#@Bear where's season 2's score bro

[smilingformoney]

America’s Most Eligible Diamond Scene: [MLI]’s Betrayal

You: I want to know the real story. Adam nods slowly. He glances around to make sure no one else is within earshot before he starts to speak. Adam: We were filming the second-to-last Challenge of Season 9… 

In the AME mansion’s backyard, Carson has just called for a commercial break. Carson: I think that sounded hoarse. Did I sound hoarse? We should film the exit lines again after I get some water! Piper: It was fine, Carson. We’re here to film a Challenge, not your personal monologue. You’re staring just offstage after the hardest Challenge of the season, trying to calm your nerves. Adam: There’s no point in worrying until they announce the scores. I’ve just gotta stay calm when we go onstage… Suddenly, there’s a friendly clap on your shoulder. Vince is standing beside you, looking worried. Vince: Hey, buddy. You doing okay? 

[MLI]: Me? -Never been better!

Vince: You can play cool all you want for the cameras, but you can’t fool your best friend. Vince I know this Challenge was tough. Adam: …That obvious, huh? Vince: Look, it’s too late to change your score. But you’ve got me on your side no matter what. Doesn’t that count for something? You can’t totally shake the nervous feeling in your stomach, but it helps to remember that your friend’s got your back. Adam: Yeah, it does. Thanks, Vince. Vince: We’re gonna make it to the Final Two, man. I can taste it. 

-I’m totally doomed.

Adam: You saw what the guest judge thought of my routine. Vince: Yeah, it wasn’t pretty. But I’ve never known you to be a quitter. Vince: If we’re gonna make it to the Final Two, you can’t give up now! You can’t totally shake the nervous feeling in your stomach, but you know Vince is right. Adam: You’ve got a point. One of us has gotta carry the other in the final Challenge, after all. Vince: That’s the thanks I get for my pep talk? Adam: Eh, it could use a little work. 

Vince holds out his hand, and you shake it, matching his smile. Sierra: So this is where the dynamic duo ran off to. Sierra strolls up to you and Vince, looking bored. Sierra: They want all four of us onstage in a minute. Jesse’s already waiting. Sierra: And Adam, when we get up there… We need to amp up the showmance before this episode’s over. How do you want to play this? 

[MLI]: How about… -I put my arm around your waist?

Sierra: Works for me. The audience eats that kind of PDA up.

-We kiss on camera?

Sierra: Alright, but a real kiss this time. The audience isn’t gonna buy another peck on the cheek. Adam: Right.

Vince claps you on the shoulder again as you all walk toward the stage, where the last contestant is waiting. Contestant: There you are, my dudes! Let’s get this party started! Vince: It’s not a party, Jesse. Jesse: Not with that attitude it isn’t! Carson: If I may have everyone’s attention… it’s time for the conclusion of tonight’s unforgettable Challenge! 

-If you chose to put an arm around Sierra’s waist

You casually slip an arm around Sierra’s waist, and she leans against you, feigning a giggle.

-If you chose to kiss Sierra

As everyone waves to the cameras, Sierra turns to you with a smile. The audience cheers when you lean down and quickly kiss her. 

Carson: Our panel of elite judges has tallied up the numbers, checked them twice… and determined that Vince is this week’s Challenge winner! Jesse: Aw… seriously? Adam: Congrats, Vince. Carson: But that’s not all! This week’s Audience Vote gives our winner the power to decide who will be in the Bottom Two! Carson: Vince, the choice is yours. Who among our three remaining contestants will be safe… and who will be up for Elimination? Vince turns to all of you with a sympathetic smile. His gaze quickly sweeps past you, then Sierra… and settles on Jesse. Vince: I’m sorry, Jesse… but you’re in the Bottom Two! Jesse: That is totally not radical, bro! Vince: And if I have to pick one more contestant… Vince locks eyes with you for just a moment… then turns to Sierra. He sighs sadly. Vince: Adam, you’re in the Bottom Two. Adam: What? You stare at him, too shocked to move, as Sierra slides over to Vince. He puts his arm around her waist, pulling her close. Vince: I’m sorry, but I can’t let Sierra go. Not after I finally found the courage to tell her how I feel. Sierra: Oh, Vince… The cameras push in as Sierra stands up on tip-toe to kiss him. You’re left standing there alone, reeling from Vince’s betrayal, while he and Sierra smile at each other. Piper: And cut! That’s our episode cliffhanger right there. I want Confessionals with everyone, stat! You storm offstage as soon as the cameras stop rolling, but you hear footsteps racing after you. Vince corners you at the side of the house. Vince: Come on, Adam. This is just how the game is played. Don’t take it so hard. 

[MLI]: Vince… -How could you?!

