Everything is going wrong lately. No matter what she does, everything is going wrong. She is thrown out into the ocean, so far from the shore. She doesn’t know how to swim, and she is drowning. (Imagine that—a Pisces who can’t swim!) She keeps on kicking and trying and flailing her arms, but she is unable to save herself. She thinks, nobody here is to save me.
Suddenly she misses him fiercely, so fiercely. Out in the water, the cold is wrapping itself around her body and her mind tries so very hard to fight back, but everything is against her. Losing a job. Losing a loved one. Losing herself. Losing her mind. For a moment, she saw the beauty of it, this thing that could kill her, and suddenly she wanted so badly to meet it, to embrace it, to go away with it and never return.
But she is jolted back to violence, to things spiraling out of control, to a series of unfortunate events that she has no power over.
She cries a lot. Yes, she’s a mega crier. Why can’t I be like other women, she often hears herself say sadly. Women who never cried. Women who can tell people to fuck off and mean it.
Times she’s cried:
- When dogs die in the movies
- When someone else cries in front of her
- When she’s given an unexpected gift
- When someone hurls hurtful words her way
- When she’s very angry and loses her language
- When she sits outside and the moon is perfect and there are no clouds
- When she thinks about what else she could have done
- When she believes she is not worth it, nor worth a lot
- When Pavarotti sings
- When Max Richter plays
- When she sees a tender gesture, like knuckles on a cheek, or a hand on the small of a back, or a tiny kiss on the corner of a mouth
- When her wrists hurt
- When she eats hot soup on a cold day when her joints ache and she is feeling sick
- When she has a nightmare
- When she is told she is a good girl
Yes, she’s a fucking crier and she knows this always makes her look like an idiot. She knows it’s not an attractive look on her, too. She knows it doesn’t gain her respect, especially amongst other people who think having feelings is a weakness.
Yet when the wind plays with her hair, when the sunlight kisses her toes, when he says, You’re beautiful, and when he says right after that, You’re not allowed to cum today—trust that she will take deep breaths, trying to centre her being, the tears almost to the surface.
She’s always been difficult, she knows that. And she can’t seem to make people stay. People always walk away just when she needed them the most.
She always says or does the wrong thing. Oh, yes, she’s always awkward. When she writes, the awkward girl always gets the guy—but she knows real life is different. In her head, her man will always want her, will find her awkwardness endearing, perhaps even adorable, will always need her softness.
She lives in her head most of the time, swimming with words. That is part and parcel of why he’s here, looking at her, seeing her for who she truly is. How can he tell her that he wants to protect that part of her? That he relishes her world instead of loathe it, that he wishes he can follow her to the deepest forests of her imagination, where he’ll surely find her, naked and free?
He wants to be there kneeling before her, experiencing the depths of her abandon—but he can only nurture that side of her, and herself. He wants to do the little things that will allow her to do more of what she’s meant to be doing, to let her roam her interior self and get lost, go on adventures, discover more words and worlds. And when it’s time to come back, he will be there to call her name, and the intense satisfaction he feels when she follows his voice, to resurface back again, back to him—is a heady feeling like no other, immeasurable and beyond price.
He knows she will be writing about him. For now. For always. And he will damn make sure of it—he will make it his mission to give her something to write about, but not only that, to write about him specifically, in many faces, in many bodies, in many universes.
He likes that certainty—how even while preoccupied in her head she’s thinking about him, wondering about him, mooning over him. He is her tether, and her words will tell him how she knows that she’s attached, that he is her one fixed point, that she loves him so consummately there is no end, he has never left.
Simply put, his job is her. She is the job. His responsibility is to protect and take care of his sub, his babygirl, to make sure that she is growing as a person, that her heart and soul is nurtured, and that her spirit is strong.
He also needs to keep her safe, even from herself, especially since she is very good at giving herself heartache. He loves teaching her discipline and submission—he loves the way she obeys, cherishes the way she yields. When she utters, Master, breathless and begging, it takes a lot of his strength not to mark her body with his cum.
He loves her independence and her tenacity to get things done. Her stubbornness amuses him but also endears herself to him—when she still tries despite the uncertainty, when she forges ahead knowing it can get disastrous, he wants to be there, hopeful things will go well but also excited to see how she will deal with the consequences.
He likes it when she allows, even needs him to help her. As her Daddy, he wants to be able to do things for her, too, but he can’t deny he is damn proud each time she ends up helping herself. But Lord help him if it doesn’t make his cock go hard when she comes to him for decisions, wanting to hear his opinion, believing he is making the right choices for her. Whether he’s telling her not to wear any panties for the day, or whether to stop working and get some sleep—each time she listens he wants to fuck her until she she can’t walk, until she cries, Daddy, and asks for kisses, always kisses.
She is often taking care of others. It’s no surprise that she forgets about herself. It is captivating as much as it is frustrating. She damn well needs a keeper, and he knows that person is him.
To his delight though, she has a circle of people who care about her, too, and that makes him feel good, because he knows she is not even nearly alone as she thinks she is. His little girl is loved.
He cannot stand it when she cries, or when she says bad things about herself. Whenever she thinks she’s not beautiful, all he wants to do is press his hard cock against her belly so she’ll know without a doubt that she lights his entire being on fire.
He wants to spend hours and days and weeks driving himself deep inside her, marking her womb with ropes and ropes of his cum so she’ll know she’s his. So she’ll remember that she belongs to him. He wants to drive every little hurtful memory away with something good, to make her pant with desire, to keep her thighs open and wet.
And when she gets that cadence in her voice that tells him she’s back there again, the one that makes her gaze soft and her eyes sad, he will tell her to get the paddle, and she will get ready, no questions asked. She should know by now that he will never allow her to get hurt again, especially when they are together. When she’s with him, he wants all of her—her eyes for him, her body for him, her pussy, her ass. Her mind. Her heart.
And if she dares to retreat, if for one second she even thinks of running away, because it’s easier, because she thinks it’s for the best—he will come looking.
He knows that she is not as open and not as bold in the presence of others. He knows how shy and demure she can be, sometimes too hesitant, too reluctant. But oh, how she blooms in his hand, his little flower. When she moans please please please let me cum, when she whispers spit in my mouth, he could cum right there. The satisfaction he feels knowing she is only like that for him—it’s potent, it’s heady, and worth it, so worth it, to be able to coax it out of her.
He wants her to think of nothing else but him. He wants to silence all the voices in her head that told her she wasn’t worthy. He wants her to look at her body and believe she is wanted and desired. Every god in the universe and the next help him, because he will fuck her so deep she will no longer remember what it feels like to be without him.
So yes—as long as he is here, she will never flee again. To have her never resurface would be catastrophic.
He wants her to hear him say over and over: Mine. Mine. Mine. He wants her to walk around with his seed deep inside her body, or on her. He wants her smelling of him, telling anyone who even dares that she’s taken. He is her owner—her neck looks good with his hands or a collar around it.
He knows what he wants and it’s her, in all her softness. He will lead, and she will find that deep strength in her to yield and follow.
But dammit, how she forgets sometimes. This is when he thinks about punishment. He doesn’t want to hear her belittle herself or diminish her own value, he simply will not allow it. When she pulls herself apart to pieces, he will spank that storm out of her, until her ass is red with his hand, until she truly understands that she is desired.
Because she revels in the good kind of hurt—his own little pain slut—he looks forward to the heat of her skin when her ass repeatedly meets his palm. He will make her understand that the world inside her head is not the only space where she can be herself, where she will find acceptance for who she really is.
This world out here? Yes, this shitty place with shitty people and shitty circumstances—she can be here too. She has a space, and it is right beside him. In his arms is where she truly belongs, or under his body, or on his lap, grinding on his cock. Beneath his mouth, and with his hands in her hair—that is her place. Kneeling before him with her mouth open—that is her place. Snuggled right beside him—his little spoon—that is her place. With her body trembling, her nipples in his mouth, his name on her lips—that is her place. With the neighbours hearing her moan, with his fingers inside his cunt under the table, with his teeth on her neck—that is her place.
He is the Master of her pussy and he wants her to know, deep in her marow, that she is wanted. Now and always.


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POSTED AT 04:57 AM 11-10-2017
Padmavati Trailer: Breathtaking And Magnificent Visuals Unveil An Epic Love Story
The trailer for Padmavati was released on Monday and it has created quite a storm in B-Town. Garnering appreciation from all corners, this star-studded film has blockbuster written all over it already. Extravaganza fitting of Rajput glory explored in the much-awaited trailer of director Sanjay Leela Bhansali's magnum opus Padmavati and it promises a powerful film. The trailer was released exactly at 13:03 on 09th October and the time frame came with its own significance as it was in 1303 AD that Rawal Singh first fought Khilji and the makers wanted to pay homage to the glorious era.
The film features Deepika Padukone as the titular character; Rani Padmini, Shahid Kapoor as Maharawal Ratan Singh, Ranveer Singh as Alauddin Khilji and Aditi Rao Hydari as Kamala Devi. The film score is composed by Sacnhit Balhara while the songs are composed by Sanjay Leela Bhansali.
Aishwarya Rai and Salman Khan were Bhansali's initial choice for the roles of Rani Padmini and Rawal Ratan Singh, however they refused to share the screen together. Media speculated that many leading Bollywood actors including Shahrukh Khan refused to act in the film because of its woman-centric title.Padmavati ran into trouble with fringe groups after reports that there would be a romantic dream sequence between Rani Padmini and Alauddin Khilji in the film. Further, Sanjay Leela Bhansali was attacked by the Shri Rajput Karni Sena earlier this year for 'distorting' history.
The film is a fictionised tale of the life of Rani Padmini, a legendary Hindu Rajput queen, mentioned in Padmavat. According to Padmavat, she was the wife of Rana Rawal Ratan Singh, the Rajput ruler of Mewar. In 1303, Alauddin Khalji, the Turkic ruler of the Delhi Sultanate, laid siege to the Chittor Fort in Rajputana. According to Padmavat, Khalji led the invasion motivated by his desire to capture Rani Padmini. Rani padmini committed jauhar( self immolation) to protect her honour.
In Malik Muhammad Jayasi's Padmavat (1540 CE), Padmavati was the daughter of Gandharv Sen, the king of the Sinhala Kingdom (Singhal kingdom).
Like Sanjay Leela Bhansali's previous films, Padmavati is expected to be a visual delight. SLB's much-awaited period drama 'Padmavati' is scheduled to hit the screens on 1 December 2017.


