Runaway film

Directed by Alex Wright. With Sherry Stringfield, Robin Thomas, Jenna Boyd, Chris McKenna. After living in hiding for 17 years, a woman faces new danger when her daughter's drug-dealing father locates them and expects her to repay the money she stole from him years earlier. “RUNAWAY is a powerful and heart-breaking documentary about a group of young runaway girls who are taken to a women's shelter in Tehran, Iran. The film focuses on the sufferings of young girls who struggle to free themselves from the tyrannical and abusive power of their families, mainly their fathers, brothers, and stepfathers. The Runaway film is the visual depiction of that birth into a new life. With My Beautiful Dark Twisted Fantasy, Kanye was trepidatious, remorseful, shyly tip-toeing around the fact that he didn ... A humorous, uplifting film following the adventures of 3 children and their donkeys in a chase across the North Yorks Moors. With the beauty of a classic family adventure film and harnessing a modern aesthetic, be prepared for an emotional journey into what it means to be siblings. Directed by Michael Crichton. With Tom Selleck, Cynthia Rhodes, Gene Simmons, Kirstie Alley. In the near future, a police officer specializes in malfunctioning robots. When a robot turns out to have been programmed to kill, he begins to uncover a homicidal plot to create killer robots... and his son becomes a target. runaway films. vegas baby; la corona; double dare; one nation under dog; the save; just for the ride; slomo; other films. religion of sports; thin; cat dancers; my flesh and blood; 30 days; witches in exile; the flute player; lookalike; the same river twice

Kanye West

2009.09.16 05:27 xbayuldrd Kanye West

Dedicated to Kanye West.
[link]


2020.09.20 23:03 Nefessius513 My Idea for a Roadmap (WARNING: LONG)

Here's how I would have handled ownership of the SW brand from 2012 onward.

To Start:

The Roadmap

The Theme Park

The rumored “Star Wars Land” will be themed around OT planets on the West Coast and PT planets in the East Coast and titled “Galactic Park”, so diehard fans would want to visit both parks for the full experience. On the opening day of each park, there will be an evening screening of one of the saga movies depending on the park. The East Coast gets ROTS, and the West Coast gets ANH.
East Coast:
West Coast:
There. I came up with all of that in 2 hours. Forgive the rant or if it doesn't belong here.
submitted by Nefessius513 to saltierthancrait [link] [comments]


2020.09.19 17:29 tombstoneshadows28 Turner Classic Movies (U.S.) Schedule for October, 2020 (All times E.S.T.)