Adam: We were gonna win this thing together. I trusted you! Vince: That’s your problem right there. You take this whole circus… the show, the ‘friendships’… seriously. Vince: None of it’s real, Adam! If you’d gotten that through your head in the beginning, maybe you would’ve won tonight. 

-I hope the prize is worth it.

Adam: Does the money honestly mean more to you than losing your best friend? Vince: ‘Best friend’? Please. The prize money’s the only reason anyone puts up with this charade of a show! Vince: Or did you forget what we’re all here for? 

Without another word, you shoulder past Vince, back toward the cameras. When Piper sees the look on your face, she hurriedly gestures for them to resume filming. Adam: Tell Jesse not to worry about being in the Bottom Two… because I quit. 

Adam: Sierra and me were never a thing. It was just an act to get extra screen time. Adam: But Vince… I trusted him like a brother. Adam: After my best friend looked me in the eye and betrayed me, I couldn’t take it. That’s why I left the show. 

You: [MLI]… -You know I’d never do that to you, right? [MLI] +2

Adam: I do. Adam: I tried so hard to keep my guard up this season… but I just couldn’t help letting you in. Adam: Something about you makes it easy to trust again. You: Is it my sunny smile, or my naturally winning disposition? Adam: Let’s go with both. 

-I wish you’d told me sooner… [MLI] +2

Adam: I’m sorry, [Name]. After everything with Vince… it look me a long time to learn to open up again. Adam: But I know how that I can count on you. And I know that trust is real. Adam: Hell, you’re the first person I’ve told about any of this. You: Better late than never, I guess. 

There’s a knock on the sliding glass door to the patio, and Omar peers inside. Omar: What are you two doing in there? We’ve still got half the Challenge to finish! You: Coming! Adam: I guess duty calls… Despite his words, Adam doesn’t move toward the door. For a moment, he just smiles gratefully at you. 

You: … -Kiss [MLI]. [MLI] +1

You press your lips to his, and Adam immediately embraces you, his arms encircling the small of your back. He kisses you again, slowly but passionately, his body pressed close against yours… You: Adam… When you eventually step apart, Adam catches one of your hands and squeezes it gently. Adam: Thanks for… all of this. I’m glad I finally told you the truth. 

-Give him a comforting hug. [MLI] +1

You: Come here. You pull Adam into a big bear hug. You feel him laugh as he hugs you back. Adam: Thanks for hearing me out, [Name]. I’m glad I finally told someone the truth. 

You: So am I. You: Think you can keep up in the Challenge now that you’ve got that off your chest? Adam: Oh, yeah. You’d better watch out. Adam: I didn’t come back on this show just to go down without a fight.

[kuyarexdelsdiaries]

TV5: The Game Show Capital of the Philippines

The anticipation of the premiere of The Wall Philippines (on March 13) and 1000 Heartbeats: Pintig Pinoy (on March 21) on TV5 is very inviting to the ears. It marked the return of Viva’s experiment with game shows after two decades – wherein the last time Viva’s partnership was with IBC 13 and wherein the first iteration of Who Wants to Be a Millionaire? (hosted by Christopher de Leon and franchised under UK-based Celador Productions) and The Weakest Link (hosted by Edu Manzano, later by Allan K, and is franchised from BBC Worldwide through a local distribution with ECM Productions) was aired.

With that announcement, it seems TV5 will be nicknamed the “Game Show Capital of Philippine TV” but how did it come to be?

A Brief History

It was at the mid-90s when then-ABC 5 produced their first game show “B na B: Baliw na Baliw” and succedingly followed by "Go for It!". In my memory, I associated that channel with game show competitions with the likes of Sing Galing and Easy Money at the turn of the century. In 2001 – when I was in Grade 2 -- then-ABC 5’s Gameshow Hour was on the air where the first iterations of Wheel of Fortune (hosted by Rustom Padilla, now BB Gandanghari, and franchised by then Pearson Television) and Family Feud (hosted by Ogie Alcasid) took place. The inaugural iteration of The Price is Right, presented by Dawn Zulueta, also happened in the channel but separate from the block (Family Feud and The Price is Right are both franchisees of Fremantle).

In 2009, when Channel 5 bannered the present on-air brand, Millionaire (now under the helm of Sony Entertainment Television's 2waytraffic) was revived with Vic Sotto as the new host and continued until 2015.

The 2010s became the lowest point for this specific genre. In the former TV giant, non-committed, exclusive talents became players to avoid defection to GMA and to rake up their ratings while, at the same time, deviating the essence of the gameplay and denying the chance for ordinary folks to win prizes. This is where the programming ethics for that network come into question but for TV5, they continued to run with LOL: Laugh or Lose (hosted by Sotto, along with comedians Jose Manalo and Wally Bayola, and franchised from its original format by Dutch-based Talpa B.V. [now ITV Studios] and under a co-production with Sotto's M-Zet Productions), Let’s Ask Pilipinas (hosted by Alcasid and based on Let's Ask America under Warner Bros Television), Million Peso Money Drop (hosted by Sotto and franchised under then Endemol B.V. [now Banijay]) and Barangay Utakan (presented by Lourd de Veyra).

