seeing how characters (particularly the protagonist Oreki Hotarou) react to and approach things that seems to be the main point of most episodes.
|Also, seeing where the bottoms of their giant anime eyes disappear to.|
But the reason that Hyouka is good, or even Hyoukay, isn't that it has these elements. It's that it has these elements, and it executes them gracefully. This isn't a show that hits you over the head with what it's doing. It's almost impossible to get through the entire first episode without realizing that Hotarou has a crush on Chitanda, but it's very easy to overlook all the little hints that make it apparent. That kind of thing is present throughout the show. You'll have a distinct feeling about something at the end of each episode, but you may not be able to point out exactly why. Typically, whatever hints the show is dropping, your brain is picking up even if you yourself aren't. Because of all this subtlety, the show manages to feel very "real" and underplayed, which makes for a nice change of pace.
Now, for all that, Hyouka isn't perfect. The biggest problem is that sometimes it gets a little too caught up in things other than the characters, namely the mysteries. I kinda like to view this series as a romantic mystery show, like a romcom but instead of comedy it has mystery. The reason I bring this up is that I think it explains the problem nicely; like a romcom that has too much comedy (or too much romance), Hyouka has too much mystery. Now, the series tends to rather cleverly use its mysteries as a catalyst for the character stories, but unfortunately there are times when the mysteries just get in the way.
Still, the good outweighs the bad, and even when bogged down in seemingly-inane mystery solving, Hyouka manages to remain at least somewhat entertaining with it's strong visuals and clear presentation. My point is, though, that you shouldn't think mysteries are all Hyouka has to offer. Certainly, it fits the genre, but it shines far brighter as a character story than anything else, and it shouldn't be mistaken as having no purpose because of that.
Draggle's First Impression of the series from when it first aired covers some of the specifics of that subtlety I'm talking without spoiling too much.
Snippettee wrote a fine piece (also a while back) that briefly touches on the realism of the show that I mentioned, but mostly focuses on the mysteries themselves.


LEGO Marvel's Avengers is the spiritual successor to 2013's LEGO Marvel Super Heroes but this time, it's sticking to the Marvel Cinematic Universe in what I found to be an enjoyable experience that is held back from reaching "True Believer" status.
While LEGO Marvel Super Heroes told an original story that had decades of comics to back itself up with, LEGO Marvel's Avengers pulls directly from the Marvel Cinematic Universe. The story primarily covers the plots of The Avengers and Avengers: Age of Ultron but also includes sections based on Captain America: The First Avenger, Captain America: The Winter Soldier, Thor: The Dark World, and Iron Man 3. After finishing the main story I was rather displeased by it. It does a faithful retelling of the movies but what disappointed me about this was how soon it was over and how much was glossed over.


Two Free Screenings of “Coco” on March 17 at Images
Two FREE screenings of Coco, the latest animated classic from Disney Pixar, on Saturday, March 17 at 11 am and 2 pm at Images Cinema!
Box office will open at 10:30. Tickets will be available first come, first served. (Images Cinema is located at 50 Spring Street in Williamstown, MA.)
Young Miguel dreams of becoming an accomplished musician like his idol Ernesto de la Cruz, despite his family’s generations-old ban on music. Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead. After meeting a charming trickster named Héctor, the two new friends embark on an extraordinary journey to unlock the real story behind Miguel’s family history.
“It’s a whimsical, touching and heartfelt celebration of Mexican traditions and folklore, and it’s one of the more original stories the acclaimed animation studio has told in years.” — The Dallas Morning News


Eyes Like Stars, by Lisa Mantchev, is such a delightful read. It takes us into the world of the Théâtre Illuminata, where the characters from Shakespearean classics come alive!
Welcome to the Théâtre Illuminata, where the characters of every play ever written can be found behind the curtain. They were born to play their parts, and are bound to the Théâtre by The Book–an ancient and magical tome of scripts. Beatrice Shakespeare Smith is not one of them, but they are her family–and she is about to lose them all and the only home she has ever known.
For those of you who love fantasy, this is a book for you! For those teachers who are trying to teach their students about Shakespeare, this is a PERFECT teaching tool! There’s something for everyone.
Kudos to Lisa Mantchev!
Live, Love, Learn,
The Write Teacher


