Christmas Carol (1978) - News Poster

(1978 TV Movie)


'Die Hard' Screenwriter Weighs In on Christmas Movie Debate

'Die Hard' Screenwriter Weighs In on Christmas Movie Debate
One of cinema's great debates has become as much of a Christmas tradition as putting up the stockings: Is Die Hard a Christmas film?

Around this time every year, fans go back and forth discussing whether the Bruce Willis classic should be in the same category as holiday movies Christmas Vacation, Christmas Carol, Home Alone and so on.

The film was released in July 1988, but the plot events take place on Christmas Eve.

Perhaps helping to finally turn the tide, Die Hard screenwriter Steven E. de Souza weighed in via Twitter, responding to a fan who wrote, “Dh is about love, devotion,...
See full article at The Hollywood Reporter - Movie News »

Midnight Clear (2006) – DVD Review

Ever been alone on Christmas Eve? Christmas Day? Ever felt the loss of someone you love so badly you don’t think you can ever go forward with your life? Ever been at the end of your rope and considering something really drastic?

I can’t imagine anyone living who hasn’t been there at some time in their lives. As part of my post duty orders here at We Are Movie Geeks one of my tasks to shine a light on movies that never quite found an audience. Independent, foreign, low budget, direct to video, under the radar films that deserve a wider audience.

And, it being the Christmas season I personally am always looking for something new for the holidays. How many times can you watch Christmas Story? National Lampoon’s Christmas Vacation? It’s A Wonderful Life or Christmas Carol? Actually quite a lot apparently, those are all great movies.
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The Voice's Final Four Look Ahead to the Season 13 Finale – How They're Gearing Up for the Big Night

The Voice's Final Four Look Ahead to the Season 13 Finale – How They're Gearing Up for the Big Night
The Voice’s final four — Chloe Kohanski, Addison Agen, Brooke Simpson and Red Marlow — are one step closer to finding out who will be crowned the winner of season 13.

But before the results are announced on Tuesday, the finalists will take the stage during the star-studded finale to perform with their idols.

After the live show on Monday, the contestants looked back on their journey throughout the competition and revealed how they’re gearing up for the big night.

Chloe Kohanski — Team Blake

It’s no surprise that the Voice’s resident queen of ’80s and ’90s rock songs stayed
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Is ‘Jingle Bells’ Racist? Boston University Professor Uncovers Origins of Christmas Carol

Is ‘Jingle Bells’ Racist? Boston University Professor Uncovers Origins of Christmas Carol
When a Boston University professor set out to trace the origins of “Jingle Bells,” she had no idea that she would discover the song’s racist origins – or cause an internet controversy.

Theater professor Kyna Hamill set out to trace if Medford, Massachusetts, or Savannah, Georgia, was the Christmas carol’s birthplace, as both used as their claim to fame. Instead, she learned the tune was originally performed in blackface in a minstrel show as “One Horse Open Sleigh” at Ordway Hall on Washington Street in Boston.

“In 1857 when it was performed in blackface — that is white men blackening up
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Colbert, Fallon, Kimmel Sing Late-Night Christmas Carol on Howard Stern Show

Late-night hosts Jimmy Fallon, Stephen Colbert and Jimmy Kimmel stepped away from their ratings battle to come together on The Howard Stern Show on Wednesday to sing a Christmas carol together as friends.

"Eavesdropping" in on the trio of hosts at his faux holiday party, Stern overheard the late-night funnymen hanging out. "We're the best of friends," said Fallon. "That's right, Jimmy Fallon. No bad blood here. Right, Jimmy Kimmel?" added Colbert, to which Kimmel responded, "You said it, Stephen Colbert. There's plenty of room for all of us."

The hosts then launched into song, singing the refrain "We're all friends,...
See full article at The Hollywood Reporter - TV News »

Critics Reveal Their Favorite Holiday TV Traditions — IndieWire Survey

Critics Reveal Their Favorite Holiday TV Traditions — IndieWire Survey
Every week, IndieWire asks a select handful of TV critics two questions and publishes the results on Tuesday. (The answer to the second, “What is the best show currently on TV?” can be found at the end of this post.)

This week’s question: What are your winter holiday season viewing habits (that are not for work)? Do you have traditional go-to shows or movies? Are you looking forward to anything in particular?