Michelle Krusiec, pronounced “kroozic,” also known as 楊雅慧 (Yáng Yǎ-Huì) is an American film and stage actor of Taiwanese descent. In 2005, Ms. Krusiec’s work in the film Saving Face earned her a Chinese language Oscar Best Actress Nomination for the Golden Horse. The romantic comedy, starring Joan Chen and Ms. Krusiec, as her closeted lesbian daughter, won a Golden Horse Audience Choice Award.
Ms. Krusiec began her professional career at the age of twelve, when a local talent agent first spotted her. She has since traveled and worked all over the world, including her native country of Taiwan. Performing bilingually in English and Mandarin, Ms. Krusiec debuted in the west coast and international tour of David Henry Hwang’s acclaimed play Chinglish. Both a physical comedienne and an emotional heavy hitter, Ms. Krusiec’s credits display a range few actresses of her generation possess, spanning over one hundred fifty films, episodic and stage productions.
See her FILMOGRAPHY.
At an early age, Ms. Krusiec was enrolled in Virginia’s gifted and talented program which culminated in her attendance at the Virginia Governor’s School for the Arts in Theatre. She won a Theatre grant to attend Virginia Tech University where she graduated Cum Laude with a Bachelor of Arts Honors degree in English and Theatre. Ms. Krusiec also studied at Oxford University as an English Union Scholar. In 1998, Ms. Krusiec began master studies with acting teacher and mentor Larry Moss. Mr. Moss is credited for advancing Oscar and Tony nods and wins for Leonardo Dicaprio, Helen Hunt, Hillary Swanke, Sutton Foster among others. In 2011, Ms. Krusiec completed the UCLA Professional Screenwriting Program.
In addition to Theatre, Michelle studied Ballet, Modern and African dance with former Dance Theatre of Harlem principal dancer Carol Crawford Smith. She has trained in Suzuki with Will Bond of Siti Company, Open Source with Stephanie Skura and is a proud member of The Gravity Project. Other forms include Viewpoints, Spolin, Clowning, Improvisation Long and Short (UCB), Lucid Body and Contemporary dance.


When we meet the hero of the stirring Australian movie Shine, we don’t know quite what to make of this odd, tic-ridden, chattering misfit who stumbles into a wine bar from a pouring rain. Is this bespectacled, chain-smoking middle-aged man one of the homeless? A madman? Is his whirring, strangely jaunty energy benign or malignant? Who is this guy, the bar’s nervous staff wonders. So do we.
His name is David Helfgott, he’s famous here in Australia as a concert pianist, and “Shine,” which is based on true events, tells a remarkable story. The movies have always been fond of tales of real people overcoming adversity, but with notable exceptions, such as “My Left Foot,” they often come out mawkish and banal. Director Scott Hicks’s movie, which was received with a standing ovation at the Sundance Film Festival last January, has a lot of advance hype to live up to. A great film? Perhaps not. But a rousing, stylish and extremely well-acted one that, thanks to its vividly unconventional protagonist, pumps fresh blood into a conventional formula.
As a child in Adaleide, Helfgott (first payed by 7-year-old Alex Rafalowicz) is pushed hard to perform by his father, Peter (Armin Muller-Stahl), a Polish Jewish refugee who lost his own mother and father in the Holocaust. As David matures into a teenage prodigy (the gifted Noah Taylor), his domineering father’s love turns harsh and suffocating: he forbids his son to study in America, for fear of losing him. Mueller-Stahl’s portrayal of this authoritarian father is masterful – he’s an ogre whose demons are fully understandable. David finally rebels, but at a terrible psychic cost. He flees with a scholarship to the Royal College of Music in London, where his talent is unleashed by his professor (John Gielgud, in fine form) but where this obsessive, guilt-ridden boy’s grasp on reality begins to unwind. In the midst of a performance of the Rachmaninoff Third, he collapses in a nervous breakdown.
The David we first saw in that wine bar – the hyuper, jabbering David who returned to Australia, went through various institutions and didn’t touch a piano for years (his doctors feared it would over-excite him) – is played by a riveting Australian stage actor named Geoffrey Rush. He makes this eccentric figure fascinating without ever pleading for our sympathy. It’s a bravura performance. “Shine” shows how this grown-up David makes his gradual way back to the concert stage, with the help of a Sydney astrologer (Lynn Redgrave) who first befriends and the marries him. It is a most unlikely (though true) love story, but one that Jan Sardi’s otherwise estimable script renders far too sketchily. We believe it because it happened, not because the movie makes it fully believable.
Hicks clearly feels this story deeply and, with the aid of cinematographer Geoffrey Simpson (“Little Women”), tells it in bold, striking images. As befits the subject, with his taste for the romantic repertoire, “Shine” is not afraid of stirring up big emotions. It earns them honorably.


Popular yank actor, Sam Lloyd, is dead.
Lloyd died at the age of fifty six.
Lloyd, popularly better-known for his role as professional tough guy Buckland on ‘Scrubs’ died once battling associate degree inoperable tumour.
The show’s creator, Bill Lawrence confirmed his death on Friday night via his Twitter page.
The tweet read: “Thinking tons regarding guided missile player. He was really such a sort, sweet guy. He are incomprehensible by numerous.”
Some of his colleagues took to their social media pages as they mourned his death.
Zach Braff wrote: “Rest In Peace to one of the funniest actors I’ve ever had the joy of working with. Sam Lloyd made me crack up and break character every single time we did a scene together.
“ I will forever cherish the time I had with you, Sammy.”
The deceased starred in popular television series like, “Desperate Housewives,” “Seinfeld,” “Modern Family,” “Cougar Town,” “Malcolm in the Middle,” and “Shameless.”


Musical Title: The Boy Who Cried Wolf
There is a village boy who takes his sheep to the hill for the green grass. One day, he decides to play a trick on the villagers by pretending and crying out for help. The villagers come running once, twice… but will they allow themselves to get tricked a third time? The only way is to find out!
Suitable for Actors: 5 Years Old – 99 Years Old
Suitable for Audience: 4 Years Old – 99 Years Old
Standard Character List:
- Village Boy
- Narrator / Storyteller
Number of Songs in Musical: Four
- Another Day
- He’s a Shepherd Boy
- I Am Bored
- I Am Sorry
Number of Worksheets Provided in Bundle: Two
Worksheet One: Puzzle! How Many Sheep Do You See?
Worksheet Two: Get The Story Right! Cut & Paste the Scenes in Order
Musical Poster: Provided: Standard Template
Format: PDF, PNG, JPG, SVG
* Storyline, Script, Song Lyrics, Character List, Costume Suggestions are All Editable. You are welcome to tweak/make changes to your purchased Performance Bundle to fit your needs, independently. All musical songs are standard, no musical scores/sheet music will be provided. Editable poster via Canva is available upon request (free access and use).
** This is a One-Time End-User License defined as: To be used by a class, a school, or an arts group in one country. Not to be re-sold (no reseller license available). End-User may repackage (white label) the performance bundle for its own use.
—- what are Performance Bundles?
Are you wanting to put on a class or school performance? Have you figured out your school’s year-end graduation performance?
Or would you like to direct and produce your very own musical, selling tickets to the public? Why not purchase one of our Performance Bundles; and spend your time worrying ONLY on the casting, directing and all other logistical needs?
What are the Performance Bundles? Performance Bundles are performing sets that include;
* Script (Lines, Character Description, Scene Description)
* Costume Suggestion List
* Music/Song: with Voice & Instrumental/Minus One
* Song Lyrics
* Two Worksheets, if you want your audience to participate in a after-event workshop or activity
* Standard Poster (PDF/PNG/JPG/SVG)