January 3, 2018
and weave it on a loom
of smoke and gold
of smoke and gold
The image is from Robert Altman’s McCabe & Mrs. Miller released June 24, 1971. It’s gorgeous Julie Christie toking in an opium den.
Film Facts 1
- Carpenters for the film were locals and young men from the United States, fleeing conscription into the Vietnam War; they were dressed in period costume and used tools of the period, so that they could go about their business in the background, while the plot advanced in the foreground.
- For a distinctive look, Altman and Zsigmond, the cinematographer, chose to “flash” (pre-fog) the film negative before its eventual exposure, as well as use a number of filters on the cameras, rather than manipulate the film in post-production; in this way the studio could not force him to change the film’s look to something less distinctive.
- Pauline Kael wrote: The classical story is only a thread in the story that Altman is telling…The people who drop in and out of the place—a primitive mining town—are not just background for McCabe and Mrs. Miller; McCabe and Mrs. Miller are simply the two most interesting people in the town, and we catch their stories in glimpses, as they interact with the other characters and each other… Lives are picked up and let go, and the sense of how little we know about them becomes part of the texture; we generally know little about the characters in movies, but since we’re assured that that little is all we need to know, and thus all there is to know, we’re not bothered by it. Here we seem to be witnesses to a vision of the past.
- The three Cohen songs used in the film were The Stranger Song, Sisters of Mercy and Winter Lady. (The title is from the chorus of Winter Lady.)
- Altman had Lou Lombardo, the film’s editor, use the music to maintain a rhythm for the film (in effect using it as a “temp” track). He later said, “I think the reason they worked was because those lyrics were etched in my subconscious, so when I shot the scenes I fitted them to the songs, as if they were written for them.”
- Scott Tobias wrote in 2014 that The film is unimaginable to me without the Cohen songs, which function as these mournful interstitials that unify the entire movie.
- Julie Christie’s performance was nominated for the Academy Award for Best Actress. Vilmos Zsigmond’s cinematography received a nomination by the British Academy Film Awards, and the film’s screenplay garnered a Writers Guild of America nomination. Greeted with muted praise upon release, the film’s reputation has grown in stature in the intervening years.
- In 2010, McCabe & Mrs. Miller was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically or aesthetically significant”.
1 The information in the Film Facts came from Wikipedia.


Top Worse movies of 2017
Written by lmbroots on December 29, 2017
This is some of the worst movies of 2017 not all of them that I thought I here but I do agree with most of the movies that I’ve been mention this video. There is no what you think?
Also let us know which are the words move it in your list of 2017 that you believe were supposed to be included in this video


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Actress & Filmmaker
For 18 years I have been a professional diver in Germany as well as in college in the United States. I started acting at the age of 15 with the movie "Stopped on Track" by Andreas Dresen. This won the German Film Award for Best Feature Film in 2012.
Since then I have been in two feature films directed by Axel Ranisch and several short films at the German Film and Television Academy Berlin (DFFB) and at Bowling Green State University.
Starting Fall 2016 I studied Theater with a specialization in acting/directing and a minor in film studies, in Bowling Green, Ohio.
I finished my Bachelor of Arts in Communication (B.A.C) degree in May 2020 and worked on my Master of Arts in Theater until Summer 2021. Part of my studies included a Graduate Assistantship in the Universities Scene Shop, where I build scenery and supervised undergraduate students.
Starting Fall 2021 I decided to pursue a Master of Fine Arts in Film at Ohio University which is:
"A professional three-year program of study for talented individuals seeking advanced training in directing, screenwriting, producing, cinematography, editing and motion picture sound with a solid background in film history, theory, and criticism."
During my first year at Ohio University’s School of Film, I directed two short narrative films, filmed one short documentary, assistant directed three other shorts and was the assistant camera on two narrative short filmsl.