Thursday, October 01, 2020
(12:00 AM) (drama) Up The Down Staircase (1967/124 m/Robert Mulligan)
(2:15 AM) (comedy) Our Miss Brooks (1956/85 m/Al Lewis)
(4:00 AM) (drama)The Corn Is Green (1945/114 m/Irving Rapper)
(6:00 AM) (comedy) Girl He Left Behind (1956/103 m/David Butler)
(8:00 AM) (war) Lafayette Escadrille (1958/93 m/William A. Wellman)
(9:45 AM) (comedy) Dondi (1961/100 m/Albert Zugsmith) '
(11:30 AM) (epic) The Shoes of the Fisherman (1968/162 m/Michael Anderson)
(2:15 PM) (crime) Ring of Fire (1961/91 m/Andrew L. Stone)
(4:00 PM) (suspense) Twenty Plus Two (1961/103 m/Joseph M. Newman)
(5:45 PM) (horror) Marooned (1969/129 m/John Sturges)
(8:00 PM) (drama) La Strada (1954/108 m/Federico Fellini)
(10:00 PM) (romance) Two for the Road (1967/111 m/Stanley Donen)
Friday, October 02, 2020
(12:00 AM) (romance) Dodsworth (1936/101 m/William Wyler)
(2:00 AM) (documentary) The Memphis Belle: A Story of a Flying Fortress (1944/40 m/Lt. Col. William Wyler)
(3:00 AM) (drama) Black Girl (1966/60 m/Ousmane Sembene)
(4:15 AM) (drama) The Music Room (1958/99 m/Satyajit Ray)
(6:00 AM) (comedy) Go West (1940/80 m/Edward Buzzell)
(7:45 AM) (comedy) The Big Store (1941/83 m/Charles Riesner)
(9:30 AM) (comedy) Double Dynamite (1951/81 m/Irving Cummings)
(11:00 AM) (comedy) Girl In Every Port (1952/86 m/Chester Erskine)
(12:30 PM) (comedy) A Day at the Races (1937/109 m/Sam Wood)
(2:30 PM) (comedy) At the Circus (1939/87 m/Edward Buzzell)
(4:15 PM) (comedy) A Night at the Opera (1935/91 m/Sam Wood)
(6:00 PM) (epic) The Story of Mankind (1957/100 m/Irwin Allen)
(8:00 PM) (horror) Dracula (1931/74m/Tod Browning)
(9:30 PM) (suspense) Cat People (1942/73 m/Jacques Tourneur)
(11:00 PM) (horror) House on Haunted Hill (1958/75 m/William Castle)
Saturday, October 03, 2020
(12:30 AM) (horror) The Haunting (1963/112 m/Robert Wise)
(3:45 AM) (premiere) Wigstock: The Movie (1995/85 m/Barry Shils)
(5:15 AM) (short) The Relaxed Wife (1957/13 m/?)
(5:15 AM) (short) Time Out for Trouble (1961/19m/David S. Glidden)
(6:00 AM) (comedy) Million Dollar Baby (1941/101 m/Curtis Bernhardt)
(8:00 AM) (premiere) MGM CARTOONS: The Peachy Cobbler (1950/7 m/Fred (Tex) Avery)
(8:08 AM) (short) Phonies Beware! (1956/8 m/Larry O'Reilly)
(8:17 AM) (short) Night Life in Chicago (1948/9 m/?)
(8:27 AM) (premiere) Arctic Fury (1949/61 m/Norman Dawn)
(9:30 AM) (premiere) THE WILD WEST DAYS: Redskins’ Revenge (1937/?/?)
(10:00 AM) (premiere) POPEYE: Baby Wants a Bottleship (1942/7 m/Dave Fleischer)
(10:08 AM) (adventure) Safari Drums (1953/71 m/Ford Beebe)
(11:30 AM) (documentary) Alaska Lifeboat (1956/21 m/Herbert Morgan)
(12:00 PM) (drama) The Prince and the Pauper (1937/118 m/William Keighley)
(2:15 PM) (crime) Key Largo (1948/100 m/John Huston)
(4:15 PM) The Defiant Ones (1958/96 m/Stanley Kramer)
(6:00 PM) (romance) The Thomas Crown Affair (1968/102 m/Norman Jewison)
(8:00 PM) (epic) Lawrence of Arabia (1962/227 m/David Lean)
Sunday, October 04, 2020
(12:00 AM) (crime) Where the Sidewalk Ends (1950/95 m/Otto Preminger)
(2:00 AM) (western) Across the Wide Missouri (1951/78 m/William Wellman)
(3:30 AM) (musical) On An Island With You (1948/108 m/Richard Thorpe)
(5:30 AM) (short) Inflation (1942/17 m/Cy Endfield)
(6:00 AM) (romance) The Last of Mrs. Cheyney (1937/98 m/Richard Boleslawski)
(7:45 AM) (romance) Humoresque (1946/124 m/Jean Negulesco)
(10:00 AM) (crime) Where the Sidewalk Ends (1950/95 m/Otto Preminger)
(12:00 PM) (comedy) Mr. Belvedere Goes to College (1949/83 m/Elliott Nugent)
(1:30 PM) (comedy) The Women (1939/133 m/George Cukor)
(4:00 PM) (musical) Bye Bye Birdie (1963/112 m/George Sidney)
(6:00 PM) (documentary) The Great Buster: A Celebration (2018/101 m/Peter Bogdanovich)
(8:00 PM) (silent) Sherlock Jr. (1924/46 m/Buster Keaton)
(9:00 PM) (silent) The General (1927/79 m/Buster Keaton)
(10:30 PM) (silent) Steamboat Bill Jr. (1928/71 m/Charles F. Reisner)
Monday, October 05, 2020
(12:00 AM) (silent) Seven Chances (1925/57 m/Buster Keaton)
(2:00 AM) (drama) Viridiana (1961/91 m/Luis Buñuel)
(3:45 AM) (drama) The Exterminating Angel (1962/92 m/Luis Buñuel)
(5:30 AM) (documentary) MGM Parade Show #5 (1955/26 m/?)
(6:00 AM) (musical) Roberta (1935/106 m/William A. Seiter)
(8:00 AM) (musical) Fashions of 1934 (1934/78 m/William Dieterle)
(9:30 AM) (drama) Stolen Holiday (1937/80 m/Michael Curtiz)
(11:00 AM) (comedy) Designing Woman (1957/118 m/Vincente Minnelli)
(1:00 PM) (comedy) Made in Paris (1966/103 m/Boris Sagal)
(2:45 PM) (romance) A Place for Lovers (1969/88 m/Vittorio De Sica)
(4:30 PM) (horror) Blood and Black Lace (1964/88 m/Mario Bava)
(6:00 PM) (suspense) Lured (1947/103 m/Douglas Sirk)
(8:00 PM) (crime) Cash on Demand (1961/80 min/Quentin Lawrence)
(9:30 PM) (romance) The End of the Affair (1955/106 m/Edward Dmytryk)
(11:30 PM) (crime) Time Without Pity (1957/85 m/Joseph Losey)
Tuesday, October 06, 2020
(1:15 AM) (adventure) John Paul Jones (1959/126 m/John Farrow)
(3:30 AM) (drama) Hamlet (1948/154 m/Laurence Olivier)
(6:15 AM) (comedy) A Chump at Oxford (1940/63 m/Alfred Goulding)
(7:30 AM) (drama) Vigil in the Night (1940/102 m/George Stevens)
(9:15 AM) (comedy) The Gay Bride (1934/80 m/Jack Conway)
(10:45 AM) (musical) Swing High, Swing Low (1937/83 m/Mitchell Leisen)
(12:15 PM) (comedy) Love Before Breakfast (1936/70 m/Walter Lang)
(1:30 PM) (comedy) Nothing Sacred (1937/74 m/William A. Wellman)
(3:00 PM) (comedy) Mr. and Mrs. Smith (1941/95 m/Alfred Hitchcock)
(4:45 PM) (comedy) To Be or Not to Be (1942/99 m/Ernst Lubitsch)
(6:30 PM) (documentary) The Golden Age of Comedy (1957/79 m/various)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 6) (2019/60 m/Mark Cousins)
(9:15 PM) (drama) The Ascent (1977/109 m/Larisa Sheptiko)
(11:15 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 6) (2019/60 m/Mark Cousins)
Wednesday, October 07, 2020
(12:30 AM) Meek's Cutoff (2010/104 m/Kelly Reichardt)
(2:30 AM) (premiere) Cameraperson (2016/103 m/Kirsten Johnson)
(4:30 AM) (comedy) Daisies (1966/76 m/Vera Chytilová)
(9:15 AM) (drama) The Journey (1959/126 m/Anatole Litvak)
(11:30 AM) (drama) The Squall (1929/102 mAlexander Korda)
(1:30 PM) (short) Beautiful Budapest (1938/9 m/?)
(1:45 PM) (short) Rural Hungary (1939/9 m/James A. FitzPatrick)
(2:00 PM) (drama) Fight For Your Lady (1938/66 m/Ben Stoloff)
(3:15 PM) (drama) Storm at Daybreak (1933/79 m/Richard Boleslavsky)
(4:45 PM) (romance) The Shop Around the Corner (1940/99 m/Ernst Lubitsch)
(6:30 PM) (musical) One Heavenly Night (1930/80 m/Geo. Fitzmaurice)
(8:00 PM) (comedy) No Time For Sergeants (1958/119 m/Mervyn LeRoy)
(10:15 PM) (drama) A Face in the Crowd (1957/126 m/Elia Kazan)
Thursday, October 08, 2020
(12:30 AM) (western) Hearts of the West (1975/102 m/Howard Zieff)
(2:30 AM) (comedy) Onionhead (1958/110 m/Norman Taurog)
(4:30 AM) (comedy) Thunder Afloat (1939/95 m/George B. Seitz)
(6:15 AM) (crime) The Public Enemy (1931/84 m/William A. Wellman)
(8:15 AM) (romance) Red-Headed Woman (1932/79 m/Jack Conway)
(9:45 AM) (comedy) Dinner at Eight (1933/111 m/George Cukor)
(11:45 AM) (comedy) Saratoga (1937/92 m/Jack Conway)
(1:30 PM) (romance) Hold Your Man (1933/87 m/Sam Wood)
(3:15 PM) (romance) Red Dust (1932/83 m/Victor Fleming)
(4:45 PM) (comedy) Personal Property (1937/84 m/W. S. Van Dyke II)
(6:15 PM) (comedy) Bombshell (1933/96 m/Victor Fleming)
(8:00 PM) (comedy) The Front Page (1931/101 m/Lewis Milestone)
(10:00 PM) (suspense) Detour (1945/68 m/Edgar G. Ulmer)
(11:30 PM) (drama) The Man with the Golden Arm (1956/119m/Otto Preminger)
Friday, October 09, 2020
(1:45 AM) (romance) Love Affair (1939/88 m/Leo McCarey)
(3:30 AM) (crime) A Brighter Summer Day (1991/237 m/Edward Yang)
(7:00 AM) (short) Alice in Movieland (1940/22 m/Jean Negulesco)
(7:45 AM) (drama) Nora Prentiss (1947/111 m/Vincent Sherman)
(9:45 AM) (crime) Born to Kill (1947/92 m/Robert Wise)
(11:30 AM) (drama) Dark Passage (1947/106 m/Delmer Daves)
(1:30 PM) (suspense) Out of the Past (1947/97 m/Jacques Tourneur)
(3:15 PM) (crime) Race Street (1948/79 m/Edwin L. Marin)
(4:45 PM) (suspense) Impact (1949/111 m/Arthur Lubin)
(6:45 PM) (suspense) The Woman On Pier 13 (1950/73 m/Robert Stevenson)
8:00 PM) (horror) The Ghoul (1933/81 m/T. Hayes Hunter)
(9:30 PM) (horror) The Black Sleep (1956/82 m/Reginald LeBorg)
(11:00 PM) (horror) Mark of the Vampire (1935/60 m/Tod Browning)
Saturday, October 10, 2020
(12:15 AM) (horror) Night of the Living Dead (1968/96 m/George A. Romero)
(2:00 AM) (adventure) White Lightning (1973/101 m/Joseph Sargent)
(3:45 AM) (drama) Gator (1976/116 m/Burt Reynolds)
(5:45 AM) (short) The Corvair in Action! (1960/6 m/?)
(6:00 AM) (musical) The Opposite Sex (1956/116 m/David Miller)
(8:00 AM) (premiere) MGM Cartoons: Red Hot Riding Hood (1943/7 m/Fred (Tex) Avery)
(8:09 AM) (short) Fortune Seekers (1956/8 m/Larry O'Reilly)
(8:18 AM) (documentary) Historic Maryland (1941/8 m/?)
(8:27 AM) (drama) Men of the North (1930/61 m/Hal Roach)
(9:30 AM) (premiere) THE WILD WEST DAYS: Brink of Doom (1937/?/?)
(10:00 AM) (premiere) POPEYE: Alona the Sarong Seas (1942/7 m/Dave Fleischer)
(10:08 AM) (premiere) The Golden Idol (1954/71 m/Ford Beebe)\
(11:30 AM) (comedy) King Of The Islands (1935/17 m/Ralph Staub)
. (12:00 PM) (adventure) Tarzan The Ape Man (1932/100 m/W. S. Van Dyke II)
(2:00 PM) (musical) Lili (1953/81 m/Charles Walters)
(3:30 PM) (comedy) Casino Royale (1967/131 m/John Huston, et. al.)
(6:00 PM) (musical) Top Hat (1935/100 m/Mark Sandrich)
(8:00 PM) (adventure) Gunga Din (1939/117 m/George Stevens)
(10:15 PM) (adventure) The Three Musketeers (1948/126 m/George Sidney)
Sunday, October 11, 2020
(12:30 AM) (crime) The Racket (1951/89 m/John Cromwell)
(2:30 AM) (comedy) Bananas (1971/82 m/Woody Allen)
(4:00 AM) (comedy) Hannah and Her Sisters (1986/107 m/Woody Allen)
(6:00 AM) (comedy) A Midsummer Night's Dream (1935/143 m/Max Reinhardt)
(8:30 AM) (drama) Journey For Margaret (1942/81 m/Major W. S. Van Dyke II)
(10:00 AM) (crime) The Racket (1951/89 m/John Cromwell)
(12:00 PM) (drama) Sounder (1972/105 m/Martin Ritt)
(2:00 PM) (drama) The Secret Garden (1949/92 m/Fred M. Wilcox)
(3:45 PM) (drama) The Catered Affair (1956/94 m/Richard Brooks)
(5:30 PM) (musical) Flower Drum Song (1961/131 m/Henry Koster)
(8:00 PM) (comedy) The Front Page (1974/105 m/Billy Wilder)
(10:00 PM) (comedy) The Fortune Cookie (1966/126 m/Billy Wilder)
Monday, October 12, 2020
(12:15 AM) (comedy) Sidewalk Stories (1989/99 m/Charles Lane)
(2:15 AM) (comedy) The Firemen's Ball (1967/73 m/Milos Forman)
(3:45 AM) (premiere) All My Good Countrymen (1968/126 m/Vojtěch Jasný)
(6:00 AM) (horror) The Reptile (1966/90 m/John Gilling)
(7:45 AM) (horror) The Killer Shrews (1959/68 m/Ray Kellogg)
(9:00 AM) (horror) King Kong (1933/104 m/Merian C. Cooper)
(11:00 AM) (horror) The Beast From 20,000 Fathoms (1953/80 m/Eugene Lourié)
(12:30 PM) (horror) Gojira (1954/96 m/Ishiro Honda)
(2:00 PM) (horror) Creature from the Black Lagoon (1954/79 m/Jack Arnold)
(3:30 PM) (horror) Creature from the Haunted Sea (1961/59 m/Roger Corman)
(4:45 PM) (horror) The Green Slime (1969/90 m/Kinji Fukasaku)
(6:30 PM) (horror) Night of the Lepus (1972/88 m/William F. Claxton)
(8:00 PM) (adventure) Sword of Sherwood Forest (1960/80 m/Terence Fisher)
(11:00 PM) (horror) Daleks - Invasion Earth 2150 A.D. (1966/81 m/Gordon Flemyng)
Tuesday, October 13, 2020
(12:30 AM) (adventure) She (1965/106 m/Robert Day)
(2:30 AM) (crime) Violent Playground (1958/106 m/Basil Dearden)
(4:30 AM) (premiere) In Saigon: Some May Live (1967/89 m/Vernon Sewell)
(6:00 AM) (drama) Devotion (1931/81 m/Robert Milton)
(7:30 AM) (comedy) The Runaway Bus (1954/74 m/Val Guest)
(9:00 AM) (crime) The Solitaire Man (1933/67 m/Jack Conway)
(10:30 AM) (suspense) Blind Adventure (1933/63 m/Ernest B. Schoedsack)
(11:45 AM) (musical) Double Trouble (1967/92 m/Norman Taurog)
(1:30 PM) (romance) A Warm December (1972/101 m/Sidney Poitier)
(3:30 PM) (drama) The V.I.P.S (1963/119 m/Anthony Asquith)
(5:45 PM) (comedy) The Prince and the Showgirl (1957/117 m/Laurence Olivier)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 7) (2019/60 m/Mark Cousins)
(11:00 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 7) (2019/60 m/Mark Cousins)
Wednesday, October 14, 2020
(2:00 AM) (documentary) The House Is Black (1963/22 m/?)
(2:30 AM) (romance) First Love (1977/91 m/Joan Darling)
(4:15 AM) (drama) The Night Porter (1974/118 m/Liliana Cavani)
(6:30 AM) (drama) Le Bonheur (1965/80 m/Agnes Varda)
(10:15 AM) (silent) The Unholy Three (1925/86 m/Tod Browning)
(12:00 PM) (silent) The Unknown (1927/49 m/Tod Browning)
(1:00 PM) (silent) The Blackbird (1926/86 m/Tod Browning)
(2:30 PM) (horror) The Thirteenth Chair (1929/73 m/Tod Browning)
(4:00 PM) (horror) Freaks (1932/62 m/Tod Browning)
(5:15 PM) (horror) Mark of the Vampire (1935/60 m/Tod Browning)
(6:30 PM) (horror) The Devil-Doll (1936/78 m/Tod Browning)
(8:00 PM) (drama) Abe Lincoln in Illinois (1940/110 m/John Cromwell)
(10:00 PM) (drama) Sunrise at Campobello (1960/144 m/Vincent J. Donehue)
Thursday, October 15, 2020
(12:45 AM) (drama) Wilson (1944/154 m/Henry King)
(3:30 AM) (war) PT 109 (1963/140 m/Leslie H. Martinson) .
(6:00 AM) (comedy) Three Men on a Horse (1936/86 m/Mervyn LeRoy)
(7:30 AM) (crime) Unholy Partners (1941/94 m/Mervyn LeRoy)
(9:15 AM) (musical) Sweet Adeline (1935/88 m/Mervyn Le Roy)
(11:00 AM) (comedy) Happiness Ahead (1934/86 m/Mervyn Le Roy)
(12:30 PM) (drama) Big City Blues (1932/63 m/Mervyn LeRoy)
(1:45 PM) (suspense) The Bad Seed (1956/129 m/Mervyn LeRoy)
(4:00 PM) (drama) They Won't Forget (1937/95 m/Mervyn LeRoy)
(5:45 PM) (romance) Random Harvest (1942/126 m/Mervyn LeRoy)
(8:00 PM) (war) Tunes of Glory (1960/107 m/Ronald Neame)
(10:00 PM) (war) The Life and Death of Colonel Blimp (1943/164 m/Michael Powell)
Friday, October 16, 2020
(1:00 AM) (war) The Seventh Cross (1944/112 m/Fred Zinnemann)
(3:00 AM) (drama) The Diary of Anne Frank (1959/180 m/George Stevens)
(6:15 AM) (documentary) Trances (1981/89 m/Ahmed El Maanouni)
(8:00 AM) (comedy) Little Shop of Horrors (1960/72 m/Roger Corman)
(9:15 AM) (horror) Village of the Damned (1960/77 m/Wolf Rilla)
(10:45 AM) (horror) The Brain That Wouldn't Die (1962/82 m/Joseph Green)
(12:15 PM) (horror) Carnival of Souls (1962/78 m/Herk Harvey)
(1:45 PM) (horror) Dementia 13 (1963/75 m/Francis Ford Coppola)
(3:15 PM) (horror) The Raven (1963/86 m/Roger Corman)
(4:45 PM) (horror) Spider Baby (1964/84 m/Jack Hill)
(6:15 PM) (horror) The Nanny (1965/93 m/Seth Holt)
(8:00 PM) (horror) Dead of Night (1945/103 m/Alberto Cavalcanti, Basil Dearden, Robert Hamer, Charles Crichton)
(10:00 PM) (horror) Twice-Told Tales (1963/120 m/Sidney Salkow)
Saturday, October 17, 2020
(12:15 AM) (horror) Black Sabbath (1963/96 m/Mario Bava)