The latter end of the 2010s marked the displacement of game shows as they were replaced in favor of reality competition shows; TV5 never took advantage of that to compete with the South Triangle Duopoly as they focused on their forte – sports.

The Moment of Truth

With the COVID-19 pandemic still paralyzing sports broadcasting schedules and Mother Ignacia’s premeditated fall, TV5 gave a new chance in reviving their local entertainment sphere. They are learning the lessons of the old ways while aiming for two objectives: (1) to give a new offering in the New Normal and the New Landscape and (2) to be a formidable alternative to GMA.

Since August 15, 2020, Archangel Media produced Fill in the Bank and Bawal na Game Show as the initial offerings of the network’s local entertainment revival. In both of their shows, their contestants are thematic and not much focused on celebrities.

The Next Wave of Game Shows

This March 2021, the two new game shows on the Kapatid Network are franchises.

The Wall Philippines

The Wall, to be presented locally by Billy Crawford, is created by NBA superstar LeBron James, and is being franchised globally (based on the original version produced by Glassman Media, SpringHill Entertainment, and CORE Media Group, and distributed by Banijay Rights Limited). The Wall is a four-story tall pegboard, similar to the Plinko pricing game of The Price is Right. The object of the game is to bank much money as possible by answering the multiple-choice questions correctly and land on high-value slots. The green balls dropped will be added to the bank while the red ones will subtract from it.

In short, it is just a combination of Million Peso Money Drop and Jeopardy! combined in that gigantic TPIR pricing game board.

The Wall’s studio is located in New Frontier Theater inside Araneta City. (all the sets inside the studio is suitable because of its configurations that would match to the original variant.)

(EIC's Note: Despite the closure of performing venues due to the ongoing pandemic, some were used as alternative location venues for either photo or video shoots, taped programs, or even virtual concerts or virtual awarding rites but minus the physical audience.)

1000 Heartbeats: Pintig Pinoy

Meanwhile, 1000 Heartbeats -- to be presented by Xian Lim – is a British game show in 2015 (created, produced and distributed by NBCUniversal Formats and 1000 Heartbeats UK producer Hungry Bear Media) wherein the object of the game is to win money over seven rounds while being conscious of your heartbeats.

As the name implies, the game starts with 1000 heartbeats and is deducted throughout the progress of rounds of difficulty. The heart rate is displayed on a monitor and relayed to a live string quartet playing the show’s musical score to match the heart rate and to maximize tension. Once the player’s heartbeats reach zero, the game is over and the contestant leaves empty-handed.

With its impending launch on March 20 (originally slated on the 21st), it will be the first country to air such a franchised game show.

More to Come, More to Be Cagy

One of the iconic game shows of their own, Sing Galing will return in a new fashion after 16 years. However, back to the franchised game shows, Yassi Pressman will host our local version of another British game show (a Fremantle original), Rolling in It, come May; like 1000 Heartbeats, it will also be the first country to get a localized version.

With increasing promotions of such shows and more in their social media handles lately, as said last January in my blog, we have to be cautious with TV5 over their hastiness. Oftentimes, after they finished the first season, they are prone to be shelved before they even go onward with the second. Despite that, this network will be memorable when it comes to this categorical revitalization.

(Photos courtesy of YouTube and Tempo / VIVA Entertainment)

(With additional research by the EIC)

(The contributor of this post is Timothy John Paragas, a media observer and a blogger.)

[junker-town]

The Eagles are a dysfunctional mess, on and off the field

Things haven’t gone well for Carson Wentz and the Eagles in 2019.

The Eagles’ problems are starting to pile up, Gardner Minshew suddenly looks like a rookie, and Sam Darnold’s body is rejecting itself.

In retrospect, the warning signs that not all was right in the Eagles’ locker room have been there since January.

A week after the Eagles’ playoff loss to the Saints, a PhillyVoice report was not flattering to quarterback Carson Wentz. In the article, which cited several anonymous sources, Wentz was described as “selfish.” That was in stark contrast to his backup, Super Bowl MVP Nick Foles, who was beloved in the locker room and on the field when he was running the offense.

Many teammates publicly jumped to Wentz’s defense and denied there was any truth to the report. The hullabaloo quickly died down. Foles moved on the Jacksonville, and Wentz got a hefty new contract. The Eagles entered the season as a potential Super Bowl contender, thanks to a stacked roster that included a healthy Wentz, stout offensive line, dominant pass rush, and a strong group of playmakers.