Movies And The Theaters
Written by: Kevin Cresswell
So I have been wondering about this for awhile now. Why is it that when you go see a movie it states that it starts at 6:55 but it never does…..
So every time you go see a movie you get there about 15 minutes early to get your tickets and refreshments and then go get a seat expecting the movie to be starting soon.
But alas you still have to wait for it to start because now you have to go through all the previews for the new movies that are out or are coming out soon which is the same thing that they were showing 30 minutes prior to the supposed start time of the movie and not to mention the advertisements and trivia that they show as well.
If they do that then why is it that they don’t state that the movie will be start 15 to 20 minutes later then what they said it would be? A movie that they say will be 2 hours long from start to the end of the credits ends up being almost 2.5 hours instead.
Back when I first started going to the movies the movies always started at the displayed times and all other previews for movies were playing before the movie actually started and there were no commercials or such that were played before hand (Exception to this rule were and I think are still Drive-In theaters; I wish they were still around and in use), But then again back then movies were good and had plots and were really enjoyable and cheap.
Also almost like everything else theaters have been increasing their pricing on admissions and concession costs even though their cost for the movie (‘s) have not gone up enough to justify the price increase that the public has to pay to see the movie (‘s).
For 1 person to go see 1 movie and get popcorn and a drink and lets say skittles you will be paying $25 (Per person minimum) but yet the drink and the popcorn are all bought in bulk and the candies are bought in wholesale; So there is no way that the high cost can be justified with the exception of greed by the company (which they say is they are doing it for their stock holders, which I can see but it is more for the CEO’s pay cheque than anything else) that you are dealing with to see the movie.
So why is it that these companies charge so much for us to see a movie?. The company is the one that decided to make the huge theater and put in all the extra lights and electronics in the theater not us the paying customer.
Take a look at the theater next time you get a chance to, you will see that the entrance area has a high ceiling that they have (Large light and heating cost due to the extra room to light and heat), Then if you also notice not all theaters are in use at all times, yet they have it lit up even though no one is in there. Some movie theaters even have separate hallways leading to other theaters that are normally used for big movie releases and sit dormant for some time, but yet they still have to heat them and have lights on in them.
So in conclusion I do not understand why we as the paying consumer put up with the high cost of seeing 1 movie as we do now.


—(1) This Act shall not apply to —
any film sponsored by the Government;
any film, not being an obscene film or a party political film or any feature, commercial, documentary or overseas television serial film, which is made by an individual and is not intended for distribution or public exhibition; and
any film reproduced from local television programmes and is not intended for distribution or public exhibition.
(2) The Minister may, subject to such conditions as he thinks fit, exempt any person or class of persons or any film or class of films from all or any of the provisions of this Act.
(3) An exemption granted under this section may be withdrawn at any time.


- This event has passed.
Friday Film Club
18/02/2022 @ 7:30 pm - 10:00 pm£5
The Last Duel (18)
From Twentieth Century Studios and visionary filmmaker Ridley Scott comes “The Last Duel,” a gripping tale of betrayal and vengeance set against the brutality and female oppression of 14th century France. The historical epic, which is based on actual events depicted in “The Last Duel” by Eric Jager, stars Oscar® winner Matt Damon and two-time Academy Award® nominee Adam Driver as quarreling lords, both of noble birth, whose grievances must be resolved in a duel to the death. The film, which also stars Oscar winner Ben Affleck and Emmy® winner Jodie Comer, is directed by four-time Academy Award nominee Ridley Scott from a screenplay by Ben Affleck, Matt Damon, and Oscar nominee Nicole Holofcener. “The Last Duel” is produced by Scott, Kevin Walsh, Jennifer Fox, and Holofcener with Damon, Affleck, Madison Ainley, Drew Vinton, and Kevin Halloran serving as executive producers. 20th Century Studios
Doors and bar open at 7:00pm
Adults £5.00/Young Persons £3:00
Please note – Whilst Covid restrictions are still in place, you will need to wear a mask in the hall (except whilst drinking during the interval) and we ask you to use the hand-sanitisers provided.