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The 24 Hour Play Festival
Beginning tomorrow, I will engage in what might be the most extraordinary writing challenge of my life. The Playhouse on Park Theatre in West Hartford, Connecticut will be hosting the 24 Hour Play Festival. While at first glance that sounds like a festival of around-the-clock plays, it is actually nothing of the sort. It is a festival in which a playwright, a director, and a cast of four have a single 24 hour period to write, rehearse, memorize, and then perform a one-act play before an audience!
Yes, you read that correctly. Friday at 8pm, I will report to the theatre to meet my director and cast. We will spend some time together getting acquainted and team building. After that, the cast and director will go home and I will get to work writing the play. It is due at 7am Saturday morning. When the script is finished, I get to go home and sleep (and anyone who knows me knows that the sleep part will not be occurring). At 8am, the director and cast will show up to begin rehearsing and memorizing my play. At 12:30 pm, I will return to work with my cast and director to help with costumes, props, and provide some technical assistance. Rehearsal work will continue through the afternoon, in addition to some script refining, followed by a full dress rehearsal. We will then all dine together, take a half hour to collect ourselves, and then…curtain!
So less than forty-eight hours from now, a play I have not yet written directed by someone I have never met featuring a cast I have never seen will already have had its premiere!
Is this insane? Absolutely! Can I wait for it to begin? Absolutely not!
So if you are in the area and want to support local theatre and enable mental illness, please come to the festival. It’s at 8pm on Saturday, August 2nd. Admission is only $10. Please see the Playhouse’s web site for directions and any further information: http://playhouseonpark.org/
I hope to see some of you there! Either way, expect a full report here next week…


Nha San Collective - Workshop HÀ NỘI KINGS
Nicole Martine Lewis and Queer Forever! are pleased to invite you to our workshop HÀ NỘI KINGS on 11-12 Dec. 2015
at Nhà Sàn Collective
15th floor, Hà nội Creative City
no 1, Lương Yên st., Hà nội
FRIDAY 11 DEC 2015 18h00
Film screening and discussion about the art of drag king in "Venus Boyz" - a documentary film about drag king performersModeration: Nicole Martine Lewis
A film journey through a universe of female masculinity. Women become men - some for a night, others for their whole lives. Masculinity and transformation as performance, subversion and existential necessity. An intimate film about people who create intermediate sexual identities.
English language with Vietnamese subtitles
SATURDAY 12 DEC 2015, 13h30
Practice of drag king with Sexy Galexy (aka Lexi Leigh - Australia) via skype
Moderation: Nicole Martine Lewis
by register only: Hanoi Kings <firstname.lastname@example.org>
‘Drag king’ is an English term describing women who cross dress as men on stage. And as the film shows, some people do it for their whole life. Women performing as men are a well-known phenomenon in Vietnamese culture, such as Quan Âm Thị Kính in poetry and chèo, and mediums in Mother Goddess religion. At this event we can also discuss and share our experiences, thoughts about the art of drag and its significance in understanding gender.
We would like to thank "Venus Boyz"'s producers, ONIX Films, for allowing us to use the film footage in this event.
HÀ NỘI KINGS is a project by Nicole Martine Lewis, and it is a part of Queer Forever! 2015 in Hà nội on 9/12/2015 - 3/1/2016.


This gallery contains 10 photos.
Three years ago, my youngest son and I set out to build a miniature “spooky” house on a hillside terrain for Halloween. We glued the base pieces together, but then we got involved in other things and the project sat, … Continue reading
Tagged Creepy, Expanding Foam Sealent, Halloween, Miniature, Polystyrene, Rigid Foam, Sculpting, Skull, Spooky, Styrofoam, Terrain
This gallery contains 7 photos.
Do you like being scared? Is a movie full of jump scenes something that you take pleasure in. If so, you may enjoy the story I am about to tell. And what makes it all the more horrifying is the fact … Continue reading
This gallery contains 17 photos.
Both of my sons really love Halloween. For years, I put on a “scary movie” night for my eldest son, Chris, in which I would transform the TV room into a setting to fit the theme of the movie we … Continue reading


The 9th Puchon International Student Animation Festival comes to an end today. I was able to make it two of the days. In case you couldn't go, here is just a small fraction of what you missed.There were hours and hours of screenings of student films and animated films from all around the world. The student films were a good way to get a sneak peak at some of the future leaders in animation. Also, it's a good way to take notes on the audience reacting to several different films.There were International special guests such as Bill Plympton, a very successful independent animated filmmaker from the United States. He screened many of his short films, shared short stories, gave the audience some useful tips and some drawing lessons. Afterwards, he gave everybody a Bill Plympton drawing of his popular pug character.
Takayuki Matsutani, President of Tezuka Productions of Japan screened the openings to Atom (Astro Boy) throughout its various revivals as well as the short film The Legend of the Forest. All animators should watch The Legend of the Forest for a visual history lesson of animation techniques. He gave a humorous drawing lesson as well.
And the PISAF mascots were also on hand to make trouble. Which mascot do you prefer? This year's simple shaped creature or another year's wacky dog?


The Dawn of a new Era in Zimbabwean film making.
A Red Carpet exclusive event is about to take place in the UK celebrating Zimbabwe’s first film after the end of the Mugabe Era.
The film has been selected by the prestigious Rotterdam International Film Festival and also had its African premiere at the Durban International Film Festival. Directed by Tomas L Brickhill and directed by Joe Njagu, the internationally acclaimed film “Cook-Off” will have its very first UK premiere on Saturday the 27th of July and it’s going to be an exclusive and extravagant event at the Mayfair hotel.
The film is a story of a single mother played by Tendie Chitima, who in the beginning is portrayed as an underdog who enters a cooking competition in the hopes of winning. Motivated by her son, she presses on. It’s not easy because there’s a lot of doubt, discouragement, and undermining being served on a silver platter. But it’s not all action and tension as it’s also a heart-warming romantic comedy. The film stars familiar faces like Eddie Sandifolo, Jesesi Mungoshi, Shingai Shoniwa and artist Tehn Diamond.
The reason why this film has caught the attention of so many is that it tells a different narrative of Africa. It tells a captivating story that is more universal and positive as opposed to the common war stories, HIV stories, poverty, and famine paint that the rest of the world seems to like painting Africa with. An absolute must watch.
Written by chloe


Welcome to Beauty & The Beast:
A Wolverine/Rogue 'Shipper Site.
On this site you will find information on the cast and characters from the movie. As well, you will find information (a little out of date but still interesting) on the comic books and the characters contained therein.
I am also a major romantic, so I'll be discussing my favourite romantic pairing from the movie (Logan and Marie) and my favourites from the comics. The majority of these will be considered unconventional. *shrugs* It's just the way I am.
This page has had visitors since January 28, 2001.


An interesting assertion: The author of this post claims that Bolaño’s story “The Colonel’s Son” exactly follows the plot of Return of the Living Dead 3. To be fair, the story is about watching a movie on late night TV, and you can’t copyright fictional ideas, just the concrete way you express them. Although I (Jeremy) admit I haven’t seen the movie, I think that Bolaño’s retelling of the film through the eyes of his narrator differs enough from the presentation of the story as a motion picture to avoid any actual charges of plagiarism. Maybe the fact that the film is real rather than a product of Bolaño’s imagination makes this story less stellar, but it’s still a really interesting look into how one of the masters of South American literature approached something as quotidian as watching a zombie film.
“In the remainder of his life, however, Nietzsche seems to have caught an early dose of syphilis, very probably during his first-ever sexual encounter, which gave him crushing migraine headaches and attacks of blindness and metastasized into dementia and paralysis. This, while it did not kill him right away, certainly contributed to his death and cannot possibly, in the meanwhile, be said to have made him stronger. In the course of his mental decline, he became convinced that the most important possible cultural feat would be to prove that the plays of Shakespeare had been written by Bacon. This is an unfailing sign of advanced intellectual and mental prostration.”—Christopher Hitchens (1949-2011. RIP). “Trial of the Will.” Vanity Fair, January 2012.
Today’s musical interlude is a dope, dope cover of the song “O-o-h Child” originally performed by The Five Stairsteps and wonderfully redone by the incomparable Nina Simone. A classic redone by a classic. How can you go wrong?
If you like how this Midget Tree looks in the day, you’d really like how this Midget Tree looks at night. This Midget Tree is surrounded by SIX fancy ground lamps (two are obscured by the tree’s monstrosity) and it’s strangled by stands of red and green Christmas lights. At night, the Christmas lights flash! It’s certainly a supersnazzy, very special Midget Tree.
Monster the Giant Lighttastic Reindeer flew from the North Pole to the North End of the Mall, because he wanted to be part of the vibrant mall culture during the holiday season. I know how exciting malls can be at this time of year—for a few years, I was involved with some…


