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It Came From The Tube: Mind Over Murder (1979)

The Eyes of Laura Mars (1978) was an unpopular thriller with a clever premise. Laura would have visions whenever a killer attacked someone, and she witnessed the murders through his eyes. Naturally, TV had to take a crack at the premise, which brought us Mind Over Murder (1979), a thriller that adds a few wrinkles to the basic premise and ends up being the more enjoyable of the two.

Originally airing on October 23rd as part of The CBS Tuesday Night Movies, Mind Over Murder bore down against NBC Tuesday Night at the Movies and ABC’s Three’s Company/Taxi/Hart to Hart lineup. Not hard to tell where the majority of viewers planted their eyeballs this night, but those who stayed with “the eye” were treated to a mostly effective thriller with some genuinely unsettling moments. You shouldn’t have too much Tripper in your diet, after all.

See full article at DailyDead »

Julianna Margulies Recalls Uncomfortable Encounters With Harvey Weinstein and Steven Seagal: ‘I Saw His Gun’

  • Indiewire
Julianna Margulies Recalls Uncomfortable Encounters With Harvey Weinstein and Steven Seagal: ‘I Saw His Gun’
Julianna Margulies has a Harvey Weinstein story of her own — and an eerily similar one involving Steven Seagal. The actress recalled both incidents on Sirius Xm’s “Just Jenny Show,” according to Deadline, telling host Jenny Hutt that she met both the actor and the producer in their hotel rooms, which she was led to by female assistants who she now says “were leading me to the lion’s den.”

Read More:New York City Police Gathering Evidence to Arrest Harvey Weinstein on Rape Charge — Report

Margulies, best known for her starring role on “The Good Wife,” was 23 during the alleged incident with Seagal. She was told a female casting director would be in his hotel room as well, but arrived the find the “Under Siege” star alone. “I saw his gun, which I had never seen a gun in real life,” recalls Margulies, who managed to leave Seagal’s room “unscathed.
See full article at Indiewire »

First Person: Sexual Harassers Are Poisonous, and So Are the Companies That Protect Them

First Person: Sexual Harassers Are Poisonous, and So Are the Companies That Protect Them
The day The New York Times broke the Harvey Weinstein story, I found myself choking back bile all day.

In the weeks since, it has become resoundingly clear that Weinstein is a virulent serial predator, and has earned whatever hell rains down on him. But Harvey Weinstein isn’t the problem, and bringing him down — while satisfying, necessary, and just — will be far from sufficient if we don’t simultaneously tear down our rotten corporate culture and reckon with our own complicity in propping it up.

As democracy derives its consent from the governed, tyranny derives its consent from the tyrannized. And while it’s long overdue, I no longer consent to being tyrannized.

I wasn’t sexually harassed by Harvey Weinstein. I worked with him briefly, consulting on “sex, lies, and videotape,” the film that changed the independent film business, Sundance, and Harvey forever; the film whose prescient title
See full article at Indiewire »

National Theatre Live’s Follies is not to be missed

  • Cineplex
National Theatre Live’s Follies is not to be missedNational Theatre Live’s Follies is not to be missedMichael Yerxa10/26/2017 1:38:00 Pm

There is simply no one like Stephen Sondheim. The living legend has arguably had the greatest singular impact on the genre of musical theatre. He’s responsible for some of the most beautiful and complex musicals in existence including Company, A Little Night Music, Sweeney Todd, and Into the Woods. (He also wrote lyrics to Gypsy and West Side Story).

One of his most brilliant and rich works is Follies, originally produced on Broadway in 1971. Follies tells the story of a theatre that once housed a world famous Vaudeville musical revue, now slated for demolition. In an attempt to revisit the past and honour the incredible alumni of the Follies, the owner, Mr. Weismann, holds a reunion prior to the theatre being torn to the ground. Two former Folly couples,
See full article at Cineplex »

Rod Stewart's Wife Penny Lancaster Breaks Down as She Reveals She Was Drugged and Raped as a Young Model

Rod Stewart's Wife Penny Lancaster Breaks Down as She Reveals She Was Drugged and Raped as a Young Model
Penny Lancaster revealed she was the victim of rape during her early career as a model.