The Qualicum Beach Film Festival was created to bring community together through the art of film. The festival was founded by high school student and filmmaker Saffron Bisiker for her high school capstone project. We are committed to presenting a diverse and inclusive program that is appropriate for all audiences.
Date & Time
March 12, 2023
Doors open at 1:30 pm
Show starts at 2:00 pm
The Festival’s Program
Qualicum Beach Civic Centre:
747 Jones St, Qualicum Beach, BC V9K 1S7
Saffron is a filmmaker from Vancouver Island, Canada. Born in Calgary, Alberta, her family moved to Vancouver Island when she was one. Saffron began her career in the performing arts at the age of five, appearing in local plays around Qualicum Beach. At the age of twelve, she shifted her focus to film and TV, taking several film and acting classes in Nanaimo. Since then, she has directed, written, and produced several films, including the World War II short film We Are Just Soldiers and won the CineCentral's Best Film award for her one-minute short film Karen, which she worked on with her best friend. Saffron is excited to host the Qualicum Beach Film Festival and looks forward to seeing you there.
Submit Your Film
The Qualicum Beach Film Festival takes film submissions through FilmFreeway
Submissions closed February 10, 2023 at 11:59 pm


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Eco Friendly Dahi Handi (Krushna Janmashtami) Festival 2017 was organized in association with IDEAL Book Company and MPCB. In this program, anti-noise pollution awareness rally was organized by famous Marathi film industry celebrities on the Open Deck Bus Service of Best Transport Service. Notable film and TV celebrities were present at this rally. On the eve of Dahi Handi, this rally was organized in the presence of street-play celebrities in Dadar, Lalbagh area. Eco-friendly Dahi Handi was smashed in the presence of young celebrities from Zee TV and ETV. At the time, in front of Chhabildas High School in Dadar,Mumbai the noise-free eco-friendly Dahi Handi was smashed along with celebrities from the film and theatre industry.
ऑगस्ट २०१७ इको फ्रेंडली दही हंडी (कृष्ण जन्माष्टमी) महोत्सव २०१७ आइडिअल पुस्तक कंपनी आणि महाराष्ट्र प्रदूषण नियंत्रण मंडळ यांच्या संयुक्त विद्यमाने आयोजित करण्यात आला होता


Now one of Europe’s most iconic film-themed events, Film Fest Gent was established over four decades ago and takes place in October at venues across the city. The theme of 2017 highlights the beauty, darkness, depth and richness of Italian cinema.
10 days of films might sound like a lot, but Film Fest Gent is about much more than just movies. Film music also takes its place in the spotlight, as the festival organizes the World Soundtrack Awards – considered among the most prestigious in the world. This year’s edition celebrates the influence of jazz on cinema to mark the 100th birthday of the genre.
Augmented by Barco technology
Whether you’re a film lover or a music lover (or both), you’re sure to find plenty to do and see at Film Fest Gent. If you happen to find yourself seated in one of the theater halls of Kinepolis Ghent to enjoy one of the 140+ screenings, you’ll get to experience the full vivid effects of Barco projection technology. Barco has been teaming up with Kinepolis for many, many years to provide Kinepolis visitors with the best possible movie experience.
Passionate as we are about movies, we are honored to play a part in the 44th edition of Film Fest Gent – just like we did in previous years. We are looking forward to seeing you there in front of the silver screen, powered by a Barco laser projector!


RMITV is RMIT University’s very own television production house, funded generously by the University in conjunction with RMIT University Student Union (RUSU). RMITV is dedicated to providing hands on television experience to students. We produce content to be broadcast on Channel 31 Melbourne and have helped many students find their way to careers in the television industry.
We are also one of the founding members of the Melbourne Community Television Consortium; the not-for-profit consortium that operates the community access channel Channel 31 in Melbourne. We also work to provide opportunities to members of the local community wanting to get involved in television production.Read more
Your Career Starts Here
Our list of alumni shows that RMITV is highly regarded in the film and television industry. Many of our past crew members have progressed to the industry gaining employment at all major networks and many feature films.
This video interviews industry supporters of RMITV. Watch for appearances from employees from Network Ten, Australian Film Institute, and YouTube.