Marvel, formerly known as Marvel Entertainment LLC, is an American entertainment company based in New York City that is best known for its comic books and film, TV, and video game franchises. The Marvel we know today is the result of a merger between toy subsidiary Toy Biz (now Marvel Toys) and Marvel Entertainment Group.
|Products and Services||Marvel offers a wide array of products and services centered around its extensive roster of superhero characters. The company creates comic books and graphic novels featuring characters like Spider-Man, Iron Man, and the X-Men. Marvel Studios produces blockbuster films and television shows set in the Marvel Cinematic Universe (MCU). The company also licenses its characters and stories for various merchandise, including toys, clothing, and collectibles. Additionally, Marvel operates digital platforms and apps for fans to access comics and content.||Marvel generates revenue from multiple sources, including comic book sales, film and television production, character licensing for merchandise, and digital content platforms. The strength of its character IPs drives consumer interest and merchandise sales. The MCU’s success has elevated Marvel’s profile in the film and television industry. Digital platforms cater to modern audiences seeking digital comic access.||Comic book and graphic novel sales, film and television production, character licensing for merchandise, digital content platforms, iconic character IPs, consumer interest, merchandise sales, MCU’s industry impact, digital access.|
|Revenue Streams||Marvel’s primary revenue streams come from comic book and graphic novel sales, film and television production, and character licensing for merchandise. Comic book sales include both physical copies and digital formats. The success of the MCU has significantly boosted film and television revenue, while character licensing extends the brand into various merchandise categories.||Sales of comic books and graphic novels, both in physical and digital formats, form the core revenue streams for Marvel. The MCU’s success and ongoing film and television production contribute to significant revenue growth. Licensing agreements enable the extension of Marvel’s characters and stories into merchandise, creating additional income sources.||Revenue from comic book sales, graphic novel sales, film production, television production, character licensing, merchandise sales, digital comic sales, diversified income sources, MCU’s revenue impact.|
|Customer Segments||Marvel caters to a diverse audience base that includes comic book readers, film and television viewers, merchandise collectors, and fans of superhero stories. The brand’s appeal spans various age groups and demographics, from children to adults. Fans of specific characters like Spider-Man or the Avengers constitute a dedicated and passionate fanbase.||Marvel’s customer segments encompass comic book readers, film and television enthusiasts, merchandise collectors, and fans of superhero narratives. The brand’s wide appeal attracts audiences across age groups and demographics. Fans of particular characters, such as Spider-Man or the Avengers, form loyal and engaged communities.||Comic book readers, film and television enthusiasts, merchandise collectors, superhero narrative fans, diverse audience appeal, age group diversity, character-specific fan communities, engaged fanbase.|
|Distribution Channels||Marvel distributes its content through various channels, including comic book stores, online retailers, movie theaters, streaming platforms, television networks, and merchandise stores. The company’s physical comic books are available in stores, while digital comics are accessible through Marvel’s digital platforms and apps. Marvel Studios releases films in theaters and TV series on streaming platforms. Licensed merchandise is sold through various retail outlets.||Marvel employs a multi-faceted distribution approach to maximize content accessibility. Physical comic books are available through traditional comic book stores and online retailers. Digital comics are accessible through Marvel’s digital platforms and apps. Film releases target theaters, while TV series are streamed on platforms like Disney+. Licensed merchandise is distributed through various retail channels, ensuring wide availability.||Comic book stores, online retailers, movie theaters, streaming platforms, television networks, merchandise stores, physical comic distribution, digital comic access, diversified distribution channels, wide content availability.|
|Key Partnerships||Marvel collaborates with various partners, including comic book retailers for distribution, film studios for cinematic adaptations, streaming platforms for content distribution, and merchandise manufacturers for licensed products. Licensing agreements with toy companies, clothing brands, and collectible manufacturers expand the brand into merchandise categories. The company also partners with directors, actors, and production crews for film and television productions.||Collaborations with comic book retailers ensure the distribution of physical comics. Partnerships with film studios and streaming platforms facilitate content adaptation and distribution. Licensing agreements expand the Marvel brand into merchandise, creating additional revenue sources. Collaborations with directors, actors, and production crews contribute to film and television production quality.||Comic book retailer partnerships, film studio collaborations, streaming platform partnerships, merchandise licensing agreements, toy company partnerships, clothing brand collaborations, collectible manufacturer partnerships, director and actor collaborations, production crew collaborations, diversified collaborations.|
|Key Resources||Key resources for Marvel include its vast library of comic book characters and stories, its production capabilities for film and television, its digital platforms for comic distribution, a network of merchandise licensees, and partnerships with distribution and retail outlets. The extensive character roster is the foundation for storytelling and merchandise. In-house production capabilities ensure quality adaptations. Digital platforms enhance content access. Partnerships expand the brand’s reach.||Marvel’s vital assets consist of its extensive library of iconic characters and narratives, in-house production capabilities for film and television, digital distribution platforms for comics, a network of merchandise licensees, and distribution and retail partnerships. The diverse character roster drives storytelling and merchandise creation. In-house production maintains creative control and quality. Digital platforms cater to modern audiences. Partnerships amplify brand reach and content accessibility.||Extensive character roster, in-house production capabilities, digital distribution platforms, merchandise licensee network, distribution and retail partnerships, storytelling foundation, creative control, modern audience engagement, brand reach amplification, content accessibility enhancement.|
|Cost Structure||Marvel incurs various costs, including expenses related to comic book creation, film and television production, marketing and advertising campaigns, talent contracts (e.g., actors and directors), licensing agreements, employee salaries and benefits, technology infrastructure, and administrative overhead. Film and television production costs are substantial due to high-quality standards and special effects.||Costs associated with Marvel’s operations encompass comic book creation expenses, film and television production costs, marketing and advertising campaign investments, talent contracts with actors and directors, licensing fees for merchandise partners, employee compensation, technology infrastructure investments, and administrative overhead. Film and television production costs are significant due to the need for high-quality adaptations and special effects.||Comic book creation expenses, film production costs, television production costs, marketing campaign investments, talent contract expenses, licensing fees, employee compensation, technology infrastructure investments, administrative overhead, high-quality production cost structure, special effects investments.|
|Competitive Advantage||Marvel’s competitive advantage lies in its vast library of iconic characters, which serve as the foundation for compelling storytelling and merchandise creation. The MCU’s unprecedented success has elevated Marvel’s position in the film and television industry. Collaborations with various partners expand brand reach and merchandise offerings. Digital platforms cater to modern audiences, ensuring content accessibility.||Marvel’s competitive edge is built on its extensive character roster, driving captivating storytelling and diverse merchandise. The MCU’s industry impact and ongoing film and television production maintain Marvel’s dominance. Collaborations with partners broaden brand reach and merchandise diversity. Digital platforms cater to modern audiences, enhancing content accessibility and engagement.||Extensive character roster, captivating storytelling, merchandise diversity, MCU’s industry impact, ongoing film and television production, brand reach expansion, digital audience engagement, content accessibility.|
The precursor to Marvel was founded as Timely Comics in 1939 by magazine publisher Martin Goodman.
Superhero comic books were near peak popularity at the time, with the so-called “Golden Age” of the 1940s introducing characters like Captain America who often featured in stories related to the war effort.
With the war over, however, interest in superhero comics declined and Goodman decided to stop producing them in 1950.
He then started a distribution company called Atlas Magazines which stuck to more popular genres such as westerns, horror, and science fiction.
Marvel and DC Comics
Goodman changed the name of his company to Marvel in 1961, but not before main rival DC Comics ushered in the “Silver Age” of comics in the late 1950s.
The latter found commercial success by reintroducing superhero stories and both Marvel and DC become industry leaders.
In the 80s and 90s, Marvel changed hands several times and again found itself facing a slump comic book sales.
Nevertheless, the company did enjoy some success by diversifying into trading cards and creating its own line of action figures. It also started to sell advertising space in its comics and signed its first movie deals.
The uptick in sales was short-lived, however, and the company found itself drowning in debt from its various purchases and endeavors.
Marvel filed for bankruptcy in 1996 which was followed by a heated and public battle over control of the company.
The court then appointed American financier Carl Icahn as trustee in 1997.
Further conflict ensued, but Icahn was ultimately convinced to a reorganization plan in which Marvel would be acquired by Toy Biz.
At the time, Toy Biz was not a subsidiary of Marvel but an independent company Marvel consulted to develop its action figures.
Marvel emerged from bankruptcy in 1998 as a new and revitalized company known as Marvel Enterprises.
It sold off underperforming and non-core assets and eventually agreed to allow Sony Pictures to develop the Spider-Man series of films.
The company then became Marvel Entertainment in 2005 to reflect a strategic focus on film, TV, and video games. Multiple successful franchises followed for an increasingly broad demographic of consumers.
Who owns Marvel today?
Disney purchased Marvel in 2009 for $4 billion and immediately obtained access to the company’s long list of super heroes including Spider-Man and Iron Man.
The company was delisted from the New York Stock Exchange thereafter but continues in its current capacity today.
- Marvel, formerly known as Marvel Entertainment LLC, is an American entertainment company based in New York City that is best known for its comic books and film, TV, and video game franchises.
- The precursor to Marvel was founded as Timely Comics in 1939 by magazine publisher Martin Goodman. Superhero comic books were near peak popularity at the time but interest declined in the late 40s after the war. Interest started to pick up once more in the late 50s thanks to rival DC Comics.
- In the 80s and 90s, Marvel changed hands several times and it experienced a slump in comic book sales. Despite some success, the company declared bankruptcy in 1996 before emerging revitalized in 1998. Marvel then became known as Marvel Entertainment to reflect its focus on film, television, and video games – a strategy that no doubt contributed to its success and longevity today.