(2:00 AM) (premiere) Enter the Ninja (1981/99 m/Menahem Golan)
(3:45 AM) (premiere) Revenge of the Ninja (1983/?/Sam Firstenberg)
(5:30 AM) (short) Shake Hands With Danger (1970/23 m/?)
(6:00 AM) (war) The Password Is Courage (1962/115 m/Andrew L. Stone)
(8:00 AM) MGM CARTOONS: Sheep Wrecked (1958/6 m/Michael Lah)
(8:08 AM) (documentary) Cave Explorers (1957/8 m/Heinz Scheiderbauer)
(8:17 AM) (short) The Capital City Washington, D.C. (1940/9 m/?)
(8:27 AM) (drama) She Loved A Fireman (1937/58 m/John Farrow)
(9:30 AM) (premiere) The WILD WEST DAYS: Indians Are Coming (1937/?/?)
(10:00 AM) (premiere) POPEYE: A Hull of a Mess (1942/6 m/Dave Fleischer)
(10:08 AM) (adventure) Lord of the Jungle (1955/69 m/Ford Beebe)
(11:30 AM) (short) Kissing Time (1933/22 m/Roy Mack)
(12:00 PM) (western) Angel And The Badman (1947/100 m/James Edward Grant)
(1:45 PM) (adventure) Captain Horatio Hornblower (1951/117 m/Raoul Walsh)
(4:00 PM) (comedy) Support Your Local Sheriff! (1969/93 m/Burt Kennedy)
(5:45 PM) (horror) Rollerball (1975/125 m/Norman Jewison)
(8:00 PM) (musical) Singin' in the Rain (1952/103 m/Gene Kelly)
(10:00 PM) (musical) Summer Stock (1950/109 m/Charles Walters)
Sunday, October 18, 2020
(12:00 AM) (crime) Destination Murder (1950/73 m/Edward L. Cahn)
(1:45 AM) (comedy) The Fearless Vampire Killers or Pardon Me, But Your Teeth Are in My Neck (1966/107 m/Roman Polanski)
(3:45 AM) (horror) House of Dark Shadows (1970/97 m/Dan Curtis)
(5:30 AM) (short) Return to Glennascaul (1953/24 m/Hilton Edwards)
(6:00 AM) (drama) The Life of Emile Zola (1937/116 m/William Dieterle)
(8:15 AM) (comedy) His Girl Friday (1940/92 m/Howard Hawks)
(10:00 AM) (crime) Destination Murder (1950/73 m/Edward L. Cahn)
(11:45 AM) (epic) The Good Earth (1937/138 m/Sidney Franklin)
(2:15 PM) (drama) Written on the Wind (1957/99 m/Douglas Sirk)
(4:00 PM) (romance) Dear Heart (1964/114 m/Delbert Mann)
(6:00 PM) (comedy) Peggy Sue Got Married (1986/105 m/Francis Ford Coppola)
(10:00 PM) (comedy) Losing Ground (1982/86 m/Kathleen Collins)
Monday, October 19, 2020
(12:00 AM) (silent) Exit Smiling (1926/77 m/Sam Taylor)
(2:00 AM) (premiere) I Am Waiting (1957/91 m/Koreyoshi Kurahara)
(3:45 AM) (premiere) A Colt Is My Passport (1967/84 m/Takashi Nomura) .
(5:30 AM) (documentary) MGM Parade Show #5 (1955/26 m/?)
(6:00 AM) (comedy) I Married a Witch (1942/77 m/René Clair)
(7:30 AM) (comedy) Mr. and Mrs. Smith (1941/95 m/Alfred Hitchcock)
(9:15 AM) (crime) Touch of Evil (1958/111 m/Orson Welles)
(11:30 AM) (adventure) Mogambo (1953/116 m/John Ford)
(1:45 PM) (suspense) North by Northwest (1959/136 m/Alfred Hitchcock)
(4:15 PM) (drama) In A Lonely Place (1950/93 m/Nicholas Ray)
(6:00 PM) (war) Any Number Can Play (1949/103 m/Mervyn LeRoy)
(8:00 PM) (suspense) The Hound of the Baskervilles (1959/87 m/Terence Fisher)
(9:30 PM) (horror) Horror of Dracula (1958/81 m/Terence Fisher)
(11:15 PM) (horror) The Mummy (1959/88 m/Terence Fisher)
(1:00 AM) (horror) The Curse of Frankenstein (1957/83 min/Terence Fisher)
(2:45 AM) (horror) Frankenstein Created Woman (1967/92 min/Terence Fisher)
(4:30 AM) (horror) Frankenstein Must Be Destroyed! (1970/101 m/Terence Fisher)
Tuesday, October 20, 2020
(6:15 AM) (comedy) Front Page Woman (1935/82 m/Michael Curtiz)
(7:45 AM) (romance) Wife Vs. Secretary (1936/88 m/Clarence Brown)
(9:30 AM) (suspense) Mr. And Mrs. North (1941/67 m/Robert B. Sinclair)
(10:45 AM) (comedy) Theodora Goes Wild (1936/94 m/Richard Boleslawski)
(12:30 PM) (comedy) Breakfast for Two (1937/68 m/Alfred Santell)
(1:45 PM) (comedy) Four's A Crowd (1938/92 m/Michael Curtiz)
(3:30 PM) (comedy) It's A Wonderful World (1939/86 m/W. S. Van Dyke II)
(5:00 PM) (comedy) Fools For Scandal (1938/80 m/Mervyn Le Roy)
(6:30 PM) (romance) Love on the Run (1936/80 m/W. S. Van Dyke)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 8) (2019/60 min/Mark Cousins)
(10:45 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 8) (2019/60 m/Mark Cousins)
Wednesday, October 21, 2020
(2:00 AM) (premiere) The Third Miracle (1999/119 m/Agnieszka Holland)
(7:45 AM) (short) The Birth, the Life and the Death of Christ (1906/34 m/Alice Guy-Blache)
(8:30 AM) (documentary) Araya (1959/83 m/Margot Benacerraf)
(10:00 AM) (drama) Children of a Lesser God (1986/119 m/Randa Haines)
(12:15 PM) (drama) Young Dr. Kildare (1938/82 m/Harold S. Bucquet)
(1:45 PM) (drama) Calling Dr. Kildare (1939/86 m/Harold S. Bucquet)
(3:30 PM) (drama) The Secret of Dr. Kildare (1939/84 m/Harold S. Bucquet)
(5:00 PM) (drama) Dr. Kildare Goes Home (1940/79 m/Harold S. Bucquet)
(6:30 PM) (drama) Dr. Kildare's Crisis (1940/75 m/Harold S. Bucquet)
(8:00 PM) (comedy) Hard To Handle (1933/78 m/Mervyn Le Roy)
(9:30 PM) (crime) The Beast of the City (1932/86 m/Charles Brabin)
(11:15 PM) (drama) One Way Passage (1932/67 m/Tay Garnett)
Thursday, October 22, 2020
(12:45 AM) (crime) They Live By Night (1948/95 m/Nicolas Ray)
(2:30 AM) (adventure) The Prisoner of Zenda (1952/100 m/Richard Thorpe)
(4:15 AM) (adventure) Green Fire (1955/100 m/Andrew Marton)
(6:00 AM) (adventure) Three Faces East (1930/71 m/Roy Del Ruth)
(7:30 AM) (drama) Born to Love (1932/81 m/Paul L. Stein)
(9:00 AM) (drama) The Common Law (1932/74 m/Paul L. Stein)
(10:30 AM) (drama) Rockabye (1932/68 m/George Cukor)
(11:45 AM) (drama) Bed of Roses (1933/ 67 /Gregory LaCava)
(1:00 PM) (drama) Our Betters (1933/83 m/George Cukor)
(2:30 PM) (comedy) Topper (1937/97 m/Norman Z. McLeod)
(4:15 PM) (comedy) Topper Takes a Trip (1939/80 m/Norman Z. McLeod)
(5:45 PM) (comedy) Merrily We Live (1938/95 m/Norman Z. McLeod)
(7:30 PM) (documentary) MGM Parade Show #5 (1955/26 m/?)
(8:00 PM) (crime) The Killers (1964/93 m/Donald Siegel)
(9:45 PM) (drama) The Breaking Point (1950/97 m/Michael Curtiz)
(11:30 PM) (horror) The Mystery Of The Wax Museum (1933/77 m/Michael Curtiz)
Friday, October 23, 2020
(1:00 AM) (horror) Night of the Living Dead (1968/96 m/George A. Romero)
(3:00 AM) (premiere) A River Called Titas (1973/158 m/Ritwik Ghatak)
(6:00 AM) (drama) Inside Straight (1951/87 m/Gerald Mayer)
(7:30 AM) (crime) Absolute Quiet (1936/70 m/George B. Seitz)
(8:45 AM) (drama) Chain Lightning (1950/95 m/Stuart Heisler)
(10:30 AM) (adventure) Tycoon (1947/129 m/Richard Wallace)
(12:45 PM) (drama) No Marriage Ties (1933/72 m/J. Walter Ruben)
(2:00 PM) (drama) Death of a Scoundrel (1956/120 m/Charles Martin)
(4:15 PM) (crime) Assignment To Kill (1968/99 m/Sheldon Reynolds)
(6:00 PM) (suspense) The Drowning Pool (1975/108 m/Stuart Rosenberg)
(8:00 PM) (horror) Pit and the Pendulum (1961/80 m/Roger Corman)
(9:45 PM) (horror) Spirits of the Dead (1968/121 m/Federico Fellini, Louis Malle, Roger Vadim)
Saturday, October 24, 2020
(12:00 AM) (horror) Murders In The Rue Morgue (1971/98 m/Gordon Hessler)
(2:00 AM) (premiere) Ninja III: The Domination (1984/95 m/Sam Firstenberg)
(3:45 AM) (drama) Heavenly Bodies (1985/89 m/Lawrence Dane)
(5:30 AM) (short) Keep Off The Grass (1969/21 m/?)
(6:00 AM) (comedy) Please Don't Eat the Daisies (1960/111 m/Charles Walters)
(8:00 AM) (premiere) MGM CARTOONS: One Cab's Family (1938/8 m/Fred (Tex) Avery)
(8:09 AM) (documentary) Black Cats and Broomsticks (1955/8 m/Larry O'Reilly)
(8:18 AM) (short) Wandering Here and There (1944/9 m/James A. FitzPatrick)
(8:28 AM) (romance) King Of The Lumberjacks (1940/59 m/William Clemens)
(9:30 AM) (premiere) THE WILD WEST DAYS: Leap For Life (1937/?/?)
(10:00 AM) (premiere) POPEYE: Cartoons Ain’t Human (1943/7 m/Dave Fleischer)
(10:09 AM) (adventure) Tarzan And The Amazons (1945/76 m/Kurt Neumann)
(11:30 AM) (short) The Flame Song (1934/22 m/Joseph Henabery)
(12:00 PM) (suspense) Harper (1966/121 m/Jack Smight)
(2:15 PM) (horror) Brainstorm (1983/106 m/Douglas Trumbull)
(4:15 PM) (war) Men Of The Fighting Lady (1954/80 m/Andrew Marton)
(5:45 PM) (drama) Citizen Kane (1941/119 m/Orson Welles)
(8:00 PM) (drama) Ace in the Hole (1951/111m/Billy Wilder)
(10:15 PM) (premiere) Flesh and Fury (1952/83 m/Joseph Pevney)
Sunday, October 25, 2020
(12:00 AM) (adventure) Macao (1952/81 m/Josef von Sternberg)
(1:45 AM) (horror) The Werewolf (1956/80 m/Fred F. Sears)
(3:15 AM) (premiere) The Howling (1981/91 m/Joe Dante)
(5:00 AM) (horror) The Mummy (1932/73 m/Karl Freund)
(6:15 AM) (suspense) Murder on the Blackboard (1934/72 m/George Archainbaud)
(7:30 AM) (romance) All This, and Heaven Too (1940/143 m/Anatole Litvak)
(10:00 AM) (adventure) Macao (1952/81 m/Josef von Sternberg)
(12:00 PM) (romance) The White Cliffs Of Dover (1944/126 m/Clarence Brown)
(2:15 PM) (epic) Around the World in 80 Days (1956/182 m/Michael Anderson)
(5:30 PM) (horror) What Ever Happened to Baby Jane? (1962/134 m/Robert Aldrich)
(8:00 PM) (western) 3:10 to Yuma (1957/92 m/Delmer Daves)
(10:00 PM) (western) Gunman's Walk (1958/95 m/Phil Karlson)
Monday, October 26, 2020
(12:00 AM) (silent) Haxan: Witchcraft Through the Ages (1922/107 m/Benjamin Christensen)
(2:00 AM) (suspense) Diabolique (1955/117 m/Henri-Georges Clouzot)
(4:15 AM) (horror) Eyes Without a Face (1959/90 m/Georges Franju)
(6:00 AM) (suspense) The Beast with Five Fingers (1946/88 m/Robert Florey)
(7:45 AM) (adventure) Mara Maru (1952/98 m/Gordon Douglas)
(9:30 AM) (drama) They Won't Believe Me (1947/80 m/Irving Pichel)
(11:15 AM) (suspense) Where Danger Lives (1950/80 m/John Farrow)
(1:00 PM) (suspense) Fingers at the Window (1942/81 m/Charles Lederer)
(2:30 PM) (suspense) Footsteps in the Dark (1941/96 m/Lloyd Bacon)
(4:15 PM) (suspense) Kill or Cure (1962/88 m/George Pollock)
(6:00 PM) (comedy) The Gazebo (1960/102m/George Marshall)
(8:00 PM) (horror) Nothing But the Night (1972/91 m/Peter Sasdy)
(9:45 PM) (horror) Madhouse (1974/91 m/James Clark)
(11:30 PM) (horror) From Beyond the Grave (1973/98 m/Kevin Connor)
Tuesday, October 27, 2020
(1:30 AM) (horror) Scream and Scream Again (1970/95 m/Gordon Hessler)
(3:15 AM) (premiere) The Satanic Rites of Dracula (1973/88 m/Alan Gibson)
(4:45 AM) (horror) Dracula A.D. 1972 (1972/96 m/Alan Gibson)
(6:30 AM) (western) Somewhere In Sonora (1933/58 m/Mack V. Wright)
(7:45 AM) (western) Along the Rio Grande (1941/64 m/Edward Killy)
(9:00 AM) (western) Valley of the Sun (1942/78 m/George Marshall)
(10:30 AM) (western) Sagebrush Trail (1933/53 m/Armand Schaefer)
(11:30 AM) (western) Devil's Canyon (1953/92 m/Alfred Werker)
(1:15 PM) (western) The Hired Gun (1957/64 m/Ray Nazarro)
(2:30 PM) (premiere) Black Patch (1957/82 m/Allen H. Miner)
(4:00 PM) (western) Virginia City (1940/121 m/Michael Curtiz)
(6:15 PM) (western) Escape From Fort Bravo (1953/98 m/John Sturges)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 9) (2019/60 m/Mark Cousins)
(11:00 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 9) (2019/60 m/Mark Cousins)
Wednesday, October 28, 2020
(12:15 AM) (comedy) Girlfriends (1978/88 m/Claudia Weill)
(2:00 AM) (drama) The Connection (1962/103 m/Shirley Clarke)
(4:00 AM) (comedy) Lost In Yonkers (1993/114 m/Martha Coolidge)
(10:00 AM) (drama) Winter Meeting (1948/104 m/Bretaigne Windust)
(12:00 PM) (romance) I Know Where I'm Going (1945/92 m/Michael Powell)
(1:45 PM) (romance) The Enchanted Cottage (1945/92 m/John Cromwell)
(3:30 PM) (romance) Random Harvest (1942/126 m/Mervyn LeRoy)
(6:00 PM) (romance) Desire Me (1947/91 m/George Cukor)
(8:00 PM) (drama) The Best Man (1964/102 m/Franklin J. Schaffner)
(10:00 PM) (drama) State of the Union (1948/123 m/Frank Capra)
Thursday, October 29, 2020
(12:15 AM) (comedy) The Great McGinty (1940/82 m/Preston Sturges)
(2:00 AM) (drama) The Candidate (1972/110 m/Michael Ritchie)
(4:00 AM) (drama) All the King's Men (1949/110 m/Robert Rossen)
(6:00 AM) (western) Haunted Gold (1932/58 m/Mack V. Wright)
(7:00 AM) (horror) The Devil-Doll (1936/78 m/Tod Browning)
(8:30 AM) (suspense) Before Dawn (1933/61 m/Irving Pichel)
(9:45 AM) (comedy) Man Alive (1946/70 m/Ray Enright)
(11:00 AM) (horror) Tormented (1960/75 m/Bert I. Gordon)
(12:30 PM) (adventure) Angel on My Shoulder (1946/101 m/Archie Mayo)
(2:15 PM) (horror) Night Of Dark Shadows (1971/94 m/Dan Curtis)
(4:00 PM) (horror) Indestructible Man (1956/71 m/Jack Pollexfen)
(5:15 PM) (horror) From Hell It Came (1957/71 m/Johnny Greenwald)
(6:30 PM) (horror) Death Curse of Tartu (1966/88 m/William Grefé)
(8:00 PM) (western) Winchester '73 (1950/92 m/Anthony Mann)
(10:00 PM) (western) She Wore a Yellow Ribbon (1949/104 m/John Ford)
Friday, October 30, 2020
(12:00 AM) (documentary) Primary (1960/53 m/Robert Drew)
(1:15 AM) (documentary) Crisis (1963/53 m/Robert Drew)
(2:15 AM) (premiere) Dos Monjes (1934//Juan Bustillo Oro)
(4:00 AM) (drama) Of Mice and Men (1939/107m/Lewis Milestone)
(6:00 AM) (documentary) MGM Parade Show #5 (1955/26 m/?)
(6:30 AM) (horror) Doctor X (1932/76 m/Michael Curtiz)
(8:00 AM) (horror) The Mask Of Fu Manchu (1932/68 m/Charles Brabin)
(9:30 AM) (horror) The Most Dangerous Game (1932/63 m/Ernest B. Schoedsack)
(10:45 AM) (horror) Island of Lost Souls (1932/70 m/Erle C. Kenton)
(12:00 PM) (horror) White Zombie (1932/67 m/Victor Halperin)
(1:30 PM) (horror) The Vampire Bat (1933/63 m/Frank Strayer)
(2:45 PM) (horror) The Mystery Of The Wax Museum (1933/77 m/Michael Curtiz)
(4:15 PM) (horror) Mad Love (1935/68 m/Karl Freund)
(5:30 PM) (horror) The Walking Dead (1936/65 m/Michael Curtiz)
(6:45 PM) (horror) The Return of Doctor X (1939/62 m/Vincent Sherman)
(8:00 PM) (horror) Burn, Witch, Burn! (1962/89 m/Sidney Hayers)
(9:45 PM) (horror) The Four Skulls of Jonathan Drake (1959/70 m/Edward L. Cahn)
(11:00 PM) (horror) The Devil's Bride (1968/96 m/Terence Fisher)
Saturday, October 31, 2020
(12:45 AM) (horror) The Conqueror Worm (1968/87 m/Michael Reeves)
(5:15 AM) (short) The Distant Drummer: Flowers of Darkness (1972/22 m/William Templeton)
(5:15 AM) (short) Movie Trailer (1950/16 m/?)
(6:00 AM) (horror) Freaks (1932/62 m/Tod Browning)
(7:15 AM) (horror) Dr. Jekyll and Mr. Hyde (1932/96 m/Rouben Mamoulian)
(9:00 AM) (horror) House of Wax (1953/88 m/Andre DeToth)
(10:45 AM) (horror) Children of the Damned (1964/90 m/Anton M. Leader)
(12:30 PM) (suspense) The Bad Seed (1956/129 m/Mervyn LeRoy)
(2:45 PM) (drama) The Picture of Dorian Gray (1945/110 m/Albert Lewin)
(4:45 PM) (horror) The Wolf Man (1941/70 m/George Waggner)
(6:00 PM) (horror) The Haunting (1963/112 m/Robert Wise)
(8:00 PM) (comedy) Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964/95 m/Stanley Kubrick) .
(10:00 PM) (horror) Them! (1954/92 m/Gordon Douglas)
(12:00 AM) (horror) The Seventh Victim (1943/71 m/Mark Robson)
(1:30 AM) (horror) I Walked With A Zombie (1943/69 m/Jacques Tourneur)
(3:00 AM) (horror) The Body Snatcher (1945/78 m/Robert Wise)
(4:30 AM) (suspense) The Leopard Man (1943/66 m/Jacques Tourneur)
submitted by tombstoneshadows28 to movies [link] [comments]