Eva Longoria hit the Cannes Film Festival on Saturday however the weather wasn't the only thing that got a little wild on the red carpet. A rainstorm put a damper on the French film fest making it difficult for stars to walk the red carpet without getting soaking wet. Eva Longoria experiences the wet weather first hand, while attending the "Jimmy P.: Psychotherapy of a Plains Indian" premiere the petite actress had to drag her floor length gown to avoid getting the hem soaked.
Eva's sea foam green Atelier Versace gown featured an open back and a dangerously high slit, however it was Eva's personal alterations due to the rain that were shocking. As the 38-yerold actress made her way to the red carpet she hiked her gown up however she pulled it up a tad to high, exposing far more than just he upper thigh.
And while I understand that Eva was attempting to save her hemline and probably a bit flustered from the rain, I am still grappling with the though that she wears a thigh high slit with no undergarments. It seems that Eva has not learned from her mother most recent wardrobe malfunction when earlier this year at the Golden Globes Eva literally fell out of her dress with an incredibly low neckline.
Eva was bravely able to laugh off her most recent wardrobe malfunction; the actress took to twitter to assure fans that on Sunday she would not be experiencing any wardrobe malfunctions.
Here's my dress for tonight! No wardrobe malfunctions tonight!!! say.ly/oyB5Reo
— Eva Longoria (@EvaLongoria) May 19, 2013


Shari Mahrdt is a creative producer at Unframed Productions, a production company she founded with Melina Voss and Shannon Getty, focusing on developing series concepts with diverse writers exploring unique, unheard stories. Her focus lies in creation, packaging, creative producing and overseeing all internal operations of the company. She’s currently developing a drama comedy series (8 x 30’), which was selected as one of the eight most promising, high-end, international series to watch at the 2018 Seriencamp Co-Production Sessions.
Women's Film Network Berlin
The initiative for Unframed was born out of the Women’s Film Network Berlin that Shari started with Shannon Getty. With 4,000+ members, its Germany’s fastest growing network for female filmmakers from all over the world. With regular meetups, events, screenings and an active online community it fosters dynamic, new, and underrepresented voices in film and television.
Shari moved to Berlin five years ago to be the in-house videographer at an international female health and technology startup where she produced 50+ documentaries, commercials and short films. Before that she has worked at several other high profile VC-backed, technology startups in San Francisco, CA and Austin, Texas. Shari is originally from Germany but grew up in Singapore, Sri Lanka and Malaysia.


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All donations support the making of this film.
Our fiscal sponsor, HAVEN, is a nonprofit serving survivors of domestic violence through intervention services, including a shelter, 24-hour support line, legal advocacy and counseling, as well as empowering programs for survivors. Our partnership with HAVEN, makes any contribution tax exempt.
Every dollar counts. Thank you!
Want to skip PayPal transaction fees? Checks can also be sent to HAVEN
- Mail to HAVEN // P.O. Box 752 // Bozeman, MT 59771
- Make checks payable to HAVEN
- Please include Rewind to Fast-Forward in the memo line
Rewind to Fast-Forward has become bigger than I ever could have imagined. The success of the Kickstarter campaign was tremendous. I received thousands of personal messages from survivors around the globe and was contacted by Academy Award Winning industry professionals who want to help make this film the best it can be. The reality that a single three minute, thirty-eight second video could inspire such unwavering support opened my eyes to the true potential of this film — to connect, bring hope, and initiate positive change.
With that in mind, I’ve committed, in every step of production, to making this the best film possible. While the original plan was to edit this film in house, I realize now more than ever that I need to be patient, raise more money, and incorporate a team of the highest caliber in the making of Rewind to Fast-Forward. This will include hiring an editor with a wealth of experience in telling complex stories that weave archival footage with the present and working with a composer and sound design team that will make the film (especially in a theatrical viewing) come to life just as much through dynamic sound as with compelling imagery.
If you are interested in becoming a co-producer or co-executive producer of Rewind to Fast-Forward, please contact us for specialized donation information.
Together, we really can open a gate to healing for millions of people, children and adults alike.
Sasha Joseph Neulinger