During an episode of Loose Women where the panel discussed sexual harassment and assault, the 46-year-old wife of music icon Rod Stewart opened up about her own terrifying experience.

Lancaster explained that she had a job with a fashion designer who offered her to tag along to an industry event, according to Express.

“I was like, ‘Oh, someone might be interested. I might be able to get some more work,’ and that’s what you were out there doing as a model,” she recalled.
See full article at »

#MeToo: Sexual Harassment and Assault Movement Tweeted Over 500,000 Times as Celebs Share Stories

#MeToo: Sexual Harassment and Assault Movement Tweeted Over 500,000 Times as Celebs Share Stories
Two words are showing victims of sexual assault and harassment that the problem is much larger than many imagine: “me too.”

The phrase began trending on Twitter after Alyssa Milano took to the social media site on Sunday with an idea she said was suggested by a friend.

“If all the women who have been sexually harassed or assaulted wrote ‘Me too’ as a status, we might give people a sense of the magnitude of the problem,” wrote the actress, who starred on Charmed with Rose McGowan, one of the numerous women who recently accused producer Harvey Weinstein of sexually harassing or assaulting her.
See full article at »

Thomas Z. Shepard Set for Sondheim On The Record Talk at Kaufman Music Center

Record producer Thomas Z. Shepard has won twelve Grammy awards for producing the original cast albums of shows like VictorVictoria, Ain't Misbehavin' and La Cage Aux Folles. He is best known for his many collaborations with Stephen Sondheim on such albums as Company, Sweeney Todd, Follies In Concert, Sunday in the Park With George, Merrily We Roll Along, A Little Night Music and Pacific Overtures.
See full article at »

Amazon Reconsidering Weinstein Co. Series, Including Expensive David O. Russell Drama, In Assault Scandal Aftermath

  • Indiewire
Amazon Reconsidering Weinstein Co. Series, Including Expensive David O. Russell Drama, In Assault Scandal Aftermath
Harvey Weinstein’s involvement in two high-profile Amazon series, from David O. Russell and Matthew Weiner, already appeared to be limited. But with the sexual assault charges piling up against Weinstein, and his subsequent firing from the company (and concurrent fall from Hollywood power), the streaming service is giving everything a second look.

“We are reviewing our options for the projects we have with the Weinstein Co.,” Craig Berman, VP communications at Amazon Entertainment, said in a statement to press. Another spokesperson confirmed the news.

That means an uncertain future for “The Romanoffs,” from Weiner, as well as Russell’s untitled drama starring Robert De Niro and Julianne Moore. Amazon’s decision to give both projects a review comes a day after Apple Music canceled plans for a scripted series about Elvis Presley from the Weinstein Company.
See full article at Indiewire »

Late-night hosts blast Harvey Weinstein for 'monstrous', 'indefensible' behavior

Comics, including Stephen Colbert, Jimmy Kimmel, and Seth Meyers, addressed last week’s report on the Hollywood producer’s decades of sexual harassment

Late-night hosts on Monday addressed the New York Times report last week that detailed decades of sexual harassment allegations against Hollywood producer Harvey Weinstein, who has since been fired from the Weinstein Company.

“Now, if you’re not familiar, Harvey Weinstein is responsible for The English Patient, Good Will Hunting, Shakespeare in Love and other movies your mom liked in the 90s,” Stephen Colbert began. “Well, last week the New York Times published an explosive article detailing decades of sexual harassment claims against Weinstein. And today, Harvey Weinstein was fired from the Weinstein company.”

Related: Late-night hosts on Trump: 'He isn't content to botch just one crisis'

Related: George Clooney says alleged Weinstein behaviour was 'indefensible'

Continue reading...
See full article at The Guardian - TV News »

Enter The Dragon: the unlikely story of the novelization

Craig Lines Oct 4, 2017

The iconic Enter The Dragon came with a tie-in book that was a bestseller. We took a look...