Eric Deggans (@deggans), NPR

As I have written in the past, I’m not the kind of critic who loves holiday specials. Too often, they’re too hokey, too commercial, too weird (yes, Bill Murray, I still don’t get “A Very Murray Christmas”) or, in the case of countless Hallmark Channel movies, way too white. But I do have a few holiday media traditions, starting with my Spotify Holiday Tunes playlist, which gets fired up as
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Why do we repeatedly watch trashy films during the festive season?

George Chrysostomou on Christmas viewing habits…

It feels like finally, the Christmas period has rolled around and the collection of assorted chocolate, wine and badly wrapped presents have begun to collect ready for December 25th. And with this season comes the one thing that most people have in common regardless of your religion, traditions or where you live. I am of course talking about the festive film, so called because of its reliance on Christmas comedy, family feuds or Santa in one form or another.

No matter what you do during the month of December, one certainty is that you will turn on the TV to watch a film that you know, deep down, isn’t very good. Yet, this is the fifteenth year you have watched it so why turn back now? (it would have been sixteen in a row except for that year you had to go to the in-laws…
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Crazy Ex's Donna Lynne Champlin on Paula's Big Episode, Loving Outlander and Singing About Penises

Warning: This post contains spoilers from Friday’s Crazy Ex-Girlfriend fall finale.

Crazy Ex-Girlfriend‘s Paula went home for the holidays this week, and got a new Christmas carol stuck in our heads. (Just be careful who you sing it around.)

Friday’s fall finale saw Paula head to her hometown of Buffalo to take care of her ailing (and estranged) father. But after Rebecca volunteered to keep an eye on her dad, Paula was free to reconnect with her own Josh Chan: high-school boyfriend Jeff. (She apparently got a very good look at him back then, too, as
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Everything London Dancers Need to Know This December 2017

Get in the festive spirit and get on your feet! There’s plenty to see and do in London this December, and we’re not just talking about seeing the lights in Piccadilly Circus. Here’s how to take advantage of all London has to offer by way of dance this December: PERFORMANCESSee a classic this December! From Dec. 14–16, the Royal Opera House will put on ‘Rigoletto’, (Tickets start at £28) It wouldn’t be Christmas without ‘The Nutcracker’, and from Dec. 13–Jan. 6, the classic is being performed at The London Coliseum. There are both matinee and evening performances. (Tickets start at £16.75) The Christmas Festival is back at the Royal Albert Hall and you’re not going to want to miss it. Listen to the Fanfare Trumpeters, sing along with the Christmas Carol Singalong, hear the moving familiar tune of Handel’s “Messiah,” and witness the exciting dance moves of the Jingle Bell Christmas.
See full article at Backstage »

‘Saturday Night Live’ Review: Saoirse Ronan Rises to the Challenge While The Show Admits That We’re In Hell

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‘Saturday Night Live’ Review: Saoirse Ronan Rises to the Challenge While The Show Admits That We’re In Hell
It’s only December 2 and we have two more episodes after this before Christmas, but this week’s “Saturday Night Live” still opened with a “Christmas Carol” homage featuring Alec Baldwin. Despite seeming to jump the gun a little bit, seasonally, it’s one of the more incisive cold opens in a little while, pounding hard at Donald Trump’s most recent string of missteps.

Afterwards, though, it was an episode devoted to having fun with a fresh face who proved game for all sorts of wackily colored wigs and character moments. If it weren’t for her opening monologue and the fact that U2 was the musical guest, you’d hardly know she was Irish.

Read More:‘Saturday Night Live’ Review: Chance The Rapper Charms His Way Through The Season’s Best Host: Saoirse Ronan

Ronan is a first-time host at the age of 23, but hopefully by the time
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Bww TV: Watch Highlights of Lenny Wolpe and More in A Connecticut Christmas Carol at Goodspeed

A family classic has been given a fresh twist in Connecticut's own A Connecticut Christmas Carol by Lj Fecho and Michael O'Flaherty. Goodspeed Musicals continues its commitment to fresh, innovative works with this new musical infused with Connecticut flavor. A Connecticut Christmas Carol runs now through December 24, 2017 at The Terris Theatre in Chester, Conn. BroadwayWorld has a first look at highlights from the show below
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9-Year-Old Boy Dying of Cancer Wants to Celebrate Christmas Early — with Cards from You

A 9-year-old boy with a rare type of cancer may not live to see the end of the year, but his parents are hoping strangers can band together to help bring their boy some holiday cheer a bit early.