2020.09.19 05:14 IndependentMacaroon Quite disappointed with Rebuild 1.0

For me, it's like 5-6/10 level where the original series as a whole is a 9-10. It really is a near clone of the first few episodes with better animation and CG, particularly in the first half. Updating the look is fine and good, but when you go so far as to copy-paste like half the film, sometimes practically frame-by-frame, complete with silly gags and funny animals, you can't really call the result more than a glorified tech demo. It's almost insulting that this was what Anno and Khara decided on a full twelve years after the original. Of course, there are some changes and omissions, also by necessity, but I largely wasn't a fan of those either. Mostly, they take some of the edge and complexity off the original.
If there's any important changes or omissions I missed, feel free to comment. I only just watched it today, so I hope nothing's outright wrong at least.
submitted by IndependentMacaroon to evangelion [link] [comments]


2020.09.18 22:08 Appropriate_Focus402 The difference between IG’s and OUATIH‘S historical revisions

Inglorious Basterds (IB, oops) changes the way WW2 ends, but rather than changing our history drastically, it sends us on a similar, slightly more violent, slightly more movie obsessed alternate reality. The movie reminds us that our version of real history is only slightly less violent and propaganda-y than the universe that the Basterds occupy. America dehumanizes its enemies and presents itself as a righteous savior, contributing to a violent society.
In Once Upon A Time In Hollywood, the historical revision completely prevents real events from occurring. Events that led to the downfall of the hippie counter-culture revolution. The alternate reality bridges the gap between fading 50’s sensibilities (Rick Dalton) and progressive 60’s ideals (Sharon Tate and friends). Tarantino sends his reality in a more hopeful direction, creating a heightened backlash to our violent, corporate society.
The result is Tarantino’s subsequent filmography. It’s a universe slightly more violent because of the events of IG, but with elements of much more rebellious and anti-establishment counter-culture very much alive.
OUATIH is Tarantino’s philosophy, manifested in a fictional story. He rejects the real world events being weaponized to destroy the movement, and preserves it, not just in this film, but all his prior films. He rejects and criticizes the big franchise empty propaganda that we have become. He makes movies about runaway slaves fighting white supremecists in an era otherwise fixated on glorifying empty violence. He subtly has been attacking and deconstructing our culture all along, and OUATIH is the in-universe explanation of why those movies exist, in his universe and ours.
Tarantino is showing us how to reject the bullshit and embrace the craft of moviemaking before it was destroyed. His films have always done this, and OUATIH is a depiction of the philosophy that started it all. Basterds depicts the propaganda he’s fighting against, and OUATIH depicts the corporate emptiness he’s fighting against.
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2020.09.18 20:39 scubaguy194 A few words on the Environment The musings of Scubaguy194

A few words on the Environment The musings of Scubaguy194
This week I have been engaged in talks with my government colleagues regarding the plans being made for climate change adaptation. Whilst I cannot mention specifics, I can safely say that my views and opinions, and that I have represented the views of you my constituents. It is my firm belief that the Climate Emergency is the most pressing issue of our time - beyond Brexit and beyond terrorism. For the simple reason that if we don't react and adapt to the changes now, if we don't plan and if we rely on short term thinking, then we may be without an earth to live on in perhaps 100 years time. Last night I found myself with little to do, so I sat and watched the Disney-Pixar film Wall-e - I'm sure you will have watched it. Though the film a heartwarming story of a human desire to look after one's home, through the perceptive lens of a plucky little robot, the world depicted in that film is a bleak one, blighted with runaway consumer Capitalism and an unbridled private sector. This is a world I am passionate about preventing. I am optimistic that the discussions had in government are a great first step towards achieving this goal.
I have also been actively involved in ensuring that your views and questions are expressed to the greatest extent possible in Parliament. Yesterday I had the pleasure to ask two questions of the first minister on behalf of two of you, my constituents. The First Minister assured me that Allison King's concerns about ensuring the stability of her business post-Brexit will be taken seriously, through a Brexit adaptation fund provided by the Scottish Treasury. I also asked the First Minister a question about the state of our infrastructure in our corner of Scotland, but he has yet to give me an answer. Thank you Mr Fraser for your question, I'm sure the first minister will give me an answer in time.
submitted by scubaguy194 to MHOCPress [link] [comments]


2020.09.17 21:14 ya_boy_george I need help putting a few missing pieces into the MCU film tv series list

hey everybody first my grammar is horrible I was just wondering I was watching the mcu films and TV series in the order they that take place in the mcu and I was wondering where films like venom the X-Men films and other tv series and films take place that are not on this list if you can help me out that would be really great also the year next to each movie and tv show are not the release date of the films and TV shows but when the films and TV shows take place in the mcu
Captain America: The First Avenger (1943-45)
One Shot: Agent Carter (1944)
Agent Carter season 1 (1946)
Agent Carter season 2 (1947)
Captain Marvel (1995)
Iron Man (2010)
Iron Man 2 (2011)
The Incredible Hulk (2011)
One Shot: The Consultant (2011)
One Shot: A Funny Thing Happened on the Way to Thor’s Hammer (2011)
Thor (2011)
Avengers (2012)
One Shot: Item 47 (2012)
Iron Man 3 (2012)
One Shot: All Hail the King (2013)
Agents of Shield season 1, episodes 1-7 (2013)
Thor: The Dark World (2013)
Agents of Shield season 1, episodes 8-16 (2014)
Captain America: The Winter Soldier (2014)
Agents of Shield season 1, episodes 17-22 (2014)
Daredevil season 1 (2014)
Guardians of the Galaxy (2014)
Guardians of the Galaxy 2 (2014)
Agents of Shield season 2, episodes 1-19 (2015)
Avengers: Age of Ultron (2015)
Agents of Shield season 2, episodes 20-22 (2015)
Ant-Man (2015)
Jessica Jones season 1 (2015)
Daredevil season 2 (2015)
Luke Cage season 1 (2015)
Agents of Shield season 3 episodes 1-10 (2015)
Agents of Shield season 3, episodes 11-19 (2016)
Captain America: Civil War (2016)
Agents of Shield season 3, episodes 20-22 (2016)
Agents of Shield season 4, episodes 1-8 (2016)
Agents of Shield: Slingshot (2016)
Agents of Shield season 4, episodes 9-22 (2016)
Iron Fist season 1 (2016)
The Defenders (2016)
Spider-Man: Homecoming (2016)
The Punisher season 1 (2016)
Doctor Strange (2016-2017)
Agents of Shield season 5, episodes 1-19 (2017)
Black Panther (2017)
Black Widow (2017)
Jessica Jones season 2 (2017)
Inhumans season 1 (2017)
Luke Cage season 2 (2017)
Iron Fist season 2 (2017)
Daredevil season 3 (2017)
The Punisher season 2 (2017)
Jessica Jones season 3 (2017)
Runaways season 1 and 2 (2017)
Cloak and Dagger season 1 and 2 (2017)
Thor: Ragnarok (2017-2018)
Agents of Shield season 5, episodes 19-22 (2018)
Ant-Man and the Wasp (2018)
Avengers: Infinity War (2017-2018)
Agents of Shield season 6 (Unknown)
Avengers: Endgame (2018-2023)
Spider-Man: Far From Home (2024)
submitted by ya_boy_george to marvelstudios [link] [comments]