Enter The Dragon needs no introduction. 40+ years on and its imagery is still the first thing that springs to mind when most people think 'kung fu'. Bruce Lee’s physicality in the film is off the scale, staging and performing some of the best, most brutal and impactful onscreen fights ever. Jim Kelly oozes Blaxploitation cool. Lalo Schifrin’s orientalist funk soundtrack is the height of 70s chic. The movie looks great, sounds great and hits hard.

However, you’ll rarely hear much praise for the plot. Lee plays, uh, 'Lee', a shaolin monk who’s hired by a British intelligence agency to infiltrate the island stronghold of a rogue shaolin called Han, who’s into human trafficking, drug running and world domination. It’s awkwardly structured and more
See full article at Den of Geek »

Presale: Book Now For Patti LuPone, Rosalie Craig In West End Company!

Marianne Elliott directs Company, Stephen Sondheim and George Furth's musical about life, love and marriage, with the lead role of Bobby reimagined for the first time as a woman. The production stars Rosalie Craig and Patti LuPone, and plays a strictly limited at the Gielgud Theatre in London's West End from 26 September 2018. Book tickets here in our presale
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Concert Review: ‘Muppets Take the Bowl’ Is Timeless and Clever for All Ages

Concert Review: ‘Muppets Take the Bowl’ Is Timeless and Clever for All Ages
The Muppets have succeeded where few pop cultural phenomena have, maintaining their relevance and celebrity status among both adults and kids from the moment they first landed on the scene in the late 1950s. In a world in which almost everything invented pre-iPhone has been eclipsed by something shinier and sleeker, the Muppets have never lost their unflappable charm and indefatigable ability to entrance audiences young and old.

While their voices have changed over the years (and the puppeteers inside them), and there have been crises of character along the way (Kevin Clash, the original voice of Elmo, was accused and later cleared of sexual abuse charges), Jim Henson’s zany gaggle of whimsical, hilarious, furry friends have remained iconic, inimitable and downright cool.

Which is why the Hollywood Bowl Friday night was filled to the hilt with moms and dads — some tipsy on chardonnay; others designated sober carpoolers — and children, in
See full article at Variety - TV News »

Tiff 2017 Women Directors: Meet Susanna White — “Woman Walks Ahead”

Woman Walks Ahead

Susanna White is a BAFTA-winning film and television director. Her previous credits include “Our Kind of Traitor” and “Parade’s End.” White was lauded for her six episodes of “Bleak House” for the BBC, winning a host of international broadcast awards including the BAFTA and Rts awards for Best Drama Serial. She also helmed BBC’s “Jane Eyre,” which earned her an Emmy nomination.

Woman Walks Ahead” will premiere at the 2017 Toronto International Film Festival on September 10.

W&H: Describe the film for us in your own words.

Sw: “Woman Walks Ahead” tells the story of Catherine Wheldon (Jessica Chastain), a portrait painter from New York, who, in 1890 set out on her own from New York to the Dakotas to paint a portrait of Sitting Bull (Michael Greyeyes). Mistakenly thinking she would find freedom in the lifestyle of the Sioux Indians in contrast to the oppression women faced in New York, Wheldon becomes increasingly politicized as she discovers that Sitting Bull’s people are in danger of losing their ancestral lands.

W&H: What drew you to this story?

Sw: My agent gave it to me because I was looking for an epic love story — something in the tradition of films like “The English Patient,” by Anthony Minghella. In fact, this isn’t a love story in a conventional sense at all — it is the story of two oppressed people giving each other hope. As soon as I read it I knew I had to make the film. It spoke to me so strongly.

I grew up loving the epic landscape of Westerns. This is set in that world but you hear the stories of people you don’t normally hear in those narratives — the Native American community and a strong woman. There’s also a very spiritual aspect to the movie that drew me — the sense that the land was there before any of us and will be there after we have passed through it.

I had always been interested in Native American history. My father worked at the Hudson’s Bay Company in London and in the reception there was a glass case with a full-size figure of a warrior dressed in an eagle headdress and a war shirt. I was always drawn to it and spent ages looking at the feathers and beadwork.