Jacob Thompson was diagnosed with Stage 4 high-risk neuroblastoma when he was just 5 years old, and the rare cancer has since spread to his hip and head, according to the Jacobs parents, Michelle Simard and Roger Guay. Treatment has so far been unsuccessful, and when Jacob was admitted to the Barbara Bush Children’s Hospital in Portland, Maine, on October 11, the family
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“Year by the Sea” Star Karen Allen on Joan Anderson’s Book, Directing, and Roles for Women Over 60

Karen Allen in “Year by the Sea

Probably best-known for her turns in “Raiders of the Lost Ark” and the “Christmas Carol” retelling “Scrooged,” Karen Allen has been working regularly since her 1978 debut in “Animal House.” She serves as a theater actor and director in addition to acting onscreen in projects like “In the Bedroom,” “Law & Order,” and “Blue Bloods.” Allen recently made her directorial film debut with “A Tree a Rock a Cloud.” The short is adapted from a Carson McCullers story about a random, but significant, conversation between a boy and an older man. Allen’s latest project is Alexander Janko’s “Year by the Sea,” a portrait of a newly single woman rebuilding her life in Cape Cod, Massachusetts. The film is based on Joan Anderson’s bestselling memoir of the same name.

We sat down with Allen to talk about her connection to Anderson and the book, the way Hollywood treats women over 60, and why she decided to try her hand at film directing.

Year by the Sea” opens in New York September 8 and in Los Angeles September 15. A national theatrical release will follow.

This interview has been edited. It was transcribed by Lyra Hale.

W&H: I really wanted to ask you how you became involved in the film?

Ka: I was just at home and I got the screenplay, which was sent to me, and I read it and thought, “I didn’t know Joan’s work,” which is odd because we have a lot of similar pathways in our lives. It’s kind of surprising that we never met each other, that the book never came into my world. But I finished reading the script and I went right out and got the book and I sat with the book and I thought the book was quite courageous.

This was a woman who had reached a crisis moment in her life, who was taking a very clear tough-minded look at herself, and had made some decisions about just wanting to get to know herself. She was interested in that authentic self underneath all the things that she had piled onto herself over the years in terms of other people’s expectations and she just wanted to somehow — instinctively she knew in order to survive, and in order to really find herself, she was going to have to figure out how to let a lot of that fall away, go back, and really get to know herself again.

I found that very inspiring and moving. I went to meet the director and I was very open about how much I would love to play the role and about a week later they offered it to me. I met Joan and I spent some time with her, and we had a wonderful connection, which has stayed to this day.

I had a great time making the film. She was there but she didn’t interfere in any way at all. She let us do our thing. And I was playing her 25 years before the time period where I met her, so I wasn’t really playing the woman I was meeting. I was playing a woman who was at a much different part of the journey than she’s on right now.

W&H: I felt like this journey was about how women take on other people’s baggage and lose their own selves. It’s kind of a very common theme with women as they get older. So I would imagine that this would resonate a lot with women.

Ka: With women and certainly with anybody who’s ever been a parent. We don’t mean to do it, we don’t necessarily aspire to do it, but we fall in love with our children and we want to care for them, support them, educate them, and help them, in every way we can.

They become this daily rhythm and part of our lives and when they suddenly grow up and leave you feel this huge piece of yourself is missing because you really have adapted, grown, changed, and become a person who is a caretaker.

In spite of everything, you really do feel — and unlike Joan, I worked all through the raising of my child. I made tough decisions about what kind of work I would do and I stopped doing some of the really far-flung travels that I had been doing earlier in my life because it began to feel very unfair to pull my son out of school for three or four months and take him to somewhere where he would sit in a hotel room with a tutor or babysitter while I went off and worked 14 hours a day, six days a week. It just didn’t seem like a way of life that I wanted to embrace or that I wanted him to have to embrace. So I made choices that I felt were in support of him in terms of my working life.

And I think in Joan’s case, she’s a published writer, and she just put that on hold to raise two children and had a husband was very much involved in his work. She took on the role of parent and looking after their world. It’s an important role but it’s a role that ends at a certain point. It’s not a role that you’re going to have for life.

W&H: Hollywood has so many issues with women who are over 40 and here is a movie with women who are over 60 embarking on exciting things in their lives, and I’m just wondering what it felt like for you to be in a movie with women who are 60?