2020.09.15 23:16 Trucks5889 Slavery

People think they know everything about slavery in the United States, but they don’t. They think the majority of African slaves came to the American colonies, but they didn’t. They talk about 400 years of slavery, but it wasn’t. They claim all Southerners owned slaves, but they didn’t. Some argue it was all a long time ago, but it wasn’t.
Slavery has been in the news a lot lately. From the discovery of the auction of 272 enslaved people that enabled Georgetown University to remain in operation to the McGraw-Hill textbook controversy over calling slaves “workers from Africa” and the slavery memorial being built at the University of Virginia, Americans are having conversations about this difficult period in American history. Some of these dialogues have been wrought with controversy and conflict, like the University of Tennessee student who challenged her professor’s understanding of enslaved families.
As a scholar of slavery at the University of Texas at Austin, I welcome the public debates and connections the American people are making with history. However, there are still many misconceptions about slavery, as evidenced by the conflict at the University of Tennessee.
I’ve spent my career dispelling myths about “the peculiar institution.” The goal in my courses is not to victimize one group and celebrate another. Instead, we trace the history of slavery in all its forms to make sense of the origins of wealth inequality and the roots of discrimination today. The history of slavery provides vital context to contemporary conversations and counters the distorted facts, internet hoaxes and poor scholarship I caution my students against.
Four myths about slavery
Myth One: The majority of African captives came to what became the United States.
Truth: Only a little more than 300,000 captives, or 4-6 percent, came to the United States. The majority of enslaved Africans went to Brazil, followed by the Caribbean. A significant number of enslaved Africans arrived in the American colonies by way of the Caribbean, where they were “seasoned” and mentored into slave life. They spent months or years recovering from the harsh realities of the Middle Passage. Once they were forcibly accustomed to slave labor, many were then brought to plantations on American soil.
Myth Two: Slavery lasted for 400 years.
Popular culture is rich with references to 400 years of oppression. There seems to be confusion between the Transatlantic Slave Trade (1440-1888) and the institution of slavery, confusion only reinforced by the Bible, Genesis 15:13:
Then the Lord said to him, ‘Know for certain that for four hundred years your descendants will be strangers in a country not their own and that they will be enslaved and mistreated there.’ Listen to Lupe Fiasco – just one hip-hop artist to refer to the 400 years – in his 2011 imagining of America without slavery, “All Black Everything”:
 [Hook] You would never know If you could ever be If you never try You would never see Stayed in Africa We ain’t never leave So there were no slaves in our history Were no slave ships, were no misery, call me crazy, or isn’t he See I fell asleep and I had a dream, it was all black everything [Verse 1] Uh, and we ain’t get exploited White man ain’t feared so he did not destroy it We ain’t work for free, see they had to employ it Built it up together so we equally appointed First 400 years, see we actually enjoyed it 
Auctioning slaves in South Carolina. Wikimedia Truth: Slavery was not unique to the United States; it is a part of almost every nation’s history, from Greek and Roman civilizations to contemporary forms of human trafficking. The American part of the story lasted fewer than 400 years.
How, then, do we calculate the timeline of slavery in America? Most historians use 1619 as a starting point: 20 Africans referred to as “servants” arrived in Jamestown, Virginia on a Dutch ship. It’s important to note, however, that they were not the first Africans on American soil. Africans first arrived in America in the late 16th century not as slaves but as explorers together with Spanish and Portuguese explorers.
[Insight, in your inbox each day. You can get it with The Conversation’s email newsletter.]
One of the best-known of these African “conquistadors” was Estevancio, who traveled throughout the Southeast from present-day Florida to Texas. As far as the institution of chattel slavery – the treatment of slaves as property – in the United States, if we use 1619 as the beginning and the 1865 13th Amendment as its end, then it lasted 246 years, not 400.
Myth Three: All Southerners owned slaves.
Truth: Roughly 25 percent of all Southerners owned slaves. The fact that one-quarter of the southern population were slaveholders is still shocking to many. This truth brings historical insight to modern conversations about inequality and reparations.
Take the case of Texas.
When it established statehood, the Lone Star State had a shorter period of Anglo-American chattel slavery than other southern states – only 1845 to 1865 – because Spain and Mexico had occupied the region for almost one-half of the 19th century with policies that either abolished or limited slavery. Still, the number of people impacted by wealth and income inequality is staggering. By 1860, the Texas enslaved population was 182,566, but slaveholders represented 27 percent of the population, and controlled 68 percent of the government positions and 73 percent of the wealth. These are astonishing figures, but today’s income gap in Texas is arguably more stark, with 10 percent of tax filers taking home 50 percent of the income.
Myth Four: Slavery was a long time ago.
Truth: African-Americans have been free in this country for less time than they were enslaved. Do the math: Blacks have been free for 152 years, which means that most Americans are only two to three generations away from slavery. This is not that long ago.
Over this same period, however, former slaveholding families have built their legacies on the institution and generated wealth that African-Americans have not had access to because enslaved labor was forced. Segregation maintained wealth disparities, and overt and covert discrimination limited African-American recovery efforts.
The value of slaves
Economists and historians have examined detailed aspects of the enslaved experience for as long as slavery existed. My own work enters this conversation by looking at the value of individual slaves and the ways enslaved people responded to being treated as a commodity.
They were bought and sold just like we sell cars and cattle today. They were gifted, deeded and mortgaged the same way we sell houses today. They were itemized and insured the same way we manage our assets and protect our valuables.
Extensive Sale of Choice Slaves, New Orleans 1859, Girardey, C.E. Natchez Trace Collection, Broadside Collection, Dolph Briscoe Center for American History Enslaved people were valued at every stage of their lives, from before birth until after death. Slaveholders examined women for their fertility and projected the value of their “future increase.” As the slaves grew up, enslavers assessed their value through a rating system that quantified their work. An “A1 Prime hand” represented one term used for a “first-rate” slave who could do the most work in a given day. Their values decreased on a quarter scale from three-fourths hands to one-fourth hands, to a rate of zero, which was typically reserved for elderly or differently abled bondpeople (another term for slaves).
For example, Guy and Andrew, two prime males sold at the largest auction in U.S. history in 1859, commanded different prices. Although similar in “all marketable points in size, age, and skill,” Guy was US$1,280 while Andrew sold for $1,040 because “he had lost his right eye.” A reporter from the New York Tribune noted “that the market value of the right eye in the Southern country is $240.” Enslaved bodies were reduced to monetary values assessed from year to year and sometimes from month to month for their entire lifespan and beyond. By today’s standards, Andrew and Guy would be worth about $33,000-$40,000.
Slavery was an extremely diverse economic institution, one that extracted unpaid labor out of people in a variety of settings – from small single-crop farms and plantations to urban universities. This diversity was also reflected in their prices. And enslaved people understood they were treated as commodities.
“I was sold away from mammy at three years old,” recalled Harriett Hill of Georgia. “I remembers it! It lack selling a calf from the cow,” she shared in a 1930s interview with the Works Progress Administration. “We are human beings,” she told her interviewer. Those in bondage understood their status. Even though Harriet Hill was too little to remember her price when she was three, she recalled being sold for $1,400 at age nine or 10: “I never could forget it.”
Slavery in popular culture
Slavery is part and parcel of American popular culture, but for 40 years the television miniseries Roots was the primary visual representation of the institution, except for a handful of independent (and not widely known) films such as Haile Gerima’s “Sankofa” or the Brazilian “Quilombo.”
Today, from grassroots initiatives such as the interactive Slave Dwelling Project, where school-aged children spend the night in slave cabins, to comic skits on Saturday Night Live, slavery is front and center. In 2016 A&E and History released the reimagined miniseries “Roots: The Saga of an American Family,” which reflected four decades of new scholarship. Steve McQueen’s “12 Years a Slave” was a box office success in 2013, actress Azia Mira Dungey made headlines with the popular web series called “Ask a Slave,” and “The Underground” – a series about runaway slaves and abolitionists – was a hit for its network WGN America. With less than one year of operation, the Smithsonian’s National Museum of African American History, which devotes several galleries to the history of slavery, has had more than one million visitors.
The elephant that sits at the center of our history is coming into focus. American slavery happened – we are still living with its consequences. I believe we are finally ready to face it, learn about it and acknowledge its significance to American history.
[You’re too busy to read everything. We get it. That’s why we’ve got a weekly newsletter. Sign up for good Sunday reading.]
Editor’s note: This is an updated version of an article that originally appeared on Oct. 21, 2014.
submitted by Trucks5889 to BLMExposed [link] [comments]


2020.09.15 15:58 Chendow96 25[M4F] Anywhere - Whatever-ship that leads to life-long?

I think, just in case, I succeed in finding someone here, it will be a lot more beautiful and stronger than real life.
Because well, in real life, who you are, what you have achieved, what are your goals are main contributers in all relationships......
That's not what I'm looking for.. I'm looking for the unconditional..the unconditional love that transcends the materialistic desires, the type that can last forever..
So yeah, thats why I'm foolishly trying my luck in here. :)
Well then... Be warned, this will be long.
I'm 25m, Eg.yptian, (Living in MiddleEast GMT+4). We don't need to have a similar time zones, but its a plus.
Im looking for a whatever-ship that can turn into a "life-long" relationship, not just a long term one as I'm not into changing relationships when bored or when a better is found ! (If commitment scares you, then I'm not what you are looking for)
you can be from anywhere, I'm planning to relocate within a couple years anyway and I got a few countries in mind. As long as we get along we will figure it out and close the distance.
What I look for in you;
Well.. Here's a lot of info about me, that you would only appreciate if you are highly selective like me 😅🙈. Remember.. we don't have to have similar interests! I already mentioned what I'm looking for above.
Well... I'm
Some of my Favorite things;
Movies; Harry Potter, Pirates of the Caribbean, and Twilight (don't judge xD) .
Series; Heroes, Supernatural, Dexter, Merlin, Vampire Diaries, GoT, House, Ghost whispers, TheMentalist and you.
Anime; Claymore, Phantom Requiem, One Piece, Mob100, One punch, SAO.
Manga; TOG, Nobelesse, Solo Leveling, The Gamer.
Light Novels; Desolate Era, ATG, ISSTH and TDG.
Games; used to play some older MMO games, now mostly League of legends, and rarely PoE. And mobile games.
Disclaimer: at the moment I'm not really into games nor anime but I left them as an indication of my taste. Actually, not really into anything, except maybe series and light novels. You know, I kinda find giving the power to the mind to imagine things is way cooler than what people can film or draw.
And if you ask me why read fiction instead of actual informative books, well, those doesn't allow my mind to run wild with imagination. In addition, I got a good serving of informative knowledge etc from my education. :)
Music; I love accoustic and basically anything. Maybe give me recommendations?
Favorite songs at the moment;
Thank you for reading so far. I appreciate that.
Please feel no pressure in texting me, we can try our luck with no labels attached, if we dont click, then we were never meant to be. :) I will NOT bite, PROMISE! 😅
Consider sending a monkey emoji if you actually did read all of this. I hope you start with an introduction of yourself, and why how/why did I get your attention.
My PM/Driect chat is always open for you.
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2020.09.15 05:53 OzFreelancer The Hammer Maniacs' youngest victims

Most of you would have heard of the Dnepropetrovsk Maniacs, two Ukrainian teenagers when went on a two-week killing spree in 2007. By the time they were captured, the boys had killed at least 21 people and seriously injured many more. Their weapon of choice was a yellow-handled hammer.
Their crimes were heinous enough, but made infinitely worse by the fact that they filmed themselves carrying them out. A video of one of their murders was uploaded to all of the gore sites and quickly went viral, a favorite of the “reaction video” set. It was dubbed “3 Guys, 1 Hammer”
While most of the media surrounding the case focused on that video, the Maniacs left behind many more victims than unfortunate grandfather Sergei Yatzenko. Below is the story of the two youngest victims of the psychopaths, excerpted from my book “Psycho.com: serial killers on the internet
On 7 July 2007, 13-year old Andrei Sidyuk and 14-year-old Vadim Lyakhov from Podgorodnoe, around 15 kilometres from Dnepropetrovsk, woke up extra early to head off to catch fresh fish as a treat for their mothers. The two young friends had gone fishing together many times and usually had a third boy with them, but their friend was not allowed out for this trip. At 3:00 am, it would still be dark for some time and the other boy’s mother was afraid something might happen to him. Andrei and Vadim, who were not subject to such rules, set out on their bicycles carrying nothing but their fishing rods.
As they peddled along the familiar country road leading to the Samara River where their dinner waited to be caught, a foreign car overtook them. The green Daewoo taxi stopped a little way ahead and its occupants got out and stood to the side of the dark road, their backs to the approaching boys. Andrei and Vadim were pedalling furiously and there was nowhere to go but straight ahead unless they wanted to make an about-turn, something they did not have time to think about or discuss before they came upon the car.
As the teenagers approached the silhouettes standing ominously by the road, both strangers turned and swung sharply at them with heavy sand-filled pipes, knocking them off their bikes. Andrei was knocked out cold immediately, but 14-year-old Vadim managed to jump up and started running. As one assailant approached the unconscious child, he screamed at his friend to ensure the other boy didn’t get away. Like something out of a horror movie, Vadim heard the fake taxi roar to life and start to bear down on him as he ran back down the road faster than he had ever run before.
Vadim’s intimate knowledge of the area that had been his home all his life served him well and he veered off into the bushland where he found a place to hide. Although petrified, he managed to stay quiet as one of the attackers searched for him, driving slowly past the area where he had left the road. He heard the car stop, the door open and the crunch of footsteps. He wanted to scream in fear, cry out with pain, but instead he cowered in the bushes in silence.
Unable to find the runaway, Viktor returned to where Igor was slamming the pipe into the face of the other boy who lay on the road beside his bike, and urged him to get away from the scene of the crime. With one last blow, Igor reluctantly joined Viktor in the car and the fake taxi roared away into the early hours of the morning.
Once he was sure that the psychopaths had gone, Vadim returned to check on his 13-year-old friend. Andrei lay in a pool of blood, but he was still breathing. He appeared to be trying to say something, but it was impossible to make out any words. Vadim tried to stop some of the blood with his t-shirt and put his jacket under Andrei’s head to comfort him, before heading to a busier road to try and get help. Cars sped by the frantic, blood-spattered teenager until finally someone stopped and agreed to take the boys to the hospital. Andrei had no chance of surviving and was dead on arrival.
Vadim was in shock as doctors, nurses and orderlies rushed about their business around him. He wanted his mother, but he had no idea whether anyone had gone to get her. He couldn’t get the visions of his friend out of his head, and the memory of being stalked through the bushes by a psychopath with a heavy metal pipe replayed over and over in his mind.
Finally, two police officers approached him. Surely everything would be okay now. Vadim prayed that they were going to tell him that they had apprehended the murderers and that he was safe. But he was wrong. At a time when adults should be most concerned with the welfare of a little boy who had been through unimaginable horror, Vadim’s nightmare was only just beginning.

Excerpted from PSYCHO.COM: SERIAL KILLERS ON THE INTERNET (link)
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2020.09.15 00:27 Melvillage_Idiot I read everything Cormac McCarthy has written over this summer - here are some thoughts!