After I left film school I went to watch a ceremony on the Hopi reservation and was fascinated by the sense of how ancient and spiritual the culture was in contrast to the modern America I knew in Los Angeles.

W&H: What do you want people to think about when they are leaving the theater?

Sw: I’d like people to reflect on their history. I was very moved when our Lakota language adviser, Ben Blackbear, watched the movie and said he hoped it would change the way history was taught in schools because it was telling a story his community usually didn’t get told. What struck me doing the research on the Lakota people and reading about Sitting Bull was the sophistication of the culture.

The quality of the artwork and textiles is extraordinary and Sitting Bull was a man of such wisdom — there are so many great quotes from him, my favorite being “the greatest strength is in gentleness.” That is such an antithesis to the conventional narrative of a Western.

I’d like people to reflect on the value the Sioux people put on co-existing with the natural world — taking only what they needed so they didn’t exhaust natural resources. There are lessons for the modern world to draw from that.

W&H: What were the biggest challenges in making the film?

Sw: In making this movie I was very conscious, of being, like Wheldon, an outsider. While I could relate to being a woman in late 19th century New York, I knew I had a huge amount to learn about Native American culture. I asked for help from the community and had an amazing experience when I was invited to stay on the Rosebud reservation to watch a Sun Dance ceremony.

People were incredibly generous in coming forward to teach me and share their traditions. Many of these were deeply spiritual — the Ghost Dance for example that we show in the film was a sacred dance which hadn’t been performed on the scale we were doing it in the movie for over a hundred years. I felt a great sense of responsibility to get that right. We also had wonderful crew members from the community as well as cast who would offer up help on the day.

This was not a big budget movie — we shot it in 31 days. I had to be very focused everyday on what were the most essential elements of every scene in order to make the days. I made a decision to jettison big set pieces and focus on the emotional heart of the film. Mike Eley, the cinematographer, and I also worked to give the movie scale by offering up big skies and landscapes — at the heart of the film is the story of our relationship to the land and its scale came from the wonder of the natural world rather than big builds or crowd scenes.

W&H: How did you get your film funded?

Sw: Period dramas are always challenging for independent film — this was a very ambitious movie, taking someone from New York to the plains of Dakota in the 1890s. There were a lot of reasons why it had taken 14 years to get made. It has not always been easy to finance a movie with a female lead and there have been very few Native American actors with big box office profile.

Fortunately times are changing and with Chastain attached we managed to attract finance from Erika Olde at Black Bicycle Entertainment, who has been very committed to strong female stories. Sales estimates didn’t match the original needs of the budget so I cut some of the big set pieces — Brooklyn Bridge, New York Street scenes, and a big steamboat sequence — in order to concentrate on what I felt was the emotional heart of the story.

We played to our strengths, abandoning crowd scenes for big skies and landscapes in which people are dwarfed by nature.

W&H: What does it mean for you to have your film play at Tiff?

Sw: Tiff always felt like the ideal environment for this movie. We were on tenterhooks in the run up to the announcements and when I heard that we had been invited I was over the moon. It was a dream come true.

It is especially resonant for us as Toronto is Greyeyes’ home town.

W&H: What is the best advice you have received?

Sw: The best advice I have received is from the British producer Tony Garnett. I worked with him early on and he told me that you never want to see any acting going on. That has always been my touchstone. If you feel the mechanics of the acting something isn’t right and it is my job as the director to shift things in order to free up the actors to give their best.

W&H: What advice do you have for other female directors?

Sw: I have never really seen myself as a female director, just as a director who happens to be a woman — but I know that is not how the world always sees us. I’d advise other women to try to bounce back when they get knocks and not to give up. If you want it enough you will get there in the end.

The most important thing is to listen to your own voice — that can be hard sometimes when there aren’t many female voices being heard out there.

W&H: Name your favourite woman-directed film and why.

Sw: It has always been Jane Campion’s “The Piano.” Almost every time I embark on a new piece of work I watch it — it is such an inspiration. Up until I saw that movie I knew I wanted to be a filmmaker and admired huge numbers of films but there were not that many films I could connect to on a really deep level.