Leonardo DiCaprio will play the famous killer Charles Manson in Quentin Tarantino’s new film focused on the murders of the infamous convicted criminal in which Margot Robbie could also be present.
A few months ago we learned about the new Quentin Tarantino project, a film focused on the murders and crimes of Charles Manson. A new piece of news, or rumor if you prefer, emerges around this film. And it is speculated that the person in charge to embody the dangerous sectarian leader would be none other than Leonardo DiCaprio, who was rumored to also play the Joker, the dangerous psychopath of DC Comics. Or at least that’s what Deadline says, in an article published on its website.
The new project of Quentin Tarantino, ‘9’, remains unknown, but the latest information, as published by Deadline, directs Leonardo DiCaprio and Margot Robbie as protagonists.
The film will focus on the murders of Charles Manson, and everything seems to indicate that DiCaprio would embody the criminal, while Robbie would stay with the role of one of his victims, Sharon Tate. Samuel L. Jackson and Brad Pitt would also be negotiating their participation in the Tarantino movie novel.
For those who do not know the facts, Charles Manson became unfortunately famous for the murders committed by him and his sect. One of his most famous crimes being carried out in the Roman mansion of Roman Polanski, in which his wife died, who at that time was eight months pregnant, Sharon Tate, and other guests.
This summer we commented that Quentin Tarantino had decided to tell the story of the crimes of the Manson family in his ninth film. Now Deadline reports that he has finished the script and is presenting it to several studios as this will be the first project without the production of Harvey Weinstein (due to the sexual harassment scandal).
At the moment there are not many details about this drama set in Los Angeles during the 60s and early 70s, and provisionally titled ‘#9’. Apparently, the script reminds ‘Pulp Fiction’ and one of the “chapters” focuses on Sharon Tate, the actress murdered by the clan of Charles Manson in 1969. It is rumored that Tarantino has offered the role to Margot Robbie and also It talks about Jennifer Lawrence, although it could be to play another character.
According to these rumors published on the web, they have transcended details about the casting by pointing out that the actor from Leonardo DiCaprio would be the actor preferred by Tarantino to get into the flesh of Manson. Meanwhile, other regulars of the director’s films, such as Samuel L. Jackson, would also be counted among the names that would make up the cast. Like that of Margot Robbie ( Suicide Squad ), who would be the designated performer for the role of Sharon Tate. Finally, another head of the list, which could be in negotiations, would be Brad Pitt, whose role has not transcended either.
It is said that Tarantino wrote several characters with these actors in mind but, of course, that does not mean that they will be in the final cast, at the moment they are only the director’s favorite options.
It should be remembered that DiCaprio already worked under Tarantino in ‘Django Unchained’ and it is known that they had a confrontation during the shooting. Although it is to be assumed that both have left that conflict behind, possibly motivated by the stress of the production. And in the end, the star participated in the promotion of the premiere.
Going back to ‘# 9’, it is affirmed that the budget will be around 100 million dollars, just the cost of ‘Django unchained’. The only production that is not fighting for the Tarantino project is Disney, for obvious reasons. The filmmaker intends to start filming in the summer of 2018 and release at the end of the year (we know he likes it on December 25) or early 2019.
At the moment there is no official confirmation about the distribution of Tarantino’s film and the figure of Charles Manson, but remember that the medium that offers this information usually has sources of the highest order. Hence. we almost take for granted the veracity of these affirmations.


Talos is a company of actors. At its core is the unconditional belief that the actor is the predominant and unequalled artist in the theatre. In the past, the
company has attempted a series of approaches to achieve that rare, ethereal combination — the performing ensemble. There are no known directed theatre ensembles in the world today, and there have
been only a handful in the last 100 years.
Talos' approach is through the selection of writing tailored for the company, its development and rehearsal process, and specialized company training.
Talos evolved from two previous theatre companies: The Ensemble, the first American combined theatre and dance repertory company in San Francisco and Chicago, and Atlantis Theatre Company, an
experimental performing group that explored new and unusual venues in both the U.S. and Europe.
Currently based in Seattle, Talos has developed a new performance medium that merges theatre, film and digital graphics with the adamant use of lighting and
music. Primarily a global touring company, Talos brings its self-contained productions into a wide variety of venues as it provides its audiences with a unique performance experience that flows between stage and screen.
Company Contact: Jessica Rosen
Company Website: Talos Ensemble


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Price Updated 18, November, 2023 by Admin


EW has confirmed that the Whale Rider and McFarland, USA filmmaker is set to direct Disney's live-action movie inspired by Hua Mulan, the Chinese folk heroine who took her aged father's place in battle. She also most recently helmed this year's upcoming The Zookeeper's Wife with Jessica Chastain and Daniel Bruhl. Rewritten by Rick Jaffa and Amanda Silver for live-action, Mulan has been in Disney's plan for a couple years now, and might even eclipse the anticipation for live-action Beauty in the Beast once a trailer is unveiled.
Disney also considered other women for its woman-warrior project, including Wonder Woman's Patty Jenkins and Michelle MacLaren (Breaking Bad, The Walking Dead, Game of Thrones). Disney previously worked with Caro, a New Zealand native, on the 2015 cross-country drama McFarland, USA, for which she lived in central California for almost a year to immerse herself in the Mexican-American community there. But with Captain Marvel and Mulan opening within a few months of each other, we can safely assume she won't be steering the Marvel superheroine pic.
Caro's involvement makes her the second woman to direct a movie budgeted at over $100 million for Disney, with Ava DuVernay and A Wrinkle in Time being the first; hopefully establishing a new norm with the studio that will be upheld in future productions. The film is slated to hit theaters in November 2018. Previous reports indicated Disney had been seeking an Asian director for the job. Caro is also involved with Netflix's adaptation of Anne of Green Gables, directing the two-hour premiere episode of the series. Hong Kong-based producer Bill Kong will executive produce the movie. But scheduling issues forced Lee to decline the project, and reported interest in Jiang Wen - a star of Disney's "Rogue One: A Star Wars Story" and a successful director in his native China - didn't pan out, either.
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Signature in the Schools, Signature Theatre’s flagship education program, is a multifaceted program that encompasses workshops for English, Social Studies and Theatre classes, theatrical training for young performers and technicians, and the creation of an original play. The play is directed, designed and written by professional Signature artists and features a cast and crew of Arlington high school students and an Equity-actor.
About Signature in the Schools.
The centerpiece of the Signature in the Schools program is the production of an original play. Students from Wakefield High School and members of the Apprentice at Signature program audition early in the year. Acclaimed artist Joe Calarco then takes the historical subject and the personalities of the students who are cast into consideration and writes an original play that weaves history into everyday life. The students rehearse in the winter, and the production runs for seven performances, five of them to students bused in from schools throughout Arlington County and the DC Metro area. Each student who attends the production receives an in-depth resource guide, researched and written by members of Signature’s Education Department. Many also receive classroom visits from Signature staff which help students explore the historical topics highlighted in the production and encourage them to personally connect with the material of the play. The freshman class at Wakefield receives additional in-class workshops; past subjects have included media literacy, the basics of theatrical staging, and marketing tactics.
Students not only make up the cast of the production, but also work as crew members, stage managers, and occasionally even as co-designers. All students, whether onstage or off, are mentored by professionals and are expected to work at professional standards. The students are expected to be more than just promising artists. Since each production is a world premiere, the team is also expected to share and develop their thoughts on the historical period, to ask evocative questions, and to have a hand in the development of the play.
A professional actor always joins the student casts onstage as a colleague and mentor. Past actors that have participated in the program include Paul Morella, Vanessa Lock, and Harry Winter.
“Signature in the Schools is one of the most fantastic theatre programs I have ever had the honor of working with,” said Morgan Shotwell, an H.B. Woodlawn student. “I have learned more about acting in three months with Signature in the Schools than in the last three years of classes at school. And my education hasn’t just been in theatre. Signature in the Schools demands personal responsibility and a willingness to commit that most high school programs won’t ask for. We are taught that we always have to put our fair share in so our peers can do their best work. Signature has given me good friends and mentors, and a higher confidence in my abilities as an actor.”
Signature in the Schools was founded in 1995. The program began with the proposition that plays about high-school students should feature actual high-school students in their casts. Using the strong ties already forged between Signature and Wakefield High School and drawing on the inspiration of Judy Klevins, then the drama instructor at Wakefield, the first Signature in the Schools production was presented on the Signature stage for just two performances, to an audience of friends and family. Today the Signature in the Schools productions run for seven performances, to an audience of high school students from around the DC metro area.
In 2004, the late Marcia Gardner, who had been a driving force in the program since its second year and would go on to direct the productions for several years, added a series of workshops for Wakefield freshmen, exploring issues exploring issues of plot, character, dialogue and theatrical staging. The partnership with Wakefield and its current drama instructor, Chris Gillespie, has ensured the program’s lasting success. In recent years, workshops have also included principles of media literacy, theatrical design, and the historical subjects dealt with in the plays. Since 2011, students from The Apprentice at Signature program, part of the Arlington Public Schools Fine Arts Apprentice Program, have also been invited to participate in the Signature in the Schools production.
Signature is the Schools is made possible by generous donations from the community. To support this educational program by making a gift, please contact Signature’s Development office at 571 527 1828 or firstname.lastname@example.org.
Signature in the Schools is sponsored by
Additional support is provided by Mike Blank, The Geary-O’Hara Foundation, Laura Ariane (Laurie) Miller and Lois C. Greisman, the David S. Shrager Foundation, the Venable Foundation, Dominion and Wells Fargo.