Then the season started and the Eagles haven’t looked anywhere close to elite. They’re now 3-4 and only three teams have turned the ball over more than them. The Week 4 win over the Packers seems more baffling by the day, especially in comparison to Philly’s recent woes: blowout losses to the Vikings and the Cowboys. Dallas ran roughshod over its rivals in JerryWorld, handing the Eagles a humiliating 37-10 defeat after head coach Doug Pederson had more or less promised his team would win. Instead, for the first time since Pederson took over, the Eagles have given up more than 30 points in back-to-back games.

The situation might be even messier behind the scenes. Unnamed players have ripped Wentz and the offense, and criticized general manager Howie Roseman for not trading for Jalen Ramsey. Veterans Malcolm Jenkins, Lane Johnson, and Brandon Graham can’t seem to agree on whether the team has accountability issues. The cracks are showing, threatening to collapse the Eagles’ season fast.

Panic index: Perhaps winning will cure all, but things might get worse before they get better. The Eagles face a tough upcoming slate against the Bills, Bears, Patriots, and Seahawks, before they get an early December reprieve (Dolphins, Giants, Washington).

If the season goes belly up, then changes will come in the offseason. And who knows. Maybe Foles can find his way back to Philadelphia again.

Gardner Minshew looks like a rookie all of a sudden

Minshew Mania was fun while it lasted, but the Jaguars’ rookie quarterback doesn’t look like a sensation anymore. After nine touchdowns and one interception in his first five games, Minshew has one touchdown and one interception in his last two. He completed less than half his passes in those underwhelming performances and was lucky to get through them with just one pick.

If Bengals cornerback B.W. Webb hadn’t been wearing a cast on his arm, he probably would’ve caught at least one of the two passes Minshew lobbed directly his way.

The problem for Minshew has been a complete breakdown of his pocket presence. The poise he showed earlier in the year has devolved into panic — even when there’s no pressure at all. One of those bouts of pocket anxiety cost the Jaguars a touchdown against the Bengals.

What. Is. He. Doing. Back. There????? Minshew get it together bro pic.twitter.com/jteejitHGY

— Laurie Fitzpatrick (@LaurieFitzptrck) October 20, 2019

Earlier in October, it looked like Nick Foles had no shot at reclaiming his spot as the starter in Jacksonville this season. But if Minshew can’t get his mojo back, the veteran may have to step in after all once he comes off injured reserve.

Panic index: Earning Rookie of the Week honors in four of the first five weeks made it easy to forget that Minshew was a sixth-round pick in April. Struggles were always to be expected. They’re only surprising now because Minshew managed to avoid them for a month.

It’s too early to say that a couple bad games mean we’ll never again see the version of Minshew who was tearing up the league earlier this fall.

Sam Darnold is literally falling apart, folks

And no, we’re not talking about the fact that he threw four interceptions against the Patriots on Monday night. Physically, Sam Darnold is falling apart.

Earlier in the season, Darnold missed three games after he contracted mononucleosis, which enlarged his spleen. During a press conference when he was talking about his recovery, he talked about actively not trying to die:

"I wanna make sure that I'm safe out there, and that I'm not gonna die" – Sam Darnold pic.twitter.com/w0J1MiZ2TL

— Jets Videos (@snyjets) October 3, 2019

When he was finally cleared to return against the Dallas Cowboys, he had to wear protective pads that provided extra cushion for his spleen:

Sam Darnold from the Jets will be wearing these protective shoulder pads pic.twitter.com/v1YCWujUhW

— ENRIQUE CABEZUELA (@Enrique66573043) October 13, 2019

Although Darnold’s outing against the Cowboys was impressive — he threw for 338 yards and two touchdowns — he came back to earth against the Pats, completing just 34 percent of his passes for 86 yards. Oh, and he’s seeing ghosts now? That’s what ESPN’s cameras caught him saying while he was mic’d up on-air:

Sam Darnold is mic’d up and he came to the sidelines and said, “I’m seeing ghosts.” (Via @ESPN) pic.twitter.com/9MoM6Rkmo5

— Dan Roche (@RochieWBZ) October 22, 2019

Unfortunately the jokes don’t exactly stop there, as Darnold is suffering another, um, very strange injury:

Sam Darnold had a toenail removed, per Gase. He'll be fine.

— Manish Mehta (@MMehtaNYDN) October 22, 2019

We’re not sure why Darnold’s body is basically rejecting his existence, but get well soon, Sam.

Panic index: Surely Darnold won’t add to his weird injury history this week, right?

Oh, the Jets are playing in Jacksonville. Then yeah, he’s definitely leaving there with a new disease.

Melvin Gordon’s contract year could not be going much worse

Gordon sat out the first four weeks of the 2019 NFL season while angling for either a trade or a contract extension that would pay him like a top-five running back. He got neither, and returned to the Chargers’ lineup in Week 5 in hopes of being the spark LA had been missing. A big performance wouldn’t just thrust the club back into the playoff race, but also boost the veteran tailback’s value as free agency looms in 2020.