So, some necessary context for this: I'm in a Literary Studies PhD program, and last week I took my comprehensive exams. While I won't know for a few days longer whether I passed or not (crossing every finger over here), one thing I already know is that I'll likely never go through a period of such intense reading in my life as I did this summer. It was both exhausting and rewarding, and that kind of reading experience is worth an entirely separate thread in its own right.
Anyway, one of my three reading lists was focused exclusively on Cormac McCarthy. I had previously read four of his novels, but over the course of the summer I read everything he's written - and I mean everything. All ten novels, the four dramatic works, the handful of early short stories that are still readily available, the tiny handful of public intellectual pieces he's done in the past few years with the Santa Fe Institute (this last category is really just one essay, but it counts!). They were all accompanied by a healthy dose of scholarship, both literary criticism specifically about McCarthy and larger historical/theoretical works that could be applied to discussing his books. Now that the dust of comps has settled and I don't have to wear my academic hat for a few days, I thought coming to this sub and writing about it might be enjoyable to y'all (and help me collect my own thoughts, too!). I've kept this post spoiler-free for the benefit of anyone who hasn't read him, but has been considering giving him a go.
The Good
Most of McCarthy's novels really are worth your time. The lack of quotation marks around dialogue really threw me for a loop the first time I read him (The Road, about ten years ago), but once you get the rhythm of his speakers down, he just sweeps you away. I think he writes some of the best action scenes in fiction - Blood Meridian has some absolutely wild gunfights. His work has a pretty deserved reputation for being brutally violent (see "The Ugly" below), but The Orchard Keeper and All the Pretty Horses are pretty tame, so maybe give one of them a go if you're interested but nervous about the darker novels.
Thematically, McCarthy is really into borders, maps, and territorial ownership. I don't want to veer too far into the theoretical weeds (I already wrote that essay for my exams) but there are a lot of really interesting philosophical questions raised in his work about where we "draw the line," both in terms of geopolitical space and personal choice. The Crossing is particularly heavy on those sorts of meditations, but it comes up in pretty much everything he writes, probably because most of his protagonists are young vagrants or runaways. Next time you're up for a book that you really want to chew on and think through, keep him in mind.
I highly recommend any of Blood Meridian, All the Pretty Horses, The Road, or The Sunset Limited (his "novel in dramatic form" - a literal dialogue) to anyone who wants to dip their toes in his work. No Country for Old Men is also good, but honestly, I think the film makes just the right changes to a couple crucial details and edges it out. If you like All the Pretty Horses, then reading the rest of the Border Trilogy (The Crossing and Cities of the Plain) makes sense, but be aware that each of the three books is very different tonally and Horses is easily the most fun adventure in McCarthy's work. The Orchard Keeper is his first novel and shows some of that "debut author" roughness around the edges, so I wouldn't necessarily recommend it as a first choice, but if you like his other work, it's fun to see the novel that started it all.
The Bad
McCarthy isn't even a tenth of the (screen)playwright that he is a novelist. He has four dramatic works - The Gardener's Son, The Stonemason, The Sunset Limited, and The Counselor - and only one of them is worth your time. Ironically, that work, The Sunset Limited, is written in a pseudo-novel form, so it ends up being a borderline case. I hear the film version of The Gardener's Son is good and I meant to watch it this summer, but alas, I ran out of time; reading the screenplay is an exercise in confusion, since McCarthy wrote it while roadtripping with the film's director and didn't need to include important stuff like basic setting description because his co-creator already knew that stuff. I remember liking The Stonemason as I read it, but I can't recall a single thing that happened as I write this, so clearly it didn't make the impression a good work should. As for The Counselor - well, let's just not.
Some of his common tropes and concerns do show their age. As I was reading and occasionally chiming in to my partner about things, she'd sometimes ask, "So, has a woman shown up yet?" If you're looking for books with strong female characters or are really tired of reading American men wax poetic about masculinity, then McCarthy almost certainly will not pass muster in your eyes. Several of his books are virtually womanless, only one of them has a female protagonist (the infuriatingly naive Rinthy Holme of his second novel, Outer Dark), and he commits a few pretty egregious fridgings. Similarly, some of the later works - No Country and The Road, in particular - are really, really heavy with the hand-wringing about getting older and seeing the country fall apart, which can come off as an old man grousing about the kids on his lawn. For my part, neither of these ruined the experience for me, but I recognize that they might not sit well with other folks.
Also, I really, really cannot recommend Suttree, his fourth novel, for any reason. It's an overstuffed exercise in bad scenic prose poetry - mostly of scenes describing how badly polluted the Tennessee River was in Knoxville in the 1950s. Perhaps it was a casualty of the reading context, since I didn't really have the time to luxuriate in its big poetic passages, but considering the subject matter of those passages, I'm not sure it would've been a pleasant experience.
The Ugly
McCarthy has more than earned his reputation as a writer of terrible violence, and that can be pretty stomach churning for folks that don't have the tolerance for it. Blood Meridian is easily the most violent, but The Road can get pretty hairy, too.
And then, there's Outer Dark and Child of God.
I want to recommend Child of God to you, I really do, and I was skeptical going into Outer Dark because I've tried to read it before and failed a few times, but in the end, I actually liked it more than I expected. But, here's the thing with both of them: They're not just violent, they're gross. Both detail pretty upsetting sexual crimes, there's a lot of bodily functions on the page (Child of God spends a whole early paragraph describing its main character pooping), and the protagonists of both books are almost impossibly dense caricatures of Southern and Appalachian redneck/hick stereotypes. I have a really high threshold for the Southern Gothic exaggeration of things, and even I found a few scenes in each book to be...a lot. Of all his books, these are the two that pose the greatest challenge to the reader's taste. Definitely don't pick them up lightly.
---
And that's that! I'd love to hear what other folks have felt about McCarthy, or if you were on the fence and my crash course helped you decide if he sounds up your alley =)
(Edited for a few small typos)
submitted by Melvillage_Idiot to books [link] [comments]


2020.09.14 08:17 MoniiTheNugget There should be movies where the princess is grateful rather than wanting to leave the royalty life

I’ll talk about barbie because everyone knows her films. As of now there’s been 3, technically 4 movies where the princess is unhappy and wants a moment of freedom. Princess & the Pauper, Princess & the popstar, Rock n’ Royals (debatable) and the most recent Princess adventure.
The message i see coming across is runaway from what’s good if it requires a lot of work rather than ‘take a break’. I’m sure from a kids perspective it’s not what they’re thinking but it would be nice to see a film where a princess is tired of her life but is grateful for the opportunities and easy living but also supports the idea of knowing limits and self care.
Really, the princess switching places just shows running away from hard work is the best option when wanting to take a break rather than the realistic options. These princesses just keep dwelling on the hard work instead of trying to make change to the busy schedule.
submitted by MoniiTheNugget to unpopularopinion [link] [comments]


2020.09.08 18:47 Horizon_Brave Movies 2015

January
= 15
February
= 18
March
= 16
April
= 14
May
= 17
June
= 14
July
= 15
August
= 15
September
(- The Driver (TV-Show Ep.1))
(- Twin Peaks (72 minute mark))
= 8
October
= 12
November
= 13
December
= 16
2015 / 173 Films!
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2020.09.07 17:38 Dreamyerve "The Female Hero and the Women Who Wait" by Jane Yolen

Hey folks,
I know this sub isn't particularly active but I recently pulled out a book from my bookcase - an anthology of short stories - and was sucked in again. I thought the forward was pretty interesting and wanted to share so here you go!
---
The Female Hero and the Women Who Wait By Jane Yolen
Forward to: Fearless Girls, Wise Women & Beloved Sisters: Heroines in Folktales From Around The World By Kathleen Ragan

Hero is a masculine noun. It means an illustrious warrior, a man admired for his achievements and qualities, the central male figure in a great epic or drama.
A heroine, on the other hand, is the female equivalent. Or is she really his equal in the epic? We might as well have called her a hero-ess, or a hero-ette, some kind of diminutive subset of real hero. The heroine is the one who carries spears but does not hurl them. The one who dresses well but does not dirty her nail in the fight. The one who lies down in a glass casket, until revived by an awakening kiss.
Or so the Victorian folk tale anthologist would have had us believe. They regularly subverted and subsumed the stories that starred strong and illustrious female heroes, promoting instead those stories that showed women as weak or witless or, at the very best, waiting prettily and with infinite patience to be rescued. And the bowdlerizers did it for all the very best reasons — for the edification and moral education of their presumed audiences.
A hundred years later, the same thing happened. Walt Disney, with his groundbreaking fairytale films, re-emphasize the helpless, hapless heroine, who, he posited, has to be rescued by mice, birds, rabbits, deer, and other assorted cute fauna, or by a bunch of half-men, or dwarfs. As Jack Zipes wrote in "Fairy Tale As Myth, Myth As Fairy Tale": "The young women are like helpless ornaments in need of protection, and when it comes to the action of the (Disney) film, they are omitted." So powerful are the Disney re-tellings that the diminution of the folk tale heroine was complete.
We, the reading and viewing public, then accepted whole cloth that in folklore, as in real life, everyone but the heroine is it capable being.
What's this life reflecting art or art reflecting life? As story lovers we conveniently forgot the ancient tales of Diana of the hunt, or Atalanta the strongest runner in the Kingdom, or the inordinate wrath of the mother goddess Ceres, or the powerful female warriors known as Amazons, or the thousand and one other stories with a heroic female at the core. We accepted the revisionist Cinderella, patient and pathetic, forgetting how, in over five hundred European variants alone, she had made the way through a morass of petty politics or run away from an abusive father to win a share of a kingdom on her own. We Let the woodsman save Little Red Riding Hood when earlier versions had already shown her –- and her grandmother –- the truly capable actors in the drama.
In book after book, film after film, we edited, revised, redacted, and destroyed the strength of our female Heroes, substituting instead a kind of perfect pink-and-white passivity.
Why? I do not know. I grew up in the forties and fifties, and that kind of cheery, behind-the-active-scenes and sleeping beauty was the acceptable female mode then. Women strived for a dimity divinity. The fairy tale books reflected it, encouraged it, and set it out as the norm.
However, in the past twenty-five years there have been a re-evaluation of the female female hero in folklore. Perceptive anthologists have begun to resurrect the female hero, showing us some of the riches that are still in the storehouses of folklore, unremarked but quite remarkable. They have uncovered stories of the most admirable women heroes, young and old, who have been strong actors in their own epic narrative. Marina Warner calls such rescue work “snatching (the stories) out of the jaws of misogyny itself.” And we are all -- women and men -- inheritors of this wealth, so long hidden from us.
Anthologists Kathleen Ragan, has, with the publication of this book, become an important figure in the restoration of the feminine aspect of the hero. She gives us here the broadest selection of female hero stories then has been published before. Her finds come from all corners of the globe; her female heroes are all ages and in all stages of life. These women save villages, ride into battle, figure out riddles and rituals, rescue themselves from ogres, make predictions, call down storms. They rule wisely and well.
The stories were always there.
Only we were not.
Look, for example, at the bare-boned Salishan story about the two girls stolen by giants, a tale recounted in a back issue of the American Folklore Society but not otherwise generally known outside of the tribe. It has all the elements of a great runaway story, in which a brave and wily hero escapes a captor. But in this instance, the hero is not one but two young girls who bide their time bravely and then make their escape back to their own people. Without Ms. Ragan’s own wily rescue effort, the story would be lost to the greater readership.
Or the tale she offers from the Philippines, “The Magic Coin,” about a poor storekeeper and three beautiful fairy women who buy clay pipes with a strange 10-centavo piece. Tales about magical exchanges, where the Fey Folk make an unspoken bargain with a human, are popular around the world. But this particular story is hardly known outside its own culture. It was found by Ms. Ragan in a thesis about fairy tales in eastern Leyte.
In her own way, Ms. Ragan is a hero too, battling the demons of publishing, going into the depths of old libraries, and bringing back to her people — as Joseph Campbell's traditional hero is supposed to do — a boon. Or in Ms. Ragan’s case, a book. It is only a single letter’s difference after all, and I think an acceptable and magical transfiguration.
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2020.09.06 22:09 Dj_Pio Runaway (1984) - Film online subtitrat HD

Runaway (1984) - Film online subtitrat HD submitted by Dj_Pio to filmesubtitratehd [link] [comments]


2020.09.03 18:56 IndependentMacaroon [WT!] Mononoke: A colorful horror-mystery gaze into the abyss

"Ayakashi, Mononoke, Umi Bouzu. As long as darkness exists within the hearts of men, there will always be more. Let them come, for my invitation is what they fear most." - The Medicine Seller, Umi Bouzu arc

A detective show like you've never seen

Mononoke (absolutely not to be confused with the Ghibli film) is a supernatural mystery/horror show with a very unique, hyper-colorful visual design, and a striking sound design too. We follow the mysterious stoic, nameless, ageless, clearly not entirely human Medicine Seller through feudal (and briefly early-20th-century) Japan in his eternal quest to slay Mononoke, wrathful demons created by the fusing of otherwise peaceful spirits with human anger, regret, and despair, and right the wrongs that led to their emergence, or at least bring some degree of closure to those affected by it. Now, this may sound like the concept for a badass action series, but it absolutely is not. In fact, the Medicine Seller acts more like an enlightened supernatural detective - and by necessity, for to be able to unsheathe his sword and transform into his (possibly) true/divine form to deliver a killing blow, he needs to first know the Mononoke's Form (appearance), Truth (behavior), and Regret (reason for its existence/actions), a framework taken directly from Buddhist philosophy. These, in turn, are intimately connected to the secret past, innermost desires, or true nature of each arc's characters, which are gradually revealed in more or less overt form as the arcs go on. As they and the Medicine Seller are trapped together by the Mononoke's wrath, be it in a hidden room of an inn whose exits now loop on each other, a ship traveling on haunted seas, or a possessed subway car, they must stay calm and work together to prevent their doom. There are five arcs and twelve episodes in total, each with 2-3 episodes ("acts") and named after a particular Japanese mythological creature, plus the original three-episode Bakeneko arc from Ayakashi: Samurai Horror Tales, which Mononoke is a spinoff from and should be watched afterwards as a semi-origin story.

An unflinching yet mature study of man's dark side

The core part of each revelation is, clearly, the Regret, and its seed is universally, as the Medicine Seller states, "the darkness within the hearts of men" - within those who outwardly are pillars of society, but secretly or formerly are full of greed, cruelty, immoral lust, and more. Their corrupt nature and acts eat away at others, or even themselves, until their cumulative effect is strong enough to cause the emergence of a Mononoke, whose power is so great and unrestrained that an exorcism by the Medicine Seller becomes a necessity, whether its aim is ultimately just or not. Notably, none of this is played for pure shock value, or on the other hand used to beat you over the head with a moral lesson. After all, while the Medicine Seller is far from an unfeeling monster, he is not particularly concerned with human nature or morality beyond what he needs to solve the case at hand, and the other characters of each arc are too fearful for life and limb to do much philosophizing. It's near-impossible to speak about any of the arcs in more than platitudes without spoilers, as usually even figuring out their actual premise is part of the mystery - but if you really want to know it all, here is the full background for each arc:
As well as the resolution:

A real work of art

I already briefly mentioned that this show has a very distinct style: Every character and background is strikingly, uniquely colorful, with inspiration from Japanese traditional art as well as Western Art Nouveau. The show seamlessly blends the real and the surreal, the past and the present, often leaving you unsure of the actual truth at first glance. It tends to alternate between very limited, almost static animation and sudden jump cuts or rapid movements, as well as between background silence and brief, pointed sounds of a bell, drum, closing slide door, and so on, with only a few simple BGM pieces. It's not clear how much of this is an artistic decision, possibly inspired by classic Japanese theater, and how much of it comes down to a plain lack of budget - the largely faceless background characters would suggest it's at least partially the latter, and some of the character designs and reactions are also a bit goofy - but the show makes the best of it to deliver a surprisingly creepy, unsettling atmosphere. The Medicine Seller's unflappable, inhuman calm in contrast to the other characters' rightful panic only amplifies the effect.