India Currents gave me a voice in days I was very lost. Having my articles selected for publishing was very validating – Shailaja Dixit, Executive Director, Narika, Fremont
MAUSAM Director: Pankaj Kapoor Players: Shahid Kapoor, Sonam Kapoor, Supriya Pathak, Anupam Kher. Music: Pritam. Theatrical release: CinergyPictures, Religare
The first Mausam (1975) had the creative Gulzar at helm and starred stalwarts Sanjeev Kumar and Sharmila Tagore. The actress, who till had been known more for an affected style of delivering her dialogues, bloomed under Gulzar’s sensitive touch and went on to win the National Film award for Best Actress award that year.
After 36 years, celebrated actor Pankaj Kapoor, well-known for his masterful portrayals as the eponymous Maqbool(Vishal Bhardwaj’s interpretation ofMacbeth) and the cocky detective Karamchand on television, has picked up the reins of direction of the new Mausam, a period film which transports us from the lush fields of Punjab to the ballrooms of Scotland with poetic ease.
Spanning the years between the turbulence in Kashmir in 1992 and the present,Mausam is an interesting juxtaposition of love blooming in the backdrop of communal and racial hatred in India and the world.
Aayat (Sonam Kapoor) comes with her aunt (Pathak) to the peaceful village of Mallukoot in Punjab when communal riots began tearing her homeland of Kashmir apart. She is wooed relentlessly by the mischievous Harry (Shahid Kapoor) who falls for her at first sight. The love story barely picks up steam when fate intervenes and they separate, only to meet years later in Scotland. They pick up the threads of their love story till, once again, fate steps in.
The beauty of the movie is that it is an unadulterated love story after a long time on the Hindi screen. And what makes it a compelling watch is that the crests and troughs of this love story synchronize with the worst cases of communal disharmony in recent memory. They meet for the first time due to terrorism in Kashmir and from then on the Babri Masjid incident, Mumbai bomb blasts, Kargil, 9/11, and finally the Gujarat riots, all become turning points in their story, with a message of love triumphing over hatred. The recurring motifs of trains and large cement-pipes work well and take us to the Raj Kapoor and Rajesh Khanna era.
A word about the performances—this is quite possibly the best Shahid has ever done. His progression from an irrepressible village boy with a passion for racing against trains and a knack for sneaking free lunches and rides to a serious fighter pilot and a forlorn lover is very credibly done. Sonam is good as the giggly girl but just about adequate as the grown-up undergoing various upheavals of life. One wishes that veteran actor Kher had a more substantial role.
Pankaj Kapoor and his cinematographer Binod Pradhan have captured a Punjab very unlike the swaying mustard fields a la Yash Chopra. This Punjab is peopled with delightful but true-to-life characters, whether it is the vitriolic tai or the forgetful but belligerent chief.
Kudos to the director for this very lifelike environment and its people. One deft touch which tells of the existing camaraderie is that no territories—not even boundary walls—are shown in this village where all live as one family.
Another strong point of the films is its music. It has been a while since we had had a whole album this good. Pritam manages to cock a snook at his detractors by making Mausam one of his best. From the opening strums of the acoustic guitar in “Rabba Mein Toh Mar Gaya Oye” Shahid Malliya is gorgeous. The rustic dholak beat works beautifully with the very modern sounds of the guitar. Malliya’s range can be gauged by the reprise track, later on in the movie, which speaks of love and loss equally evocatively.
Made with a lot of love and affection, the only drawbacks of Mausam are its length, the unfortunate lack of chemistry between the lead couple, and some irrelevant sequences towards the end.
All in all, a worthy first attempt by the debutant director. Here is looking forward to more from you, Mr. Kapoor!