Yet Gordon has only added to the Chargers’ misery. In three games — all losses — he’s run for a grand total of 81 yards, needing 36 carries to get there (a 2.3 YPC average). While he scored his first touchdown of the season on a Philip Rivers pass in Week 7, that’s not what he’ll be remembered for after an eventful Sunday in Nashville.

Instead, it will be the two stuffed runs at the goal line late in the fourth quarter of a 23-20 game — the latter of which resulted in a game-ending fumble that took away Los Angeles’ shot at kicking a game-tying field goal at the end of regulation.

"I don't want them to gain another yard... If they cross the line of scrimmage, I'm going to take every last one of you out. You make sure they remember the night they played the #Titans." pic.twitter.com/o4Pb5CBpAQ

— Tennessee Titans (@Titans) October 21, 2019

That was bad. And it’s so, so much worse when you consider what Austin Ekeler, the man who’d taken over RB1 duties in Gordon’s absence, did on the very same afternoon:

Melvin Gordon - 18 touches for 29 total yards, 1 TD, and 2 (really 3) fumbles. Austin Ekeler - 12 touches 125 total yards, a TD and 0 Fumbles.

— Bolts From The Blue (@BFTB_Chargers) October 20, 2019

Panic index: Gordon can still attribute some of these struggles to rust, but the fact he’s getting so badly outplayed by someone who’d been a situational back in 2018 is troubling. General managers won’t easily forget that when they’re sorting out their free agent budgets next spring — nor will they forget that, so far, 2018 has been the only season Gordon’s averaged more than four yards per carry.

It’s only going to get tougher for the Bears

The Bears are off to a rocky start, with a 3-3 record after a 12-4 season a year ago. They have an incredible defense, but an offense that has been stagnant under the watch of third-year quarterback Mitchell Trubisky. They still have plenty of time to turn things around, but unfortunately for them, their schedule doesn’t get any easier.

While they will be favored against teams like the Chargers and Lions, both teams are capable of putting up numbers that Trubisky can’t touch. They have the Rams in mid-November, as well as an upcoming game against the Eagles.

December is where it gets really tricky, though. They have a four-game stretch against the Cowboys, Packers, Chiefs, and Vikings. They have already lost to the Packers once while beating the Vikings, but Minnesota looks a lot better now than they did a couple weeks ago.

Unless they make a trade, this is Trubisky’s show going forward and that, so far, hasn’t been working.

Panic index: The Bears can’t afford to drop any “winnable” games with their December stretch. If they’re on the outside looking in on the playoffs by the time those games roll around, they may be in trouble. It all starts with beating the Chargers next, and potentially sweeping the Lions.

[reviverradio]

‘Fargo’ Uses Pop Songs Better Than Any Show On Video

FX / Warner Bros..

As prestige TV proceeds to ape the conventions of theatre, a growing number of TV shows have stepped up their match once it comes to a device near and dear to my own heart — with pop music. Many of the Very Best and most talked-about displays on television do this very well: The Americans, Big Little Lies, Better Call Saul, Mr. Robot, Legion,Halt & Catch Fire. But there is one series that really does it a bit better than the rest, FX’s Fargo.

Filmmakers and showrunners utilize pop songs. The most basic objective is to immediately set a time interval — Duran Duran for its ’80s, CCR for those ’60s, Donna Summer for the ’70s, Nirvana for its ’90s, and so forth. Considerate artistswill really incorporate the audio as either a Greek chorus signaling themes that are significant or simply as a window to the lives of the characters. Or they’ll revel in the possibilities which arise when you choose a part of activity and mix it with a tune, which can elevate an otherwise flat sequence to the dizzying heights of a dance number.

Fargo, notably in its second season, has escalated in using tunes as storytelling devices, in addition to finding ways to create musical sequences that looked and sounded unbelievable on-screen. Throughout the show’ forthcoming season, I’ll be writing weekly columns dedicated to the way Fargo employs music in each episode, exploring the ways that tunes deepen (or perhaps detract from) the storyline. (I’ll also inquire into the obscure tracks which will inevitably pop up on the soundtrack, for people without ready access to Shazam.) Before that, here are five good moments from the first two seasons.

Season 1, Episode 2: Eden Ahbez, “Full Moon” Scene: Mr. Numbers and Mr. Wrench get rid of a body in an ice-covered lake.