"Cujo" a Review of the 1983 Horror Film
CANIS MAX GOES TO THE MOVIES
Well, actually, we went to the video store. We rarely go to movie theaters anymore because they won't let us bring our dog in
with us. We rented "Cujo", the 1983 film adaptation of Stephen King's novel of the same name. This movie has it all one rabid
Saint Bernard, two dysfunctional families, and three dead bodies (four if you count the dog at the end of the film). The video was in the "horror" section
of the store but since we sympathized with the poor dog throughout the movie, we would have to classify it as a tragedy.
The film starts out with a happy-go-lucky Saint Bernard named Cujo, out for a romp on a beautiful summer day in Maine (which
looks suspiciously like the California desert), when he spots a little bunny. He chases the rabbit who runs into a small cave
infested by rabid bats. Poor Cujo gets bitten on the nose and, two days later, his human family fails to notice his huge red wound
and the foam starting to form in the corners of his mouth. Cujo's owner is an abusive auto repairman who lives and works with his
wife and son in the middle of nowhere. When the wife wins $5,000 in the lottery, she takes off with her son for what she tells her
husband is a week's vacation at her sister's place when, in fact, she plans to leave him forever. With the wife out of town, the
auto repairman and his dirtball buddy plan a weekend in Boston drinking and visiting strip joints, but, before they get the chance to
leave, Cujo, by now completely rabid, kills them both.
On the other side of town, Dee Wallace plays a housewife who is cheating on her advertising executive husband. He cruises
around in a red convertible Jaguar and she gets to drive the family's dilapidated Ford Pinto. No wonder she's having an affair.
Child actor Danny Pintauro of "Who's the Boss" TV fame plays their whining, monster-fearing son Tad. Dee's husband finds out
about the affair just before he has to go away on a business trip, and leaves her to drive their broken-down Pinto to the remote
repair shop. When she gets there, the car breaks down completely and everybody is either dead or out of town...except for
What follows is a grueling two-day standoff with the dog in which he rams the car with his head, bites off the door handles,
smashes the windows, bites the mother a few times, and basically imprisons them in their stranded vehicle. Meanwhile, young Tad
is flipping out because he thinks Cujo is one of the monsters from his bedroom closet, and on top of that, he's dehydrating and
having trouble breathing. Here's one kid who probably didn't beg for a Christmas puppy that year.
Anyhow, after a couple of day's of not being able to reach his family on the phone, the adman drives home, suspects foul play,
and has the police check out the repair shop. Cujo kills the officer who goes to investigate and, shortly thereafter, Tad stops
breathing completely. Mom has had enough. She crawls out of the car, beats the dog silly with a baseball bat, breaks it over his
head, and stabs him with the pointed broken piece. Cujo collapses. Mom grabs her son, runs into the house, and revives him just in
time to see the rabid dog leap through the window and charge at them. A broken baseball bat through the heart can't stop him!
Luckily, she now has the police officer's gun and shoots Cujo dead. And then her husband shows up in his red convertible Jaguar
to save the day.
The real star of this movie is, without a doubt, the dog who, surprisingly, didn't get any screen credit for his performance. He
obviously enjoyed the challenge of playing the role of the crazed animal although he sometimes drops out of character; in a few
scenes, he can be seen happily wagging his tail just before he lunges for someone's throat.
We give this movie two enthusiastic paws up and hope that other viewers heed the film's two main messages make sure that
your dogs get their vaccinations regularly and never buy a Pinto.


Just published is another movie tie-in from an author I've been meaning to read, namely Conan the Barbarian by Robert E. Howard.
This is actually a collection of some Conan short stories "personally selected by the makers of the new film and the greatest Robert E. Howard scholars". In any case it should prove to be a good introduction to the character.
The book features some movie art on the cover.
The movie itself stars Jason Momoa, following in Arnold's footsteps, as Conan. I know him from Stargate Atlantis which was a favourite TV show of mine. Here's another of the movie posters designs.


|Open Season 2|
|Released||September 24, 2008|
|Written by||David I. Stern|
|Directed by|| Matthew O'Callaghan|
|Starring|| Joel McHale|
Open Season 3
Open Season 2 is the sequel to Open Season and the second installment in the film franchise, directed by Matthew O'Callaghan, co-directed by Todd Wilderman, produced by Kirk Bodyfelt and O'Callaghan (executive produced by Michelle Murdocca and Andrea Miloro) and written by David I. Stern. It was released on September 24, 2008.
One morning, Elliot (Joel McHale) has seemingly grown giant antlers and is getting married to Giselle (Jane Krakowski). During a mishap, his antlers are cracked off and he falls off, and his antlers now look like they did in the first film, which greatly upsets him. Elliot screams loud enough that everyone can hear. After reassuring Elliot that his horns will grow back, Boog and the others manage to cheer him up by having a rabbit fight. However, Elliot has new emotions about his marriage and is reluctant to marry Giselle. Meanwhile, Mr. Weenie (Cody Cameron) finds a dog biscuit trail that his owners Bob and Bobbie (Georgia Engel) left behind and uncontrollably follows it. At the climax of the wedding, Elliot witnesses Mr. Weenie being taken away by his owners. Elliot tells the story to the other animals (a bit overreacting) and decides to make a rescue mission to retrieve him. The other ones that go on Elliot's rescue mission are Boog (Mike Epps), Giselle, McSquizzy (Billy Connolly) (referred to as "The Squizzmeister" by Elliot), Buddy (Matthew W. Taylor), and Serge (Danny Mann) and Deni (Matthew W. Taylor).
Meanwhile, the pets meet with each other. There is Fifi (Crispin Glover), a toy poodle and his henchmen, consisting of his basset hound companion Roberto (Steve Schirripa), a cynical cat named Stanley (Fred Stoller) and a mentally handicapped cat named Roger (Sean Mullen), and a Southern-accented dog named Rufus (Diedrich Bader) and his girlfriend Charlene (Olivia Hack). Gathering the pets around, Fifi discusses his hatred for wild animals as one night, he went into the bushes to retrieve his chew toy thrown by his owner and was shocked by the wild animals inside and while backing up, accidentally got his tail touched by the bug lighter. He then tries to maul a nearby rabbit after telling Roberto that he must be eliminated to prevent the "dark days of anarchy" until stopped by his owner (Jacquie Barnbrook). Meanwhile, the wilds find Mr. Weenie, much to the dismay of Elliot (who doesn't want to marry Giselle). They try to rescue him while Bob and Bobbie are in a gas station. They free him from his chains, but Elliot accidentally leaves him stuck on the RV, along with Buddy. Elliot and Giselle get into a fight and Boog teams himself up with Giselle, making Elliot call Boog a traitor. Then Elliot leaves to find Mr. Weenie himself while Serge and Deni fly to search for him.
The owners reach the pet camp with Mr. Weenie and Buddy (unbeknownst to them). The other pets meet with Weenie and Fifi tries to change him back into a pet, but fails. Buddy helps Mr. Weenie escape and Buddy tries to free Weenie from his shock collar. During the chase, Fifi is shocked by the collar and gets his forehead burned, which makes him lose most of his sanity. Meanwhile, Serge and Deni return and explain they found Mr. Weenie and Buddy at a pet camp, which they have now escaped from. At a human camp, Boog and the others set camp and Boog tries to convince Giselle that Elliot is a good person and they are perfect together, but fails. Meanwhile, Elliot is having a horrible time, following his own tracks that he confuses for Mr. Weenie's and get his head stuck on a trash can lid with gum on it, but misses his best friends and becomes a mess. The wilds reach the pet camp, but the pets and their owners have already left; the wilds realize they have gone to Pet Paradiso, a vacation spot for pets. Elliot finds Mr. Weenie and Buddy and is convinced to go to Pet Paradiso to save his friends.
The wilds reach Pet Paradiso and try to sneak in disguised as pets, with Giselle as a dalmatian and McSquizzy as a pug. Boog tries to sneak in as a cat, but soon gets the idea to be a sheepdog instead. Giselle and McSquizzy walk around Pet Paradiso looking for Mr. Weenie, but their cover is blown and are kidnapped by Fifi and the pets. Boog, Elliot, Mr. Weenie, and Buddy try to go inside to save Giselle and McSquizzy, but are also captured by Fifi. Fifi tries to kill them with a pile of shock collars. As Boog tries to stop Mr. Weenie from going down a water slide, his cover is blown as well, and the security try to tranquilize him after he causes a rampage after people confuse his weight. Before Fifi shocks the wilds into submission, Elliot tries to profess his love for Giselle, but fails. As Fifi was about to fry the wilds, Boog, who was chasing Mr. Weenie down a water slide, enters the pets' lair, and the water that was rushed from the water slide forces everyone out of the lair.
A battle between the wilds and the pets ensues, with the Pet Paradiso security focused on tranquilizing the wilds. Elliot saves Giselle, but accidentally places all the shock collars on himself. He also wrestles Fifi in the pool for the shock collar remote. Eventually, Fifi grabs the remote and activates all the shock collars, but doesn't realize Elliot had put all the shock collars on him. Too late to do anything, Fifi survives, but the explosion made him lose his hair and become bald. The wilds and the pets settle their differences and become friends. Ultimately, Mr. Weenie decides to join the pets and after bidding the wilds farewell, returns to his owners in rejoice. Elliot professes his true feelings for Giselle and they finally get married.
During a musical number called "Close to You," Elliot falls again and his remaining antler falls off again, to which Boog says, "Ooh! That just ain't right!", with Elliot heard exclaiming, "Oh, come on!".
- Joel McHale as Elliot
- Mike Epps as Boog
- Jane Krakowski as Giselle
- Billy Connolly as McSquizzy
- Cody Cameron as Mr. Weenie
- Crispin Glover as Fifi
- Steve Schirripa as Roberto
- Fred Stoller as Stanley
- Sean Mullen as Roger
- Diedrich Bader as Rufus
- Olivia Hack as Charlene
- Danny Mann as Serge
- Georgia Engel as Bobbie
- Matthew W. Taylor as Deni / Buddy / Ian / Additional Voices
- Jon Favreau as Reilly (uncredited)
- Jacquie Barnbrook as Fifi's Owner
- Maurice LaMarche as Rico
- Kevin Michael Richardson as Police Officer
- Elisa Gabrielli as Mrs. Schlapiano
- Frank Welker as Animals' Vocal Effects (uncredited)
Sony announced a sequel to Open Season in September 2007. Although, the original grossed $85 million and $105 million outside the United States, Sony felt the film performed much better on DVD, thus, making a direct-to-DVD sequel. Sony Pictures Digital president said that "the studio will keep Open Season 2's costs low by utilizing Imageworks' satellite facilities in India and New Mexico."
- This is the very first direct-to-video Open Season film.
- Elliot is constantly thought to be the main protagonist of the film and Boog is thought to be the deuteragonist; in reality, Boog is the protagonist and Elliot is the deuteragonist.
- In the official poster, Boog's eyes are separated; however, in the film, his eyes are close together as they were in the first film. The reason for this is unknown.