Conclusion, streaming availability

As a footnote, the theme of battling the corruption in feudal Japanese society combined with an unusual Western-inspired style is somewhat similar to the concept of Samurai Champloo - the Ayakashi Bakeneko arc even has a rare rap opening just like that show, while Mononoke goes for a tango number (!) that also is the closest thing we get to a backstory for the Medicine Seller - so if you enjoyed that show, do check this out. Or naturally, if you just like the kind of artsy, mysterious, dark atmosphere that I have here tried to convey in writing.
Outside of purchasing physical media, you can legally stream Mononoke on Crunchyroll in some regions including the US, as well as digitally license it from the Amazon, Google or Apple stores. Ayakashi: Samurai Horror Tales, including the Bakeneko arc, does not appear to be available for digital purchase or legal streaming.
(This post is a minor rework of an earlier post I made to this sub, but did not mark as a WT.)
submitted by IndependentMacaroon to anime [link] [comments]


2020.09.03 06:24 CarlB1961 I Was An Actress On A Forgotten Nineties Sitcom. It Turned Out I Still Had A Fan. PART 7

Part 6
I stepped out into the hallway, listening intently. Total silence. I snuck my way down the hall and to the stairs. I crept down them. I was moving slowly and cautiously even though I knew I was alone. For all I knew, Eddie had booby-trapped the house in case I tried to escape while he was gone. I had to be careful.
I paused at the bottom of the stairs, looking around the living room. The lights were off downstairs and it was gloomy because all the windows were boarded over. There was just barely enough light coming in through the tiny window in the top of the front door (the only one not covered) to allow me to see. It was eerie seeing the deserted, shadowy living room that resembled the set from Til Death Do Us Part. For some unexplainable reason, it reminded me of a long-abandoned but perfectly preserved home in a post-apocalyptic movie. I spotted a lamp on an end table . I quickly turned it on.
The first thing I did was look around for a phone. I didn't see one. Then I went to the front door and tried opening it. As I had expected, it was locked. I glanced at the plywood-sealed windows on either side of it. I began to look around for something I could use to try prying them open, or even better -- a spare key to the front door. I opened the drawers of a bureau to find them empty. Totally empty. I spied a small desk in the corner of the living room and checked its drawers -- also completely empty.
It didn't make any sense! There were no personal items of any kind, no junk mail or bills or correspondence or any of the odds-and-ends you'd expect to find in a typical living room drawer. It was as if everything was just a hollow prop that existed solely to fulfill Eddie's delusion of being part of the Til Death Do Us Part universe.
The kitchen. Maybe there was something in there I could use.
I went in. The four department store mannequins -- I wondered if he'd brought them home from the mall he worked at -- that had been made to look like the Glovers were still seated at the table. They seemed to be staring in my direction. It gave me the creeps.
I spotted another door I hadn't noticed the first time I'd been in the kitchen. Like the two doors upstairs, it was securely locked with a padlock. I assumed it went down to the basement.
I looked through the kitchen cabinets and drawers. Basic cookware and dishes and utensils. I noticed there were no knives or other sharp objects. He must have stashed them somewhere else. I looked in the fridge. I gagged. All the food in it was moldy and stank. The expiration date on the bottle of curdled milk was last December. I quickly shut the fridge, then looked in the freezer. All it contained were frozen dinners.
I glanced down the hall that lead to the garage. I entered it. I tried the door to the garage. Unsurprisingly, it was locked. I saw another door and opened it. It was a combination laundry room/pantry. Washer and drier. Shelves stocked with canned food. Nothing else. This room didn't have a window.
Where the fuck did this guy keep his tools? Maybe there was a shed outside. Or they were down in the basement. In which case, I was screwed.
Dejected, my mission a failure, I turned and went back into the kitchen, intending to return to "my" room and wait for Eddie to come home and "take me to the Prom." Halfway across the floor...I froze.
I'd heard something.
I listened. Nothing. I must have imagined it.
Then I heard it again...a barely audible sound I couldn't identify. I looked around the kitchen. The sound came again. I looked at the padlocked door I assumed led to the basement. The sound seemed to be coming from that direction. I pressed my ear against the door and listened.
A moment of silence...then I heard it, more clearly now. I felt my blood curdle in my veins.
It was a groan. A low, muffled groan made by what was unmistakably a human voice. It was coming from down below.
I wasn't alone in the house. Someone else was being kept prisoner here.
My mind was racing. Who the hell else could that lunatic be keeping here besides me??? And why? At least I understood (well, sort of) Eddie's motive for wanting me.
The moan came again. It sounded pained. I couldn't tell if it was coming from a man or a woman.
"Hello?" I called out to the door. "Is someone down there?"
A moment passed in silence. Then the moaner began grunting rapidly in excitement as if responding to my voice. I realized they were trying to say something, but it was completely unintelligible and muffled. Maybe Eddie had put a gag in their mouth.
"Hold on!" I said, "I'm going to try to get you out!" I looked around for something I could use to remove the heavy padlock. I gave up pretty quickly. It was hopeless. I had already searched the downstairs pretty thoroughly and hadn't found any keys; Eddie must have taken them with him. I considered trying to use something as a tool to pry the lock off the basement door...but if I failed, Eddie would see the marks. And even if I did succeed in freeing Eddie's other mystery captive, we would still be trapped inside this house.
"Listen to me!" I said loudly, I can't get you out of there, but I'm going to try get out of here and get help for you! Just hold on!"
The groan came again, a sound of utter despair. I felt guilty leaving the kitchen, like I was abandoning them down there, but what else could I do? I couldn't even get myself out of this nightmare.
I went back upstairs, pausing only long enough in the living room to shut off the lamp, leaving everything exactly as I had found it.
Back in the upstairs hallway, as I was heading back to "my" room, I happened to glance at those two padlocked doors. I stopped.
The padlock on the door adjacent to mine, which I assumed led to Eddie's room (where I'd heard him arguing with his violent alternate personality Ted last night) was hanging from its hasp...but hadn't been fastened. Eddie must have forgotten to lock it after he got ready for work this morning.
I stood there, briefly debating the pros and cons of opening that door. I knew it was extremely dangerous; Eddie could come back anytime unexpectedly and if he caught me out of my room, intruding upon his personal domain...well, that would probably be the end of me.
But maybe that's where he kept his spare keys, or a tool I could use to break out of the house. Maybe that was where he kept his kitchen knives.
Maybe he'd even left my gun in there. If he had, and I found it, he was going to get a big surprise when he got home.
I removed the padlock, hesitated for only a moment, then swung open his door.
I turned on the light and looked into his room. I stood there for some time before I entered, just staring. "Oh my God..." I whispered.
It was the bedroom of a ten-year-old boy. The bed was shaped like a racecar; it looked way too small for Eddie to still be using as an adult. He must sleep on it with his feet hanging over the bottom. The wallpaper had a pattern of rocket ships and stars and planets. There was a bookcase with its shelves lined with stuffed animals and toys.
I forced myself to enter and began looking around. I was extremely careful to place everything back exactly as I found it; if Eddie noticed his stuff had been moved around...
I couldn't find my gun. He must have taken it to work with him. Nor could I find any tools or weapons. I opened his wardrobe. His clothes were hanging neatly from the rod next to a spare security uniform. At the bottom of the wardrobe was an old scrapbook.
I picked it up and flipped it open.
The first few pages contained old pictures of Eddie (for the sake of simplicity, I'm still referring to him as "Eddie" even though I know his real name was Francis) as a child (I recognized his curly brown hair and blue eyes) with what I assumed were his parents and a teenaged boy with dark hair and a hard, penetrating stare. They looked like a perfectly normal family. But there was something unnerving about that older boy's hard piercing eyes...and the humorless expression on his face.
I turned the page and came upon a picture of Eddie, smiling for the camera with heartbreaking innocence, standing next to the older boy in front of a Christmas tree, its base laden with wrapped presents. Beneath it was a hand-written caption: Christmas '91. Francis, age 5. Ted, age 16.
I was startled. Eddie really did have an older brother named Ted. What had happened to him? Where was he? Was he possibly the one Eddie was keeping locked in the basement?
I turned the page. An article from a newspaper, the Louisville Courier Journal, dated April 11, 1993. Local Couple Dies In Auto Wreck. The photos that accompanied the article were of the older couple I recognized from the family pictures. Eddie and Ted's parents. I felt a pang of sympathy for Eddie. He would have been only seven when he'd lost them. Could that have been the cause of his mental instability later in life?
I turned the page, and gasped.
It wasn't a news article or a headline. The face of a pretty nineteen-year-old girl with curly, fire-red hair was smiling at me. My own, younger face. It was a picture in an interview that I had given to TV Guide in 1994, one I had completely forgotten ever doing (and the only time anyone had ever been interested enough in me to ask for an interview), not long after Til Death Do Us Part had premiered.
Feeling numb, I glanced at excerpts from the interview (..."I'm hoping this show will open the door to bigger roles for me..." "...I guess you could say I'm pretty ambitious..." "...I would love to work with Johnny Depp..."). At the bottom, someone had childishly drawn a heart with an arrow through it. In the arrow were the initials: "F.V. & E.G." A shiver ran down my spine.
I turned the page, and frowned, confused. I turned another page. The next few pages all contained news articles covering a series of murders being committed throughout the area. Young women, most of whom had been prostitutes and teenage runaways, had been abducted, raped, tortured and slain before having their bodies dumped. The articles didn't seem to have anything to do with Eddie; they were dated between May of 1995 and August of 1997. He couldn't have committed them; he would have only been eleven.
Next was a brief item from Entertainment Weekly magazine about the official cancellation of Til Death Do Us Part in the fall of 1997. That was when the producers had announced that they would not be renewing our contracts for a fourth season. There were smudge marks on the ink. They looked like water marks...or marks made by tears.
This was followed by more news articles about the murders. The last was in July of 1998.
I turned the page. I felt like I had been punched between the eyes. It was a frontpage headline from the Courier Journal dated September 28, 1998. KILLER APPRENENDED. AN END TO A NIGHTMARE. I recognized the face in that mugshot. That dark hair. That hard face and those intimidating dark eyes. It was an older version of that teenaged boy, Eddie's brother, Ted. Below the headline was an article. I read it.
LOUISVILLE -- Police have finally arrested the man known as "The Kentucky Ripper" who has terrorized the Jefferson County area for the past three years, leaving at least twenty victims in his wake. Earlier this morning, at approximately 2:36 a.m. a man identified as Theodore William Voight, 23, a Louisville native, was stopped by patrolman David Morris due to having a broken left taillight. Noting Mr. Voight was acting suspicious, Officer Morris searched the vehicle. In the trunk he made a grisly discovery: the partially dismembered body of an as-yet-unidentified young woman. Officer Morris then placed Voight under arrest. A young boy in the passenger seat of Voight's car is believed to be his younger brother. Police have not yet said...
I felt like I was going to vomit. Eddie's brother, Ted, had been a serial killer.
With trembling hands I turned the page. Another article from the Courier Journal, dated December 13, 1999. Killer Sentenced To Death. Ted Voight had been found guilty and sentenced to die for his crimes. He was sent to Death Row at the Kentucky State Penitentiary in Eddyville to wait for his sentence to be carried out. A key witness at the trial had been his thirteen-year-old brother Francis, who he had been the legal guardian of, and who had been present at and witnessed first-hand several of his murders. Francis claimed he had been an unwilling participant in his brother's crime spree and had acted as his accomplice out of fear and intimidation. The article noted that as the boy was testifying, Ted Voight had reacted with a violent outburst and had had to be forcibly removed from the courtroom by a bailiff.
"Christ," I whispered. No wonder poor Eddie had gone insane. I felt something for him right then that until that moment had been a completely foreign emotion: pity.
I turned the page. Another news headline: VOIGHT DIES BY LETHAL INJECTION. JUSTICE IS DONE. The date on it was July 30, 2007. After eight years on Kentucky's Death Row, notorious serial killer Theodore W. Voight has met his end. His sentence was carried out by lethal injection at midnight on July 29th. Defiant to the end, the remorseless murderer's last words before death were "Go to hell."
Below that, Eddie had scrawled: "After you."
That was the last thing in the scrapbook. The rest of the pages were blank.
I closed it and placed it back in the bottom of the wardrobe, then shut the door.
A wave of anxiety overwhelmed me. I suddenly felt very vulnerable. I had no idea what time it was or how long I had been looking through Eddie's scrapbook. He could come back anytime. I had to go back to my room, now. I started to leave...and almost tripped over an extension cord running across the floor. I followed it with my eyes from an outlet in the wall to where it disappeared...behind the bookcase. Some inner voice was telling me to let it go, to just get the fuck out of there and get back to my room before something horrible happened, but I ignored it. My curiosity got the best of me. I went to the bookcase and very carefully pushed it out of the way...revealing a hidden door. It must be his closet. I turned the knob and opened it. The closet was dark, but there was a hanging light cord. I pulled it. The light came on. I had to put a hand over my mouth to stifle a scream.
Eddie's closet had been transformed into a shrine.
A shrine dedicated to me.
The upper wall was plastered with pictures, all shapes and sizes, some overlapping. Publicity shots of me and promos from the show. Screen shots from the episodes he must have printed off the Internet. There were even pictures of me from the handful of low-budget movies and TV shows I had appeared in after Til Death Do Us Part went off the air. Hundreds of them.
At the bottom of the closet was an old analog TV and an ancient-looking VCR both plugged into a power strip hooked up to the extension cord I had seen. On the VCR was a stack of old VHS tapes. I picked one up. Printed on the label in black marker was
"Easier Bread Than Done - 3/22/95"
"Of Mice And Glen - 3/29/95"
"The Sound and the Blurry - 4/6/95"
"The Grape Gatsby - 4/13/95"
I recognized them as the titles of episodes of the show. Eddie must have taped them off TV when they first aired. There were about a dozen other tapes. I sifted through them until I found a tape that only had a single episode listed on it: "Fast Times At Fugate High - 5/23/97."
I realized that this was the last episode of the show. I dimly remembered filming it back in early '97. None of us had known at the time it was going to be the last show, but we had heard rumors that the "studio brass" was talking about pulling the plug after we finished filming that season...but they had said the same thing about the first two seasons and none of us had taken them serious.
I don't know what compelled me to do what I did next, but I sat down in front of the TV, turned it on, and inserted the tape into the VCR. I pressed play. I watched as the show opened with the familiar credit sequence and theme music. The quality of the tape was badly degraded and marred with tracking errors. As if it had been watched hundreds of times and was almost worn out. All the commercial breaks had been edited out.
I sat there and watched the entire episode from beginning to end, remembering the story as it played out.
Emily is heartbroken after discovering her boyfriend, school football star Chad Richardson, cheated on her with another girl. She breaks up with him, then, out of revenge, agrees to attend the upcoming Senior Prom with Eddie Caldwell, the lonely, skinny reject who had been pining after her for years. Initially, her sole motive is to make Chad jealous...but during their dance, she realizes that Eddie genuinely loves her and she develops feelings for him. They share a romantic kiss. Chad eventually comes back, pleading for Emily's forgiveness, begging her to take him back. Both boys learn about each other and begin vying for her affection. Emily is torn between the arrogant, shallow jock and the gentle, sensitive nerd. She finally makes up her mind and in the last minutes of the last episode, picks up her phone to call whichever one she's chosen. It ends right there, on a cliffhanger. No one ever found out if she chose Chad or Eddie...and given our poor ratings, I hadn't thought there had been anyone who cared, either way.
I had been wrong.
A lonely, abused, psychologically damaged boy, subjected to God knew what horrors by his sadistic older sibling, who lived in Louisville, Kentucky had cared. An eleven-year-old boy who had had what had perhaps begun as an innocent crush on the beautiful Emily Glover -- and by extension, the actress who had portrayed her -- which had gradually become an obsession. Who had maybe identified with the fictional Eddie Caldwell. And eventually, he had identified with him so much he couldn't distinguish reality from make-believe. He began to believe he was Eddie Caldwell.
I understood then what this was all about. What it had always been about. It hadn't been "Eddie" just wanting to go out with me on Valentine's Day. It wasn't even him wanting me to attend the Prom with him. Those were just things leading up to the main event.
"Eddie" had never gotten the closure he'd been seeking. Had never found out if Emily chose him or Chad. He had been waiting all these years to find out which one she loved.
"Jesus Christ," I said, alone in Eddie's empty bedroom.
I rewound the tape and then ejected it, placing in back with the others in their original order. I turned off the TV, closed the closet, scooted the bookcase back in place, took a final look around to make sure I hadn't overlooked anything, left any evidence of my visit behind, then left his bedroom, closing the door and snapping the padlock in place.
I went back to "my" bedroom, removed the tape from the lock, and shut the door, hearing the lock engage as it closed.
Then I waited for Eddie to come home. I didn't know what was going to happen after "the Prom," maybe he'd snap out of it, return to his senses and let me go. Or maybe he'd kill me. There was nothing I could do but go along with it and hope for the best.
Part 8 https://www.reddit.com/nosleep/comments/im9c95/i_was_an_actress_on_a_forgotten_nineties_sitcom/?utm_source=share&utm_medium=web2x&context=3
submitted by CarlB1961 to nosleep [link] [comments]