Fargo did not really hit its stride for a series that cinematic scenes to pop music in distinctive ways until its next season. However, this incident from early in season one shows Fargo‘s flair for digging up obscure tunes and doing something subversive together. Ahbez is a cult figure who achieved his greatest triumph in 1948 when his song “Nature Boy” has been conducted by Nat King Cole, who flipped it into a No. 1 hit. “Nature Boy” was reflective of Ahbez’s proto-hippie life — he wore his hair long and grew up a Jesus beard to choose his normal garb of sandals and white robes. (Ahbez was also living beneath the “L” at the Hollywood sign all over the time which “Nature Boy” became a hit.) On his own, Ahbez recorded profoundly strange, ethereal music including his starry-eyed, spoken-word vocals, as typified by the strangely hypnotic “Full Moon.”

On paper, “Paper Moon” shouldn’t go with a spectacle where a guy his killed by two hit men. But much like the Billy Batts sequence in Goodfellas, which uses Donovan’s similarly hippie-dippy “Atlantis” while Robert De Niro and Joe Pesci celebration Frank Marino’s head in, the mix of violence and serene audio functions in a yin-yang sort of manner, conveying the pathology of people that commit horrible acts with cool efficiency.

Season 1, Episode 9: “Green Tambourine” by the Lemon Pipers

Scene: Super-criminal Lorne Malvo, posing as a dentist at Kansas City, hosts a party at his home.

“Green Tambourine,” a likably trashy bubblegum oldie which went to No. 1 in 1967 and has been the only real hit by ersatz-psych group the Lemon Pipers, could typically be an unusual choice to score a celebration scene that happens in 2007. But it’s perfectly suited for Fargo, that informs stories which take space during hyper-specific periods of time which also somehow appear to exist slightly out of time.

Lorne Malvo, particularly, seems like he could be a commodity of every year between 1989 and 1961. It is a part of the character’s life, “there really are no rules” influence on the entire world around him, represented in a small way by reviving the outdated “Green Tambourine” at a scene which takes place 40 years following the song’s original cultural instant. For Malvo, “Green Tambourine” represents normalcy and mediocrity — it’s his way of appearing like a regular individual while slyly commenting on how boring he thinks ordinary folks are.

Season 2, Episode 1: “Children Of The Sun” with Billy Thorpe

Scene: Rye Gerhardt pushes to face a quote in a diner.

In an interview with The A.V. Club, Fargo music supervisor Marguerite Phillips explained that the series’s creator Noah Hawley “wanted me to research prog rock and Krautrock” as a musical motif for the next season. Though I prefer to believe that it’s also regarding the pervasiveness of AOR this could be related to the year’s sci-fi overtones. (As a native midwesterner born in 1977, a number of my earliest memories have been scored by pomp-rock riffs and ridiculously wiggy keyboard solos.)

Apparently, Billy Thorpe’s anthemic “Children Of The Sun” was among those very few songs ever written to the script of the second-season premiere. While mostly forgotten now, Thorpe did exist around the periphery of FM radio from the late night ’70s, that gave him sufficient exposure for the Australian rocker’s 1979 concept listing Kids Of The Sun to hit the top 40 in the album chart. In addition to subtly foreshadowing the preponderance of UFOs at Fargo‘s sophomore year, “Children Of The Sun” seems like the sort of song you’d hear in the radio late at night whilst riding shotgun on a lonely street road near the edge of Minnesota and North Dakota in 1979.

Season 2, Episode 7: Lisa Hannigan, “Danny Boy”

Scene: Bear Gerhardt implements his niece, Simone

The biggest hurdle for Fargo the TV series has been overcoming comparisons to Fargo the film. A show that was confident would have worked to play down the Coens’ influence. However, Fargo has rather embraced not only its cinematic supply material but the entire Coen brothers oeuvre, though in a manner that’s more reminiscent of an inventive remix than a slavish cover. In the next season, this interpreted musically by having modern artists perform versions of classic tunes related to Coen brothers movies, such as Blitzen Trapper’s shoot the normal “I’m A Man Of Constant Sorrow” (out of O Brother Where Art Thou) and White Denim’s redux of Kenny Rogers and The First Edition’s “Just Dropped In (To See What Condition My Condition Is In)” (in The Big Lebowski).

In the case of “Danny Boy,” which initially uttered the remarkable shoot-out series from Miller’s Crossing, the Irish singer-songwriter Lisa Hannigan was called on to execute a distinctively lovely rendition for arguably the most funniest scene at either season of Fargo. For a callback to the Coens, “Danny Boy” stands alone as a memorable audio queue on Fargo. It might, in fact, even top Miller’s Crossing, where the use of “Danny Boy” enrolls as marginally jokey. But on Fargo, the song’s sentimental depiction of familial love and the death of generations gets the death of Simone doubly awful.

Season 2, Episode 10: Black Sabbath, “War Pigs”

Scene: Everything goes to hell in Sioux Falls.