ENG: The moving story of a man and a woman. Some call it madness, some call it love. Some call it the end, some call it just the beginning.
Based on the dynamics of balance, Hayali (meaning “imaginary” in Turkish) is a poetical voyage. During this voyage we lose, we find, remember, forget, fall and get up.
Two performers on the stage tells a story without speaking but moving and creating a common imagination.
After having toured in Belgium, Turkey and Greece in 2016, Hayali will be back in Stockholm Fringe Festival


'…do audiences switch to a different time frame, so to speak, when they enter the space of an art house cinema? Do they expect the pace of a film to be slower if they are watching an art film, bracing themselves for “boredom”? Can boredom, like slowness, be a pleasure that some audiences deliberately seek?'
- Song Hwee Lim, Tsai Ming-liang and a Cinema of Slowness, Honolulu: University of Hawai’i Press, 2014, p.29.
Leslie Gore’s b-sides, maker’s mark and the void.
I love u


ALISS (Association of Librarians and Information professionals in the Social Sciences) are pleased to announce an opportunity to visit the library and archives of the Shakespeare’s Globe Theatre.
The library supports the work of Globe research and includes materials relating to Shakespeare, and early plays and performance and the social history of the theatre.
Archives at the Globe include:
· The performance archive: Recordings, prompt books, wardrobe bibles, and a range of reviews and ephemera from Globe productions since 1996.
· The costume archive: A selection of costumes created by Jenny Tiramani for the Globe’s original practices productions, using carefully researched and reproduced Elizabethan techniques.
· The institutional archive: Correspondence, administrative papers and photographs documenting the decades of planning, persistence, and enthusiasm that led to the reconstruction of Shakespeare’s Globe as a fully functioning performance space
The visit will incorporate a tour of the service and an opportunity to meet staff and here about their work. The visit will last approximately 1.5 hours
There is no charge for ALISS Members. Non members £5
To reserve a place please contact: Heather Dawson, ALISS Secretary: email@example.com
Library & Archive
21 New Globe Walk


Rambo 2008 Movie Review
I don’t think it’s fair to say I had a bit of Sylvester Stallone Madness going a few weeks back, but seeing two of his movies within days of each other last September must be an indication of something… Sly-itis, something like that. It took me a long while to get to this one, but I saw Rocky Balboa in the theater, so after that, I was a bit gun shy… ugh, that’s a terrible pun. But if you sit through all of Rambo, or John Rambo, or whatever the hell they’ve decided to call it, you might feel like you’ve come down with something.
We find Rambo living in Thailand and selling snakes he captures in the jungle as well as acting as a ferrymen who rents out his own boat. He reluctantly agrees to bring a group of missionaries and doctors into Burma via aforementioned river boat, and they don’t need a ride back for some stupid reason – so after dropping them off, Rambo heads home. The missionaries’ never return and their pastor shows up and asks Rambo to bring a team of mercenaries to the spot on the riverbank where he left the missionaries. The mercenaries don’t agree to let Rambo accompany them, preferring that he stays with the boat, but given that the movie is called Rambo, he follows them anyway and saves their entire crew from a squad of Burmese army. Rambo half convinces, half threatens (“Live for something or die for nothing; your call!”) the mercenaries to come with him to the Burmese army camp where the missionaries are being held prisoner. They break them out, of course, but the Burmese army figure it out quickly and come after them. Why, I have no idea… of what value are the prisoners to them? Ransom? I have no idea. Rambo and Sarah are separated from the group, who eventually get captured, missionaries and mercenaries alike, and are about to be executed (the army chased the missionaries and mercenaries so when they caught them, they could execute them… doesn’t seem like it was worth the effort, and why did the capture the missionaries in the first place instead of just killing them on the spot?) until Rambo takes control of a jeep-mounted .50-caliber machine gun and open fires on the Burmese army, which literally shreds them to pieces. The Karen rebels show up and aid Rambo, the mercenaries and the missionaries, and then Rambo disembowels the bad guy in charge. The movie pretty much ends after that, with Rambo back home in the US, presumably going to see his father.
Rambo is a decent little movie, but it lacks drama. You never get a sense of… well, anything. Here are a few things I wish the movie would have conveyed:
- Is Rambo happy or not with his life at present?
- …a way to distinguish any of the missionaries from each other
- …a way to distinguish any of the mercenaries from each other
- …a way to distinguish any of the bad guys from each other
At no point do you ever worry about anything bad happening to Rambo. The missionaries get captured right away, but I don’t care about them because I don’t know them and the same goes for the mercenaries. It’d be great if something ever happened that the audience should care about – but it doesn’t. Despite it’s gore (and there is a fair amount of violent gore), the movie is boring, yet unoffensive. Rambo is watchable, but it won’t leave you craving another sequel.
My Rating: 2.5 out of 5
Unless you’re a die-hard action movie fan, or rather, a die-hard action movie starring Sylvester Stallone fan, you should probably skip Rambo.
Posted on November 2, 2010, in movie review and tagged .50-caliber machine gun, action movie, burma, Burmese army, john rambo, Karen rebels, mercenaries, missionaries, movies, rambo, rambo iv, Rocky Balboa, Sylvester Stallone. Bookmark the permalink. 4 Comments.


Last night I stayed up late to check out some anime, like I said. The first episode of Zoku Sayonara Zetsubou Sensei was great, so I'm looking forward to seeing what else is in store. They bring you up to speed some what and still introduce another character!
Then this morning I got up, popped a couple jelly beans while breakfast cooked. I made a Sharkey-style egg (it's buried in that link...) and had some blueberry smoothie, and topped it off with a Reese's peanut butter egg. That's pretty much the extent of Easter this year for me. I mean, I'm sure I'll talk to some of my family on the phone, but it's not like I actually celebrate it, and I don't get to see anyone or have an awesme brunch. Actually, the food I had wasn't bad, but I cooked the egg and toast a little too hot. Out of practice : /
So then of course, what I do next is watch some Sunday morning cartoons. I have to fill you in on episode 26 of Kimagure Orange Road. It's just too goofy at the end. The basic plot is that Kasuga and Ayukawa are fighting over something stupid (as they sometimes do). For background all you really need to know is that Kasuga likes Ayukawa but Hikaru likes him, and Kasuga's family has psychic powers.
Anyways, Kazuya, Kasuga's telepathic cousin, has lately moved in next door so he's been featuring a lot recently. This time Kazuya tells Kasuga that if they switch places he'll be able to read Madoka's mind. Since Kasuga is a total loser, he thinks this sounds great, so he lets the kid bonk him in the head:
Of course, Kasuga gets screwed because Kazuya takes his mind and his telepathic powers with it into his body and goes off to have fun with his self-proclaimed girlfriend, Hikaru. They see a movie that clips in and out throughout the episode paralleling the plot, but it's hilarius since it's supposed to be an American movie. A super cheesy romance with fast cars XD In this shot he's feeding her some bullshit line about how the movie (in the drive-in within a drive-in) is turning into a comedy due to the ketchup on her nose, awww:
Is that supposed to be cute? He kisses her, anyways, which is something you'll need to remember for later.
So while Kazuya-Kasuga is off with Hikaru falling asleep at the lame movie, Kasuga-Kazuya, while not achieving telepathy, does achieve this:
which, I mean, they're in middle school, so that's about all he can really hope for despite all the references to "adult" relationships.
Kasuga has had enough now, so he goes back to meet Kazuya at the park where they exchnaged minds, but Kazuya still wants his shot at Ayukawa. He nearly gets it by using that cheesy movie scene! Ayukawa wasn't quite falling for it, but...
in any case,Kasuga races over to the AbCb (Abakabu--I wish this place were in my neighborhood) and teleports through the window to smash heads again just in time.
During his frantic race down the hill, Ushiko and Umao make their expected appearance, pulling their typical Romeo and Juliet nonsense--they always have a non sequitur cameo. This time they're on a bike, and Umao is looking particularly cute in his suit:
Anyways, so things go back to normal at the end after the two guys bash heads and change minds again. Kasuga in his regular body accidentally walks in on Ayukawa changing, and since he isn't a cute little preschooler this time, he gets a slap in the face. The whole point of this whole summary is so you have the context of this one great shot--the movie parallel to Kasuga's real life metaphorical crash 'n burn. The voice over really makes it, because the delivery is fakey sing-song and apathetic, but you can also read the text:
I laughed and laughed and laughed. "Carol's youthful days came to an end." I can't tell if they spelled "Carol" right or not, but it doesn't matter because I've never heard of a boy named Carol (although apparently there was at least one?)
So yeah, I always appreciate context, before stripping it for a meme. I would love if this were a meme. Yahahahaha.
I think that's all I got. I didn't mean to make such a production number out of it XD but that last screen is just too much.
Happy Easter!! Or something!