2020.09.02 02:31 crazicelt The Remedy Connected Universe

I've been thinking about this RCU and how their instalments are going to come about and how often and I have wondered if they will utilise any other mediums.
I'll explain
So far we've had what 3 definite installments with Alan Wake, Alan Wake's American nightmare and Control. A possible 4th with Quantum break and that was over 10 years.
So let's remain Conservative and say 3 installments over 10 years. Let's compare that to the biggest Shared universes around. The MCU and the Arrowverse.
The MCU in 12 years has had 23 films and 1, soon to be 4, connected TV shows. With 9 spin off shows, 6 in the NetflixMCU, 2 with runaways & cloak and dagger and the infamous Inhumans.
The Arrowverse in 8 years has had 7, soon to be 8, live action shows and 2 Web series. Spaning 32 seasons, had 5 increasingly larger crossovers most recently crisis on infinite earths the origin of the current DC Universe, where they crossed over with Reeves/ Routh Superman, Smallville, Lucifer, Birds of Prey, Keton(1989) Batman, Adman West Batman and Robin 1966, the Ray, DCEU, and literally every DC property.
The point I'm trying to make is that games take time. A long long time to make, especially compared to every other shared universe I'm familiar with. I am pretty sure that in the recent AMA with Courtney Hope she mentioned years of filming and that doesn't include the rest of the other mountainous work required.
Now I am wondering if Remedy will utilise other mediums during the massive spans between games. I'm talking books or comics licensed and Okayed by Remedy maybe nothing in the direct story but some cool stories.
I'm thinking along the lines of the Avatar the last Airbender comics they have a series of lost stories that take place during and after their primary story but don't impact it at all.
It would be a cool edition and would certainly give us something to geek about between games.
Hell I've seen a series of Fan made AWEs that would be cool to see in universe, it wouldn't be hard to find people willing to write for it.
Heh just a thought.
submitted by crazicelt to controlgame [link] [comments]


2020.09.01 07:10 Goodgoditsgrowing RUNAWAY CLING FILM ON A MURDER SPREE!

RUNAWAY CLING FILM ON A MURDER SPREE! submitted by Goodgoditsgrowing to suspiciouslyspecific [link] [comments]


2020.08.31 22:12 laurenjaz1 watched Runaway film, drew this yesterday. what you think?

watched Runaway film, drew this yesterday. what you think? submitted by laurenjaz1 to Kanye [link] [comments]


2020.08.30 21:33 yhtsr Angelz Teaser Trailer Could Come Tonight Because The Teaser Trailer for the "Runaway" Movie Debuted At the 2010 VMAs

"The teaser trailer for the film [Runaway] debuted during the 2010 MTV Video Music Awards"
Angelz teaser trailer tonight?? 👀
submitted by yhtsr to WestSubEver [link] [comments]


2020.08.29 23:35 shadygravey Lido Pimienta - " Eso Que Tu Haces " : Lido is Wayuu Colombian. She chose to film this in Palenque de San Basilio, Colombia, the first free African town in the Americas- established by runaway slaves- & declared a Masterpiece of the Oral and Intangible Heritage of Humanity in 2005

Lido Pimienta - submitted by shadygravey to NDNPride [link] [comments]


2020.08.28 21:54 UnfavorableSpiderFan MARVEL TV: Narrative Integrity vs. Continuity & How Missing Canonical Context in THE RUNAWAYS Determines Helstrom's Chronological Placement

The state of the television shows that take place within the Marvel Cinematic Universe's canon underbelly is about to see a transition with the upcoming Helstrom marking the end of the Marvel Television era of shows before Marvel Studios moves forward with new, shorter, bigger-budget Disney+ fare. With that said, there's still a small debate over how they fit into the bigger picture chronologically, especially considering the ramifications of films like The Avengers: InfinityWar and how it affects (Or doesn't affect) the shows... For the most part, it's easy to figure out that most of the series stop short of that specific film's events, but there are two shows in particular that do tread that delicate territory, and in-turn have disrupted our understanding of how the shows connect to the larger world.
Agents of S.H.I.E.L.D.
The Runaways
Now, I'll be real- - I'm not one of the ones that believes that the TV shows exist in their own, separate reality. I fully believe that the shows exist within the continuity of Marvel Studios' films. Officially, no one on any executive level has ever denied their canonicity directly outright. Rather, they've continued to lament that "It's all connected". I don't think, though, that the writers and producers of Marvel's shows should just put the breaks on the stories and stand-alone narratives they're telling so that their characters can jarringly and pointlessly react to an event they're not a part of, and can do nothing about. I understand the principle of the situation... Thanos wipes out half the life in the universe, and that shocking twist isn't further explored in more significant ways outside of the films. I know why it upsets people, but I'm also real about it; It's a balance to maintain the "It's all connected" mantra while trying to get people invested in a work of art that can still have its own identity. I think Marvel Television learned the hard way with Agents of S.H.I.E.L.D.'s first season that trying to bury your feet in the sand of the films is only going to hold the show back from telling a solid story, with compelling characters, who have interesting and complex arcs that will hook all audiences. Making your shows a direct tie-in to every film just slows development and causes everything to feel hollow. It's not worth watching all the way through, or telling stories within. They have since just used the films as a foundation- - a launchpad for their television projects to have roots in to provide minor bits of context.
And that should be just fine.
With that said, Agents of S.H.I.E.L.D. still ran concurrently with most of the films set on Earth, including The Avengers: Infinity War. Season 5's final four episodes take place during the film, with helping The Avengers in stopping Thanos even becoming Glen Talbot-turned-Graviton's delusional superhero goal as he goes mad. The final shot of season 5 can be reasoned to have taken place just before "The Snap" happens. These four episodes, alone, confirm that the events of The Avengers: Infinity War DOES happen within the shows. There's no denying that... And you'd think that would be the end of it, but we know it's not... Because that just wasn't enough.
Season 6 came and went, set one year after the events of season 5, and not one mention of "The Snap", or "The Decimation", or any kind of ramifications of that event seemed to be present. The characters move forward, business as usual. The producers would later explain they had to move forward without knowing when season 6 would air - Whether it'd come back before or after The Avengers: Endgame would release. With that in mind, the show can't ruin the surprises the movie had in store for audiences, so it moved on without it. Also take into consideration everyone's contracts likely made it where having any of the main cast "Snapped" away offscreen would have proved problematic, on top of the show constantly being on the chopping block at ABC making it where they'd need all the characters back, anyway, so they can continue wrapping up as many of the loose ends as they possibly can (Before learning they'd get one last season) for the benefit of the show and its audience.
So, we hoped season 7 would put a lid on it.
And...
...it didn't!
The final season of the show ended things off nicely, and cleanly for the characters and its independent audience. But, no clarity was had as to how the characters seemed to have avoided the events of The Avengers: Infinity War. According to the producers, they wrote an explanation in the finale regarding the Quantum Realm, but it was a part of the reported "twenty minutes" they had to cut for broadcast time, and ultimately didn't have much, if any consequence to the plot at hand.
And that's my whole point of this rant.
It doesn't matter to the narrative at hand.
Neither season, though, gave an alternative explanation, and therefore: It's still canon.
ALL OF THIS is relevant to the initial topic, insomuch as it's an example of how we should see the situation with The Runaways, as well. Especially as the show kicked off its first and second seasons very secularly, with very little in reference to the larger Marvel Cinematic Universe, aside from the Staff of One, which ties back to Doctor Strange, and a throw-away line about Wakanda. But, season 3 is where they really unload the larger connections to the Marvel Cinematic Universe; Almost like in a victory lap for getting as far as they did without all of it, reminding us that despite the show being very stand-alone, it's still a part of the larger tapestry of the Marvel Cinematic Universe. You get the Darkhold, a cross-over with Cloak & Dagger, a few more ties back to Doctor Strange with the Dark Dimension, and even the donut shop that appeared in Iron Man 2.
But, going back to the Dark Dimension and the connections back to Doctor Strange, I believe that these aspects of The Runaways' third season is what establishes the setting of the second half of said season firmly in the months following The Avengers: Infinity War. At the end of that season's fifth episode, the kids return to Earth from the Dark Dimension, learning they had spent six months there. Chronologically speaking, seasons 1, 2, and the first half of season 3 all happen one-after-the-other, spanning a couple'a months over twenty-eight episodes. Season 1 begins sometime in December, so I'd say season 3 catches us up to that following February, maybe March at the latest. The Avengers: Infinity War takes place in early-May of that same year... So, if The Runaways were to have disappeared in [Let's say] February, they would have come out the other end in August, approximately three months after the Snap.
It's not immediately evident as, of course, nothing's directly referenced. But, I'd argue there are several hints to this placement that still work within the context of the show's plot that allows the show to stay consistent with its personal narrative: I'll start small- -
So, what does any of this have to do with Helstrom, you may ask... Well, it has a lot to do with that last bit- - Morgan le Fey is able to walk amongst us because Doctor Strange is gone and the Masters of the Mystic Arts aren't as large as they may have once been to protect the Earth from supernatural and occult threats; Threats teased to be the problems Daimon Helstrom and his sister Ana will be facing in their own series!
Ultimately, my theory is that Helstrom will take place in the five years between The Avengers: Infinity War and The Avengers: Endgame, using the former as an unspoken foundation for why Daimon and Ana are in the thick of supernatural dilemmas surrounding their family without the direct intervention of Doctor Strange, or whoever. I believe the show may be the most secular of all the Marvel series, and will likely have looser connections to the larger Marvel Universe which will allow it to stand on its own, similar to The Runaways' first two seasons. So, chances are it'll keep to itself where it's placed in the larger scheme of things. It'll be up to us to determine where it best fits, much like how I just handled breaking down The Runaways' connections back to The Avengers: Infinity War.
We'll have to see when Helstrom finally hits later this year.
submitted by UnfavorableSpiderFan to MarvelStudiosTheories [link] [comments]


RUNAWAY - YouTube Runaway - Short Film - YouTube CGI 3D Animated Short: 'Runaway' - by Susan Yung, Emily ... Runaway Full Movies - YouTube Runaway (1984) - YouTube RUNAWAY Bande Annonce VF (2018) LUNA - YouTube

Runaway Films

  1. RUNAWAY - YouTube
  2. Runaway - Short Film - YouTube
  3. CGI 3D Animated Short: 'Runaway' - by Susan Yung, Emily ...
  4. Runaway Full Movies - YouTube
  5. Runaway (1984) - YouTube
  6. RUNAWAY Bande Annonce VF (2018) LUNA - YouTube

Runaway Full Movies A song from the movie - American Graffiti American Graffiti is a 1973 American coming of age comedy-drama film directed and co-written by George Lucas starri... RUNAWAY Bande Annonce VF (2018) Découvrez la bande annonce du film RUNAWAY réalisé par Khaled Kaissar. Lorsque la famille de Luna est tuée de sang-froid lors... In this futuristic picture, Sgt. Jack Ramsey is a charming, rugged policeman who is raising a young son with the help of a robot maid, while risking his life... After being abandoned by his mother, Jon attempts to gain custody of his little sister from their abusive father. Written and Directed by Brian Anthone Starr... Watch this charming CGI animated short film by the talented Susan Yung, Emily Buchanan and Esther Parobek @ Ringling College of Art and Design! 'Runaway' is ...