Ka: Well, I was thrilled because there just aren’t just that many films that come around. If I read a script with a role for a 60-year-old woman, it’s usually in some capacity of a grandmother, a mother, or a boss. They’re not fully realized characters. To have the opportunity to play a role like Joan Anderson, work with Celia Imrie, and Epatha Merkerson, as my two co-stars, and Michael Cristofer — all of us being over 60 — it just seemed like such a rare experience to have.

W&H: Well, it is. How many scripts do you actually get from your agents, to read?

Ka: I have scripts that come to me from all over the place. I just directed my first film and I’ve been out at film festivals with it.

From my agents, in the course of a year, in a good year, there could be 30 and a tough year maybe half that. Many of them are not ones I would really consider very seriously just because I don’t think they’re particularly film worthy. I work a lot in the theater, both directing and acting, and in the theater very rarely does the play end up on a major stage unless it’s really remarkable. So you don’t kind of have that same dilemma in the theater.

I come from, I feel like, a very real and extraordinary generation of actresses. And I’ve grown up with them all. I was in New York at the age of 25 and I pretty much know, if not know them well or personally, I certainly have met most of the actresses of my generation at one point or another, or had the pleasure of working with them. It’s a wonderful large and fantastic generation of actresses and I don’t see nearly enough of them on screen. It actually breaks my heart how I can think of 40 names right now who I just feel like I don’t get to see anymore.

W&H: Let’s talk a little bit about why you ventured into film directing. You said you’ve done a lot of theater, and why were you tempted into making the film that you did?

Ka: I’ve been directing in the theater for awhile and a producer who I had to work with in New York, who had produced play I had directed, that won an Obie [Off-Broadway Theater Award], was sitting with me one day and he said, “Why not film? Why have you kind of shied away from directing a film?” And I said, “I don’t know that I’ve shied away from it. It just seems to me like I’ve spent my adult life on film sets and I can’t for a second fool myself or be naive enough not to know what a large undertaking it is to make a film.”

For a director it can be two to three years really committed to one project. And as an actor I’m at times committed for three to four months, but that’s usually the longest. So it’s another way of approaching a project. It’s like saying, “Gee, I’m going to be doing this for 3 years.”

So he and I continued to talk and I said, “If I were going to do a film I would want to be wise and do a short film. I would want it to be a certain kind of film that I felt I could really do well, that would play on all my strengths so that I would really have a positive experience making it and not go into it feeling completely overwhelmed.”

I have seen many first-time directors with that deer-in-the-headlights look. I’m very familiar with it. I’ve worked with a lot of first-time directors in film. So we continued with that conversation and he finally said, “If you were going to do it, what would it be? And I said, “There’s a story of Carson McCullers’ that I’ve thought about for 40 years.”

It’s just been something that had sat there in my head for a very long time. And he said, “I would love to help you do this.” And then we brought on another producer, Diane Pearlman, who was with me in Cannes, who I don’t know if you’ve met her, she runs with Berkshire Film and Media Collaborative in Western Massachusetts. Then we moved forward and just decided to do it. And it has taken three years.

We’re still working on it and I was able to bring many, many women onto the crew of our film. I had a female first A.D. [assistant director], a female production designer, and a female costume designer. We were female rich, which was a great joy.

I decided to open up my world to directing about 10 years ago because I don’t want my creative life to be limited by whether there’s an interesting role for me at 65. I love telling stories and I love developing projects and I don’t see any reason why I’d have to be in them for me to be involved.

So it makes for a very enriching experience for me to also embrace working as a director because, you know, particularly in the playwriting world there are so many plays that I love, so many playwrights whose work I love, where there isn’t a role for me.

W&H: What did you learn as an actor working with first-time directors, that you took into being a director?

Ka: One of the main lessons is preparation, preparation, preparation.

If you show up on the set the first day and you have really done the work; have a sense of how you want to shoot the film, know the material, chosen the right actors, and you know your actors and you have done the work with them to know you’re on the same wavelength. If you’ve done the work then you can actually be very calm, clear-minded, and put your attention where it needs to go when you’re actually shooting.

I somehow felt like those were lessons that I had gathered over my 35 to 45 years of being on sets. And it seemed to me like the sets that were successful and the people who were really able to bring out their best, came from that kind of calmness in the director, because they knew what they were doing, they knew where they were going. They had a shot list, they knew how they wanted to shoot a scene, and yet they were prepared and open. Prepared and yet open. And I think actually to be open you need to be prepared.