Here we’ve got a tune that strikes on every one of the bases for tune usage that is good. It’s a strong personality option for Hanzee — that I could easily imagine him listening to Paranoid non-stop whilst serving several tours in Vietnam. It comments on the activity. It will help to set the time and place — nothing epitomized evil in communities at the ’70s and ’80s including Black Sabbath, whose music and iconography served as shorthand for the mania from Satan worshippers that are mostly non-existentent.

But place of the and re-watch the sequence another 37 times. There’s something to be said for having a song because it seems incredible when juxtaposed against terrifying action that’s unfolding on a split screen. Much like the Scorsese-esque “Locomotive Breath” chain in the next season’s seventh episode, “War Pigs” gets over on sheer cinematic audacity. It looks cool since it looks freaking cool.

from reviverradio http://www.reviverradio.net/fargo-uses-pop-songs-better-than-any-show-on-video/

[plug2game-blog]

EGM's Finest of 2018 Part 3: # 15 ~ # 11.

2018 was a very interesting year in video games. Over the last 12 months, we received even more proof that single-player games live and well, saw a mix of big releases and small indie hits, and enjoyed as unexpected games crashed and burned (or increased to the heavens). We also, in lots of methods, had a great deal of hopes and dreams finally satisfied-- no matter if you're looking for a bit of smashing, or a smidge of redemption. And yet, it's hard to shake the feeling that this generation's days might really be numbered, which something is waiting just over the horizon. No matter what, it was a year that provided us a lot of terrific gaming. In the end, however, we might just select twenty-five of those experiences to fill the slots of our "Finest of 2018" rankings. After much consideration, here are EGM's Leading 25 video games of the year, today looking at numbers 15 through 11.

# 15 Publisher: Sega Designer : Sega Platforms: PS4 Yakuza 6 The Tune of Life Yakuza 6 serve as a fitting send for everyone's preferred ex-Yakuza Kazuma Kiryu, providing closure to fans who have followed his more than decade-long story. Almost whatever that Yakuza fans have come to know and love about the series is here, together with a couple of new features sprinkled on top. The most significant and finest brand-new addition is the Clan Creator, which lets players manage their own gang in a top-down strategy minigame. Another noteworthy enhancement is the significant increase in graphical fidelity-- thanks to a brand-new engine-- which actually makes Kamurocho pop. In general, Yakuza 6 doesn't rather reach the heights of Yakuza 0, however it's still a terrific entry in the long-running series.

# 14 Publisher: Warner Bros. Interactive Entertainment Designer:IO Interactive Platforms: PS4, XboxOne, PC Hitman 2 Hit man 2 may appear like Gunman 2016's second season of content more than a full-on follow up, but there's no world in which that's a bad thing. Keeping up the formula that made Agent 47's last outing among the very best-- if not the best-- in the series, Hit man 2 makes the clever relocation in merely offering players with more. The levels (for the most part) are bigger and more complex, with actual bushes to conceal in and sneak through. Representative 47 has even more tools in his arsenal, consisting of an underrated picture-in-picture function. Most importantly, the lethal setpieces are a lot more devilish and hilarious. There's just nothing quite like a Hit man game, and after a turbulent runup to its release, Hitman 2 makes an emphatic argument for the series' continued existence and importance.

# 13Publisher: Capcom Developer: Capcom Platforms

: PS4, Xbox One, Switch, PC Mega Male 11 2018 not just marked the event of the Mega Man X series with the Mega Man X Legacy Collection 1 +2, but it also offered fans of the initial Mega Man series a new entry inthe classic platforming brochure. Mega Male 11 continues the long-running formula of players directing the Blue Bomber through 8 stages to beat brand-new Robot Masters, however it doesn't stop there. Along with a colorful cel-shaded art style, the video game presents the wild Double Gear system, permitting gamers to control time and Mega's power. The function develops a more personalized approach to the series'common dive and shoot regular and advises gamers that Mega Man can still have new techniques up his sleeve. The only disadvantage is the mediocre soundtrack, but fortunately, Capcom has actually remedied that by offering a fantastic alternate crucial score that really brings Mega Male 11 into its own.

# 12

Publisher: Ubisoft Developer: Ubisoft Montreal Platforms: PS4, Xbox One, PC Far Cry 5 Fact be informed, Far Cry 5 does not deviate too much from the series'established dish for open-world chaos. We have actually got the weapons, the vehicles, the sprawling map loaded with hazardous wildlife and attractive vistas (the bigger-than-ever Hope County, Montana). And obviously, we've got an unhinged, intense bad guy in the kind of Evil-Father-John-Misty-slash-cult-leader Joseph Seed. Far Cry is one of those video games where a larger, newer version of the exact same formula can be enough. There's no other franchise out there that lets you a herd of cows with a flamethrower or befriend a bear called Cheeseburger. And it's not like Far Cry 5 plays everything safe. That explosive ending went out on enough of a limb that viewpoints stay starkly divided at the EGM offices to this day.

