This year Star Trek turns 50 and the phenomenon never looked better. There’s a new movie, a new fascinating Star Trek podcasts out there. And now, more than ever, there’s top TV show and even new stamps from the U.S. Post Office. There’s a bunch of -notch merchandise from innovative companies like Titan and Eaglemoss.
But it wasn’t always so. Back when Star Trek was turning 20 the future wasn’t so certain. It was a struggle. Fans were ridiculed. The world at large did not associate
The Revenant Blu-ray Contest – Prize Details: (1) Winner will receive (1) Blu-ray copy of The Revenant.
How to Enter: For a chance to win, email email@example.com with the subject “The Revenant Contest”. Be sure to include your name and mailing address.
Entry Details: The contest will end at 12:01am Est on April 25th. This contest is only open to those who are eighteen years of age or older that live in the United States.
The sensational, overlooked film scores from the years 1990 to 1999 that really are well worth digging out...
The movies went through tumultuous and exciting changes in the nineties. Quentin Tarantino exploded onto the scene with Reservoir Dogs, Generation X gave rise to slacker marvels like Clerks, and blockbusters like The Matrix put the awe back into special effects.
However, the 90s was also a sensational decade for film music, gifting us classics including the likes of Jurassic Park, Titanic, Total Recall, Braveheart and countless others. But the sheer quality of these soundtrack treasures shouldn’t overshadow those undervalued hidden gems that demonstrate the extraordinary range and versatility of our finest film composers, ones that may have passed you by. So here’s our selection of those incredible works: ranging from the earworming to the unsettling, the melodic to the chaotic, these are the scores that simply demand your attention.
Writers: Kai Yu Wu & Geoff Johns
Cast: Grant Gustin, Candice Patton, Danielle Panabaker, Tom Cavanagh, Carlos Valdes, Rick Cosnett and Jesse L. Martin, with Special Guest Stars Wentworth Miller and Dominic Purcell.
Synopsis: Leonard Snart Aka Captain Cold returns to Central City with a new hotheaded partner in tow – Mick Rory Aka Heat Wave.
After an extremely long hiatus over the Christmas period, The Flash returns today in this spectacular mid-season premiere. Thankfully, the brilliant superhero drama blasts back onto television screens, with the return of Wentworth Miller’s ice-cool villain Captain Cold! (yes I did genuinely just use that Schumacher-esque pun).
Viewers with any prior knowledge regarding this episode, will do doubt be aware that ‘Revenge of The Rogues’ is a very special story for Prison Break fans. I say this of course, because the episode marks the first on-screen reunion between former Prison Break
Some sources say Nomi (adopted as a stage name as an anagram of "omni") was "classically trained" (though that could just mean piano lessons); Kurt Loder, writing for MTV, calls him "a true, if untrained, countertenor." (A countertenor is basically a male alto.) He did, in his youth, work as an usher at the German Opera in West Berlin, and informally sang there for an audience of his fellow workers.
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Conrad, a mezzo-soprano from Center Point, Texas, was cast as Dido in Henry Purcell's opera Dido and Aeneas. However, she was soon replaced by a Caucasian student. The casting move made headlines nationwide, gaining the attention of the King of Calypso himself, Harry Belafonte, who offered Conrad a deal she did refuse: He would pay for her
One Sunday evening, in the winter of 1981-82, there was a celebration, at the Duke of York's Theatre in London, of the original radio production of Under Milk Wood. Various participants in that famous broadcast, including Richard Burton, the original narrator, were to read the play under the direction of its producer, Reggie Smith. The theatre was packed, with a largely Welsh audience.
Burton seemed to be enjoying himself, but it was not easy to hear him. He was glued to the book, seemingly in private communion with it. After the interval, the reading resumed. It was evident that Burton had liberally refreshed himself. Now he was not just inaudible but incoherent, with a tendency to slump. The reading lurched to its conclusion, after which the cast repaired to the Garrick Club for a celebratory supper. On the appearance of the first course,
Anderson, it seems, has finally and thoroughly gone up his own ass—and yet the film happens to be one of his best and most inviting works. Moonrise Kingdom—deftly orchestrated but deliberately uncomplicated—is easily Anderson's sweetest, most sincere movie, and the only one, aside from Rushmore, where the director's stylistic and thematic conceits are perfectly in sync. It may be the twee-est, archest
Like the Godfather of film festivals that it is, Cannes keeps its friends close and its enemies closer. Over the 65th edition's early days, Cannes clawed back any deserters or doubters with a storming selection, confirming it as the best showcase for challenging cinema from around the world.
