“This is the way the world ends
Not with a bang but a whimper.”
Ts Eliot, “The Hollow Men” (1925)
The greatest fear for the WWE should be stagnation.
Random House’s excellent definition categorizes stagnation as “a failure to develop, progress, or advance”. That adequately summarizes my fears. Should World Wrestling Entertainment stop growing as a company, should they cease developing new revenue streams, or should they no longer capture the imagination (and dollars) of their fanbase, it’s going to be perilous, terrible and ugly. We’ve seen wrestling companies collapse. It’s an unpleasant experience for all involved.
Let’s be clear - I do not think WWE is going to fail. This is not a “sky is falling” article. The company’s fundamentals are sufficient. But it’s just that – sufficient. WWE is reasonably situated to deal with how a professional wrestling organization survives. But
Skins: Monday (July 29) at 10pm on E4
It's Cook's turn in the spotlight this week as the last Skins movie kicks off with Jack O'Connell's second generation bad-boy having grown into a hard man working in the Manchester underworld delivering drugs.
All's going well until things take a dramatic turn when he falls for his employer's girlfriend. Oops. Expect plenty of grit and more "I'm Coooook" moments of badassery as the troubled troublemaker gets the brutally beautiful swansong he deserves.
Watch the trailer for Skins below:
New Tricks: Tuesday (July 30) at 9pm on BBC One
Amusingly, New Tricks
Episodes: Ongoing (half-hour)
TV show dates: July 10, 2012 -- present
Series status: Has not been cancelled
Performers include: Fred Willard, Wayne Brady, Colin Mochrie, Jonathan Mangum, Brad Sherwood, Greg Proops, Nicole Parker, Craig Cackowski, Josie Lawrence and David Armand.
TV show description:
This improvisation TV show comes from the creators of Whose Line Is It Anyway? and Mock the Week. Host Fred Willard is joined by renowned improvisers Wayne Brady, Colin Mochrie, and Jonathan Mangum, as well as guest comics like Brad Sherwood, Greg Proops, Nicole Parker, Craig Cackowski, Josie Lawrence and David Armand.
The series features various celebrity guests reminiscing with Willard about key episodes in their lives. Then, the show's improvisers act out those moments for the celebrity, studio audience, and viewers at home. The key moments are improvised as
Directors: Martin Wood, Steve Adelson, Peter DeLuise, Amanda Tapping, Lee Wilson, Any Mikita
Writers: Damian Kindler, Alan McCullough, James Thorpe, Gillian Horvath, Miranda Kwok
Cast: Amanda Tapping, Robin Dunne, Ryan Robbins, Christopher Heyerdahl, Agam Darshi
Dr. Helen Magnus (Amanda Tapping) is a beautiful and enigmatic scientist who seeks out all manner of monstrous creatures. Aided by forensic psychiatrist Dr. Will Zimmerman (Robin Dunne), tech expert Henry Foss (Ryan Robbins), professional con artist Kate Freelander (Agam Darshi) and the mysterious and unpredictable John Druitt (Christopher Heyerdahl), the Sanctuary team tracks down, studies and protects the strange and often terrifying creatures that secretly populate our world.
If you’ve not seen the series… hm. Ok, the idea is that there are beings on earth who are … unusual. People and animals who would be considered “monsters” by most but are referred to as “abnormals” by Dr. Magnus, who
You may have heard me mention this giveaway quite a while ago, and it's taken me a long time to figure out what sort of format to put things in, and I kept added things. Eventually it became too much to really give any kind of run down on the items, so I decided
I first saw Apocalypse Now at Toronto’s exquisite University cinema on 17th August, 1979. The film opened on Wednesday 15th August as part of an inaugural three city run in New York, La, and Toronto, with tickets sold in advance as they had been in the past for ‘road show’ presentations. The University was a 1500 seat deco/nouveau single screen cinema with a beautiful facade and lobby which was equipped for 70mm projection; the 70mm presentation of Apocalypse Now was the first to utilise Dolby Stereo 70mm Six Track, and the cinema probably had to upgrade its sound system to accommodate the demands of Coppola and his sound editor Walter Murch.
I remember being very nervous as I presented my ticket as I was not 18 and the film had received an R (18 and over only) rating from the Ontario censor. Happily, my very youthful countenance
George, however, passed on the offer and instead went back to tinkering with his long gestating space opera, leaving Coppola to pick up the directorial reins on the movie that took top spot in Shadowlocked's Top 100 Movies Of The 1970s, the incomparable Apocalypse Now.
Ironically, had Coppola had his way,
When reading the extensive, semi-mythological stories that detail the production of Francis Ford Coppola's surreal Vietnam epic, Apocalypse Now, it's baffling that it was made at all.
By the mid-1970s, Coppola was one of the stars of New Hollywood, holding unprecedented power and critical respect, dominating the 1974 Oscars with a total of fourteen nominations shared by his second Godfather rhapsody and the arty Antonioni riff, The Conversation, including a double nomination for Best Picture, and the rare honour of being nominated for both Best Original and Adapted Screenplays. This was alongside producing George Lucas' pre-Star Wars hit, American Graffiti, and contributing the screenplay to the lavish big-screen adaptation of The Great Gatsby, which helped place Coppola in the powerful position of being a successful director, producer and writer.