So I tried to emulate that, and I actually feel I was quite successful at it, that I was a bit of a whirling dervish for about four months during preparation. And probably drove everybody crazy because I was into so much of the minutiae and I just wanted to make sure everything was explored and every decision was sort of looked at from all different angles.

It paid off in spades when I got on set with my actors.

W&H: That’s good advice. I would imagine that you have gotten the bug now and you want to direct more film?

Ka: Well, I’m really willing to take it a little bit at a time. At Cannes I had three scripts that were sent to me after people saw my film that were in various phases of development. None of them are fully funded.

The more my film gets out there into the world — we’ve been going to film festivals, we’ve won a number of awards — and the more that the film is being seen by people, the more attention I am getting as a director.

So it feels as though if I do want to do that, I could move in that direction, which is great. It’s lovely to feel like there’s a door opening up for me. So I’ll just see. One of the most difficult aspects of making this short film was that we raised the money ourselves. And it was one of the most difficult things I’ve ever had to do in my life. I don’t think I’m particularly skilled at it.

W&H: Last question: You’ve been in movies that have been so seminal to so many people. I was just wondering, what does it feel to be in films that have had such profound effects on people?

Ka: You know, that’s such a hard question to answer. It feels like often it just feels like such a privilege to have had a chance to work in the film world and to be hired to do all these wonderful roles. I had this wonderful period in my life, maybe for 15 years, where I was really working in an ongoing way, being offered really wonderful projects that I just loved every minute of. And now to still be doing it.

I don’t get offered all the great projects. I’m not on anybody’s A list for the next whatever. But I still keep working in independent films and in the theater. I’ve started to direct a couple films and you know it’s been such an incredible journey and I don’t know what it feels like for other people and their experiences. I know sometimes people are just, they love some of the films so much — “Starman” or “Raiders of the Lost Ark.”

It comes back to me sometimes in the most surprising ways and I can’t imagine having done anything else in my life. And certainly the first 22 years of my life I couldn’t have imagined anything like this was possible. I’d never met an actress or seen a play. I’d seen films. I loved films. I love to watch films. That world seemed a million miles away to me.

Year by the Sea” Star Karen Allen on Joan Anderson’s Book, Directing, and Roles for Women Over 60 was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
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Jerome Bixby’s The Man From Earth Celebrates its 10th anniversary With a New Blu-ray & DVD Set

“What if a man from the Upper Paleolithic had survived until the present day?”

The Special Edition Blu-ray + DVD Collector’s Set of the cult classic science fiction drama The Man From Earth will be available On November 21st from Mvd Entertainment Group

Directed by Richard Schenkman (A Diva’s Christmas Carol), The Man From Earth stars David Lee Smith (Fight Club, Zodiac), John Billingsley (2012, “True Blood”), William Katt (Carrie, “The Greatest American Hero”), Ellen Crawford (“ER”, Soldier), Tony Todd (Candyman, The Rock), Annika Peterson (The Devil You Know), Alexis Thorpe (American Wedding) and Richard Riehle (Bridesmaids, Office Space) in this special edition release (with disc only exclusive features) of the worldwide cult smash movie that dazzled critics and audiences alike and currently resides among IMDb’s top science fiction films of all time. The Man From Earth is the provocative final screenplay by renowned science fiction author and
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Save Kermit! Why the Muppets debacle is so devastating

The fight between the Hensons and Steve Whitmire, who has long played Kermit the Frog, has got very ugly very quickly. Whatever happens, we must preserve this witty, genius puppet

The dispute between Steve Whitmire and the Hensons is starting to get ugly. If you’ve been out of the loop, perhaps because you’ve had the good sense to construct a childhood-protecting firewall, here are the basics.

When Jim Henson died in 1990, Whitmire inherited the role of Kermit the Frog. He was Kermit in highs like the Muppet Christmas Carol and the 2011 Muppets movie, as well as lows like Muppets from Space and the 2015 Muppets sitcom. However, it was recently revealed that Disney had fired Whitmire. Ostensibly, according to a blogpost written by Whitmire, Disney sacked him because he was a one-man barricade dedicated to preserving the spirit of Jim Henson’s creations in the face of a corporate monolith.
See full article at The Guardian - TV News »

Exclusive: 'Snatched' Director Jonathan Levine on 'Half Frontal,' Tapeworms and the Return of Goldie Hawn

To entice Goldie Hawn back to the big screen -- for her first film in 15 years -- it took a special script (Snatched), a special co-star (Amy Schumer) and a special director: Jonathan Levine, whose past work includes the cancer dramedy, 50/50, and the stoner Christmas carol, The Night Before. In his latest, Levine is tackling mother-daughter bonding (and snatchin') and Et phoned the director to discuss the road to bringing Hawn out of semi-retirement, doing improv with Schumer and the movie he would like to direct with Jennifer Lawrence.