About the Artist:
Felonious Munk is an standup, actor, and writer who recently wrote for the White House Correspondents Dinner, had a starring role in the final season of Southside on HBO, appeared in the last season of Comedy Central’s STAND UP FEATURING, and recently starred in the feature films NIGHT’S END and BLOCK PARTY. He may be best know as Hassan, in a recurring role on the 50 Cent produced, ABC legal drama FOR LIFE. He also appeared regularly on Comedy Central’s THE NIGHTLY SHOW WITH LARRY WILMORE, was a consulting producer on Bert Kreischer’s “The Cabin” on Netflix and partnered with the legendary Second City Chicago as co-creator, host, and writer for the groundbreaking and critically acclaimed shows AFROFUTURISM and BLACK SIDE OF THE MOON. Munk wrote and starred in the hit play NOTHING TO LOSE (BUT OUR CHAINS), also produced by The Second City. NOTHING TO LOSE had it’s world premiere at The Wooly Mammoth Theatre in DC to outstanding reviews. Munk was also host of the Stop It B web series.


My parents first knew him as a stand up comedian in the 70s. I first knew him as a favorite actor. Three Amigos was one of the first movies I remember seeing as a girl. My dad would haul the TV out of the closet and set it up on the piano bench in the living room. It was a treat to watch a movie on Friday nights, with pillows piled high on the floor. Over the years we added many more of his films to our collection. In fact, my brother and I added it up and Mr. Martin ranked #2 in how many of our movies he appeared. (Oddly enough, Tim Curry came up as #1, but that is a story for another day…) Later, as I got to know more about him, I discovered he had his first job at Disneyland, beloved place to my heart! And he even hosted a special film for Disneyland’s 50th birthday celebration that played in the Main Street Theater. He’s also an accomplished musician, and last night I got to see him in person for the very first time! He’s touring the country, playing banjo with a bluegrass band called Steep Canyon Rangers. I’ve never heard of them before, but they are famous in the bluegrass community. They played all their own compositions and it was phenomenal! Steve Martin was everything I’d hoped he be in person – funny, warm, interesting, and friendly. It was a delightful experience and I’m so happy to have seen him.
Blessings to you,


I love a good disaster movie. In fact, I think they are my favorite kind of movies with the running and the screaming. I enjoy getting to know the characters and then seeing who makes it and who doesn't. (These are in no particular order)
2. Twister: The first time I watched this it was in the theater and the seats shook from the sound of the oncoming tornado. It was awesome. I loved the storyline about a bickering ex couple that never should have broken up.
3. Poseidon: This is the remake with Kurt Russel and Josh Lucas. It was better than the first in my opinion. Unlike the original, I thought these people had a good plan for escape: find a way outside to the water and get in a lifeboat.
4. San Andreas: I am a huge Rock fan, so it was great to watch him saving lives during an earthquake.
5. Deep Blue Sea: Not a disaster movie by some peoples' standards, but it was a disaster to the people trapped in an underwater building that was taking in water. Not to mention getting away from the sharks. My favorite part was watching the main character fall. If you count how many times he hits the floor, it's about ten or eleven. I forget, but it's amusing to watch.
6. Deep Impact: This one has some tear-jerker moments that make you grab for the tissue box. There were some characters I didn't care for, but overall it's a good movie.
7. Armageddon: This movie and Deep Impact are pretty much the same movie, and I used to get them confused a lot, but this one has Bruce Willis and Ben Affleck. It didn't make me cry like Deep Impact though. Sorry, Bruce. I didn't really care when your character sacrificed himself cause I was expecting it the whole time.
8. Day After Tomorrow: This disaster movie is a touch different than the rest. Memorable moments include US citizens running across the border into Mexico.
9. 2012: This is one of my faves for sure. The main character saves his ex wife and kids despite her new jealous boyfriend's reluctance. The dog survives. :)
10. Titanic: This is the only movie I didn't watch for the disaster. I enjoyed the romantic storyline between Leo and Kate too much. By the time they got to the iceberg, I was not happy. They should have just played out the love story. haha
Worst Disaster Movie: War of the Worlds (the remake with Tom Cruise): I hated this one on so many levels. It was kind of cool the way the aliens obliterated people. I was actually bored several times during this one. It lacked the suspense I've come to enjoy in disaster movies. The little girl (yes, I think she's a great little actress), but her screaming got on my nerves so bad. Part of me was hoping she'd get eaten so she'd shut up.
Honorable Mention: Cloverfield: Most of my friends did not like this one because the camera was wobbly and unfocused. Hello? That was the point. It's like you were there with them during the alien attack. I enjoyed it.


Theatre Review April
A Person from La Mancha
The Russian Army Theater
This legendary Broadway musical based on Cervantes’ book was staged as a benefit performance of Vladimir Zeldin, an even more legendary Russian actor who turned 95 this February. This show still manages to pull in a full house years after opening, in 2004, mainly because of the talent and enthusiasm of the leading actor.
The plot is familiar to everyone from their school days. However the performance is nonetheless full of exciting moments and unexpected turns. It is indeed unbelievable to watch a 95-year old Zeldin immaculately singing: “This is me, Don Quiote, a person from La Mancha”, and dancing along the way. Most of the younger actors cannot really keep up with him. Even though there is a big cast, it is definitely the leading actor that holds the entire show together. So unless you are a big fan of Vladimir Zeldin or you would like to see superb acting at the age of 95 it is probably not a good idea to attend this performance.
April 11th, 6pm
The Russian Army Theatre
Suvorovskaya Square 2
The Breath of Life
Chekhov Moscow Art Theater
The Breath of Life is was written by a famous British dramatist, David Hare , who was a screenplay writer for such movies as The Reader, Plenty and Strapless. The Breath of Life was earlier staged in London with Judi Dench and Maggie Smith as main actresses. Alla Pokrovskaya and Natalia Teniakova star in the Chekhov Moscow Art Theater production.
Photo by Ekaterina Tsvetkova
The Breath of Life covers less than a twenty-four hour period, and there are only two characters that appear on stage. Madeleine Palmer lives on the Isle of Wight, and Frances Beale has come to visit her. They are both in their sixties. The two women talk about their lives, specifically as defined by and around one man called Martin who was married to Frances and had an affair with Madeleine. Then he moved to the USA to live with a new woman. This two hour long dialogue cannot leave anyone indifferent. During the performance one could easily forget that the play was actually written by a man, so well was the writer able to grasp the essence of a woman’s soul.
It is impossible not to mention the superb acting of the two Russian actresses.
The performance is staged on the Small Stage of Moscow Art Theater which makes it possible to establish a strong emotional connection with the audience since the action takes place right in front of you. Throughout the performance the audience is kept in real tension, catching every single word of this conversation of a life time. If you would like an evening of good modern British dramaturgy and outstanding Russian acting, this is the performance to see.
April 6th, 17th
Chekhov Moscow Art Theatre
Kamergerski per., 3
Barefoot in the Park
The Pushkin Drama Theater
This, is the most recent opening at the Pushkin Theatre, is based on Neil Simon’s famous play. This is a story of newly married couple who are trying to organize their new life. They are young and full of energy, not bound by any prejudices and are ready to do things for the sake of love, such as running barefoot in the Central Park, New York. This play is one of the most popular comedies in theaters around the world; however it is the first production in Moscow for the past ten years.
The director of this play, Evgeny Pisarev, is a well-known in Moscow theatre circles for
staging financially successful productions. He is also the recipient of the Seagull Theatre and Chrystal Turandot Theatre Awards. In one of his interviews he mentioned that he wanted to create a star performance rather than a performance with star actors. His directing approach has always been about the performance as a whole rather than an individual actor. “The key is to create the ensemble on the stage where everyone is equal”, says the director.
April 3rd, 11th, 17th, 25th
The Pushkin Drama Theatre
Tverskoi Blvd., 23


I help companies achieve their highest potential through production of audio/visual content. Past clients range from major corporations, film studios, television stations and advertising agencies, working on a variety of projects, including feature films, commercials, music videos, corporate films, fashions films, documentaries and interactive multimedia pieces.
The foundation of my experience comes from cinematography and media studies. I have a passion for technology, editing and film production, as well as a strong academic background in market- and audience research. This enables me to bridge the gap between corporate interests and film production realities; finding the best solutions for a client's ambition, both budgetary and artistically, and executing it flawlessly.
Film being a collaborative industry, I am equally adept working both as a leader and a team member. Punctuality, courtesy and professionalism are my core values, and it applies as well to my carefully chosen team of freelancers.