Obsessed With Film have teamed up with Optimum Releasing to give away 3 Blu-ray copies of the exciting 3-Disc Apocalypse Now Special Edition Blu-ray which includes Heart of Darkness and is released June 13th to our lucky Owf readers. Francis Ford Coppola’s classic is also remastered and back in theatres on May 27th and you would be crazy to miss it.
Martin Sheen (TV’s The West Wing) stars as Army Captain Willard, a troubled man sent on a dangerous top-secret mission into Cambodia to assassinate a rogue Green Beret, Col. Kurtz (Marlon Brando, The Godfather, On the Waterfront, Last Tango in Paris), who has barricaded himself in a remote outpost. As Willard ventures deeper and deeper into the wilderness of the jungle, he embarks on a strange journey that leads him to Kurtz – but also forces him
My favorite item for the month is pictured above, the Sergio Aragones version of Batman from Batman: Black & White. But there are some absolute art gems here, including Darwyn Cooke’s Jsa cover, and Frank Quitely’s redoing of Gil Kane and Murphy Anderson’s cover for Green Lantern #52.
As for the rest of the books, take a look… as usual, spoilers ahead:
War Of The Green Lanterns Aftermath #2
Written by Tony Bedard
Art by Miguel Sepulveda
Cover by Tom Fleming
1:10 Variant cover by Miguel Sepulveda
The blockbuster “War of the Green Lanterns” event has rocked the
Dread Central recently had the opportunity to interview the well-spoken and charming Dop while he was working in Spain. And he had plenty to say about cinematography and the, at times, hilarious making of A Reckoning (review here).
DC: Hello, Adam, and thank you for taking time out of your schedule to speak with Dread Central about your stunning work in Andrew Barker's film A Reckoning.
How about a little information about yourself first? Where are you from? Where did you attend school?
Ak: Where to start...I am of Polish ethnic origin and a Nottingham lad born and bred.
1. John Hannah--"Four Weddings And A Funeral
Poem: W.H. Auden's "Funeral Blues"
Best Lines: He was my North, my South, my East and West, My working week and my Sunday rest.
2. Sarah Polley--"The Sweet Hereafter"
Poem: Robert Browning's "The Pied Piper of Hamelin"
Best Lines: It's dull in
Here’s “Love Is All Around”:
And “Careless Whisper”:
I seriously doubt I’d be able to guess any of these if I couldn’t hear the song. What about you, PopWatchers? And what would you want to see interpreted this way?
So T.S. Eliot clearly couldn't have had Disney Channel's four-season run of "Hannah Montana" in mind as an apt metaphor when he wrote "The Hollow Men," but the words remain eerily relevant.
The vehicle that brought Miley Cyrus into the collective cultural consciousness -- and revived the career of dad Billy Ray -- quietly went the way of so many children's series before it on Jan. 17, with the last episode, "Wherever I go."
In the two-parter, Miley (recently outed as her alter-ego, Hannah) faces the finale-worthy dilemma of going to college or starring in a film. Since this is Disney, clearly both options would be equally desirable for the young demographic, so what's ideal to kids these days?
Well, Miley got into Stanford. A perennial top 10 university among undergraduate programs and the West Coast equivalent of the Ivy League,
The Archives, Right Here
Check out my other column, This Week In Trailers, at SlashFilm.com and follow me on Twitter under the name: Stipp
Little Fockers - Screening
Live in Phoenix or the nearby environs? Interested in seeing Little Fockers on December 16? Then, pal, I have just the ticket for you. In fact, I have a lot of tickets so by all means shoot me a line at Christopher_Stipp@yahoo.com and I’ll see about hooking you up with passes to see it.
Need to know more? Here’s some information:
This holiday season come Little Fockers the third installment in this blockbuster series (Meet The Parents and Meet the Fockers.) The test of wills between Jack Byrnes (Robert De Niro) and Greg Focker (Ben Stiller) escalates to new heights as Jack Byrnes (Robert De Niro) and Greg Focker (Ben Stiller) and the family
Sheen’s Willard is a mess. Having done his tour of duty,
The second season came to audiences with an air of a show that knew it didn’t have far to go, and many aspects of the myriad conflicts and problematic elements of running a tech-based pseudo-slave service ran forward by way of plots that, one imagines, wouldn’t have surfaced had the show felt comfortable that it would be around for a while. Nevertheless, the strange, little show put together some interesting episodes, and certainly didn’t fall flat as might equally be expected
When a worried Francis Ford Coppola walked out of a rapturous reception of Apocalypse Now at the 1979 Cannes Film Festival, his fears turned to confidence, and the press conference he gave summarized both the film’s troubled production and the hallucinatory, exhilarating and terrifying effect of the final product with a single sentence that no critic has ever topped.
“My film isn’t about Vietnam, it is Vietnam.”
Thirty years on, Apocalypse Now continues to stand as the ultimate cinematic statement on the Vietnam War, a position largely unchallenged even in the face of such classics as Platoon and Full Metal Jacket.
Coppola’s line is true, but not in a literal means. Of the various Vietnam films, Apocalypse Now possibly has the least ties to the reality of the war. Christ, it has the least ties to reality, period. But it is Vietnam, capturing the madness, pointlessness,
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