Exclusive: Amy Schumer's Guide to 5 Essential Goldie Hawn Movies to Watch Ahead of 'Snatched'

20th Century Fox

Et: Amy said she approached Goldie on a plane and that's how she got her to star in Snatched. What was that process for you? Or, did you just get a call from Amy that was like, "Goldie is in."

Jonathan Levin: Basically
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Longtime Voice Actress Russi Taylor on Playing Minnie Mouse and Falling for Mickey in Real Life

Longtime Voice Actress Russi Taylor on Playing Minnie Mouse and Falling for Mickey in Real Life
You may not recognize her walking down the street, but Russi Taylor plays one of the most famous characters in the world.

Taylor has been the voice of Minnie Mouse for more than 30 years, and that’s just a fraction of voice work she’s done in her long career. She’s played Huey, Dewey, and Louie in various Disney projects, Pebbles Flintstone in “The Flintstone Comedy Show,” Pac-Baby in the “Pac-Man” TV series, “Penny Tompkins” in “The Critic,” Baby Gonzo in “Muppet Babies,” and various characters over 17 years on “The Simpsons,” among too many others to count.

She’s currently working on Disney Television Animation’s new series “Mickey and the Roadster Racers,” which brings together all of Disney’s classic characters: Mickey, Minnie, Goofy, Donald Duck, Daisy Duck, and Pluto. In “Racers,” Minnie and Daisy exemplify female empowerment as they run a business called Happy Helpers. It airs Fridays on the Disney Channel.

See full article at Variety - TV News »

Alec Baldwin’s 10 Best Saturday Night Live Moments

Alec Baldwin’s 10 Best Saturday Night Live Moments
A version of this article originally appeared on

In just a few weeks, Alec Baldwin will return to Saturday Night Live to host for the 17th time, though he’s made waves this season with his ripe parody of Donald Trump, another broad-shouldered New Yorker who also doesn’t mince words.

Every time SNL’s host with the most drops in, the guy’s a total pro. The thing that makes the Baldwin, 58, effect reliably funny isn’t just his self-assured stature: he’s an experimental team player, and everyone around him is funnier for it.

Whenever he
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Gotham Season 3 Episode 12 Review – ‘Ghosts’

Martin Carr reviews the twelfth episode of Gotham season 3…

With Gotham breaking again after the next two episodes it feels we barely have time to warm up before another hiatus is enforced. Which is why getting comfortable, becoming engaged or generally investing beyond a casual curiosity is ill-advised right now.

There are the usual shenanigans you come to expect, a funereal, assassination attempt and harsh words exchanged in full view of Gotham’s finest. But ultimately what we get here is a revenge tale, family reconciliations delivered with the subtlety of an incumbent President and our chief manipulator metaphorically waxing his moustache. Guest spots involving the return of certain characters provide that necessary shot in the arm, while Gordon, Bullock and company chase a coroner around Gotham while dodging pot shots from Victor Zsasz. Between that and Oswald’s slow mental disintegration, this is a disjointed if welcome addition to the season thus far.
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Christmas Day in Movie Culture: Darth Vader and Kylo Ren's Holiday Shenanigans, Marvel Yule Logs and More

Here are a bunch of little bites to satisfy your hunger for movie culture:   Star Wars Holiday Special of the Day:  Darth Vader and little Kylo Ren bond during the holidays in this funny Christmas-themed Star Wars parody (via Geek Tyrant):   Yule Logs of the Day: Instead of the boring old yule log this holiday, you can put one of Marvel's varieties on in the background. Below is one from the Milano from Guardians of the Galaxy and there are more from Iron Man, Thor, Captain America and Ms. Marvel here.   Christmas Carol Cover of the Day: The cast of Sing join Paul McCartney for an a cappella rendition of "Wonderful Christmastime" on The Tonight Show Starring Jimmy...

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