When I saw “The Piano” it was like someone was singing in a key that felt like me whereas the other films had been in a different range. It’s not that I want to re-make “The Piano.” It is just that it has such a clearly female voice that is so different from what went before.

W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.

Sw: I have been very involved in the campaign at Directors UK to get more women directors in Britain. Certainly in the UK I feel the tide is changing. People within the industry were very shocked when we published our data set and there seems to be a genuine desire to bring about change.

This is perceived not just in terms of redressing gender equality but also in pursuit of greater cultural richness. I think the work of the Geena Davis Institute on Gender in Media and organizations like Women and Hollywood have really raised awareness worldwide.

Change will not happen overnight but I am optimistic that for my daughter’s’ generation things will be different.

Tiff 2017 Women Directors: Meet Susanna White — “Woman Walks Ahead” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Matthew Weiner’s ‘The Romanoffs’ Sets Creative Team

Matthew Weiner’s ‘The Romanoffs’ Sets Creative Team
Mad Men” creator Matthew Weiner has filled out the creative team for his return to series television, Amazon’s “The Romanoffs.”

Produced by The Wenstein Company, “The Romanoffs” has added executive producer and writer Semi Chellas (“Mad Men”); co-executive producers Kriss Turner Towner (“The Bernie Mac Show”), Blake McCormick (“Mad Men”), and Kathy Ciric (“Z: The Beginning of Everything”); and consulting producers and writers Andre Jacquemetton (“Mad Men”) and Maria Jacquemetton (“Mad Men”).

In addition, the series has added director of photography Chris Manley (“Mad Men”); costume designers Janie Bryant (“Mad Men”) and Wendy Chuck (“Spotlight”); production designers Henry Dunn (“Mad Men”) and Christopher Brown (“Mad Men;); Hair and make-up heads Theraesa Rivers (“Mad Men”) and Lana Horochowski (“Mad Men”); and casting directors Carrie Audino (“Mad Men”), Laura Schiff (“Mad Men”), and Kendra Clark (“Mad Men”).

“It’s an honor to be working with these exceptional storytellers and collaborators–many of whom I know from Mad Men—and
See full article at Variety - TV News »

Late Night TV vs. Donald Trump: 8 Hosts Ranked, From Most to Least Critical

  • Indiewire
Late Night TV vs. Donald Trump: 8 Hosts Ranked, From Most to Least Critical
When a sitting President of the United States sides with Nazis, jokes just don’t cut it anymore.

After the pro-Nazi rallies in Charlottesville – which led to three deaths last weekend – and President Donald Trump’s horrifying statements in response to the rise of white nationalist groups in America, late night talk shows are trying out a new tone.

Hosts are jumping in and taking on a sitting U.S. president like they’ve never done before. There’s still room for jokes as the hosts convey their views – but as things turn serious, they’re taking a stand and using their voice to the fight against tyranny.

Read More: NBC Helped Create President Trump — and MSNBC Ratings Prove He’s Been Good for the Company

This is a long way from jokes about Bill Clinton’s infidelity or George W. Bush’s intelligence. Many hosts are now actively calling
See full article at Indiewire »

Film Review: Story in ‘Wind River’ Gets Scattered in the Breeze

Chicago – Writer/Director Taylor Sheridan is a deep thinker regarding humanity in these United States. In the third film of his “American Frontier Trilogy” – after “Sicario” and “Hell or High Water” – he goes to the Wyoming Native American reservation, for a unwieldy story titled “Wind River.”

Rating: 2.5/5.0

Wind River” is definitely the weakest of the trilogy, suffering from a meandering uncertainty as to what it wanted to be. Did it want to be a cop procedural? It got off track from the main case several times, confusing the issue. Did it want to be a morality tale? Jeremy Renner, as the local authority, kept making emotional and poignant speeches that went nowhere. Finally, did it want to be an American frontier story, as the trilogy is so named? It certainly went to one of the last frontiers in the rough reservation lands of Wyoming, and the cinematography was properly breathtaking,
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