Andrea Arnold, the British director whose career Cannes nurtured by promoting her films Red Road and Fish Tank, showed her version of Wuthering Heights at Venice last year. Cannes immediately installed her as a member of this year's jury.
Regulars such as Woody Allen and Roman Polanski, neither of whom have a film showing here, have instead been rewarded with warmly respectful documentaries, made and populated by high-profile friends and fans.
Pina, of course, is "a tribute to Pina Bausch, the German dancer and choreographer who died in 2009," explains Ao Scott in the New York Times. "Her work has appeared on film before; Pedro Almodóvar's Talk to Her uses the dance Café Müller as an emotional touchstone. That piece, an obstacle course of wooden chairs and wild emotions set to music by Henry Purcell, figures prominently in Pina, encapsulating both Bausch's aesthetic and Mr Wenders's desire to replicate on screen the depths and distances of the staging…. The cumulative effect is exhilarating and also a bit frustrating, since so many dances are included and woven together the audience does not
Spoiler Alert: This weekly blog is for those who have been watching the new series of Doctor Who. Don't read ahead if you haven't seen episode 10 – The Girl Who Waited
Dan Martin's episode nine blog
"You're asking me to deny destiny, causality, the nexus of time itself, for a boy?"
Some people hate Doctor Who when it's emotional and romantic. Other people hate Doctor Who when it indulges in hard sci-fi. Could it just be that those people simply just hate Doctor Who? Because here was an episode that ploughed unashamedly into both, and after last week's enjoyable-but-flawed Night Terrors, here was something to properly get your teeth into.
The Girl Who Waited is both the cheap episode (closed set, no guest stars), and the "Doctor Lite" episode. At first a necessity of the production schedule
(This show is long, longer than what we normally produce, but what can you do when you discuss such a talented filmmaker. I strongly suggest listening all the way to the very end, at which point we review what I think is Kubrick’s best film.)
Long, long after the folks at home started urging us to do so, we’re finally taking on the oeuvre of possibly the best-loved American director of all time, Mr. Stanley Kubrick. A Clockwork Orange turns 40 this year (!), so it was a natural choice, but we decided to go with a couple of slightly less obvious picks to accompany it: 1957′s anti-war flick Paths of Glory and 1975′s divisive three-hour period drama Barry Lyndon. Ricky, Justine and Simon are joined by special guest and general film-world veteran Bill Mesce, making this a truly epic roundtable befitting one of the most influential filmmakers ever.
Richard Campbell, who has died unexpectedly aged 55, was a multifaceted musician best known as a founder member of the viol consort Fretwork. From their London debut in 1986, they shook the dust off the English consort repertoire and gave it international appeal as concert music.
Richard played the treble viol, and later the tenor, in the group, which quickly established a global reputation for fastidiously crafted interpretations of consort music from the Elizabethan and Jacobean periods through to Henry Purcell, combined with a creative drive to commission new works that exploited the ensemble's exotic sound-palette.
He featured in 31 recorded albums, on Virgin Classics and Harmonia Mundi, as well as on film soundtracks including Coffee and Cigarettes (2003) – Richard's constant companions – and The Da Vinci Code (2006). The group won two major recording prizes: a French grand prix
The band draws from the likes of Simon & Garfunkel, Beach Boys, and quite obviously, The Beatles. But they'll also name drop 17th century Baroque composer Henry Purcell and 16th century singer and lutist, John Dowland, known for his cheery ballads like "I saw my Lady weepe" and "Flow my tears" (he also influenced the great Philip K. Dick).
Canadian directors Maris Mezulis and Matt Eastman shot this cutesy-but-good video for the charmer, "Leave Me Alone," featuring lots of tousled hair cool, and over load of gorgeous French girls. Dudes in France get to and from the studio via Medieval subterranean tunnels, it's no big deal.
No, not the time to sip daiquiris alongside the pool or go catch some cool waves at the beach. It’s the time of year to watch summer television!
Truthfully, with most of broadcast television in reruns, it’s mostly cable and reality show offerings. But that doesn’t mean there isn’t something of interest to viewers of gay-related programming.
What’s worth watching this summer? The Great Gay is here to help you decide!
Who is the Great Gay is, you ask? Why, as always, I’m the collective wisdom of all who toil here at AfterElton.com, the sum total of years of endless, stupefying television viewing!
Okay, it’s mostly just me blathering on, with the others yelling at me whenever I get something wrong.
Secret Life of the American Teenager (ABC Family)
Why It’s Gay: Gay Griffin
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