# 11 Publisher: The Pokémon Company, Nintendo Developer: Game Freak Platforms: Change

Pokémon Let's Go Pokémon games get remasters nearly as often as they get brand-new releases, but few alter the Pokémon formula as much as Pokémon: Let's Go, Pikachu! and Eevee! Not only does Kanto look larger and brighter than ever previously, with the Nintendo Change satisfying our childhood dream of seeing the world of Pokémon on a cinema TV, however the Pokémon themselves get brand-new life, hopping around after their trainers and springing up from the grass. Include new catching mechanics and some streamlined systems and you have a video game with all the familiarity of Kanto, however rejuvenated training, gathering, and traversal. With adorable partners, a nicely remade soundtrack, and glossy hunting that's in fact enjoyable, the Let's Go video games are more than worthy of kicking off the next console generation of Pokémon.

EGM's Best of 2018 Protection We're having a look at the very best video games of 2018 all week, from December 24th through January first. Inspect back every day for our Leading 25 Games of 2018, along with our individual lists for the video games we liked most this year. Inspect here for everything that's been posted up until now.

[movietvtechgeeks]

Latest story from https://movietvtechgeeks.com/black-panther-continues-box-office-domination-hitting-700-million-globally/

'Black Panther' continues box office domination hitting $700 million globally

Marvel's "Black Panther" is on track to being one of the fastest films to hit $1 billion as it pulled in another $108 million in its second week in theaters bringing the global total to $704 million. To give you an idea of how quick this has been, Marvel's other solid hit "Guardians of the Galaxy" took in $773 million back in 2014, but that was over a five-month run. "Black Panther" has only been in theaters for thirteen days now. “Black Panther” scored one of the best second weekends ever with an estimated $108 million in ticket sales, putting it on track to rank among the highest-grossing blockbusters ever. Ryan Coogler’s Marvel sensation is on a box-office course that few films have managed, according to studio estimates Sunday. It is only the fourth film to earn $100 million in its second weekend, along with “Star Wars: The Force Awakens” ($149.2 million), “Jurassic World” ($106.6 million) and “The Avengers” ($103.1 million). Only “The Force Awakens” had a better second weekend than “Black Panther,” which dropped 47 percent after its opening weekend of $201.8 million. “Black Panther” has grossed $400 million domestically and $704 million worldwide in two weeks. The film, starring Chadwick Boseman and Michael B. Jordan, has held even better overseas, where it dropped 42 percent this weekend. Its release in China, the world’s second-largest film market, is set for March 9. “Whatever your projections for ‘Black Panther’ might be, just increase them by 20 percent, and you might be on point,” said Paul Dergarabedian, senior media analyst for comScore. “Now the question isn’t so much if it gets to $1 billion, but how far beyond that number does it go.” The results so far put it in the company of “Jurassic World,” which ended up grossing $1.67 billion worldwide, and “The Avengers,” which ultimately hauled in $1.52 billion. Both rank among the top five of all time, not accounting for inflation. “Black Panther” is spurring a surge for the industry. The overall box office is up 12.5 percent from last year, according to comScore. And the movie is doing it with an especially diverse audience. This weekend’s audience was 33 percent African-American, 37 percent Caucasian, 18 percent Hispanic and 7 percent Asian, according to comScore. Imax, which is playing “Black Panther” in more than 60 countries, said people are paying to see the film more than once, a quality that the biggest of the big movies share. “This movie has very strong word of mouth and a deeply loyal core fan base, which are both necessary criteria for repeat business,” said Greg Foster, Imax’s entertainment chief.

And the euphorically reviewed film has yet to arrive in China and Japan, two of Hollywood’s biggest markets. Strong results in other Asian countries, including South Korea, bode well.

The film’s success didn’t appear to hurt the handful of new releases. Faring the best was “Game Night,” starring Jason Bateman and Rachel McAdams, from Warner Bros.′ New Line. The comedy, which cost about $37 million to make and was directed by John Francis Daley and Jonathan Goldstein, debuted with $16.6 million, coming in slightly above forecasts. Though comedies have struggled at the box office in recent years, “Game Night” got a modest boost from good reviews and perhaps from the waves of moviegoers brought in by “Black Panther.” “It’s that whole ‘a rising tide floats all boats,’” said Jeff Goldstein, distribution head for Warner Bros. “The whole (comedy) genre is just really troubled,” he added. “New Line is, I think, particularly good at teasing these movies out to be the best versions of them. They’ve had a lot of success in the past, whether it be ‘Horrible Bosses’ or ‘Central Intelligence.’” Alex Garland’s sci-fi thriller “Annihilation,” starring Natalie Portman, also debuted with some momentum thanks to strong reviews. It opened with $11 million on about 2,000 screens (or about half the number of “Black Panther”). Paramount earlier sold the film’s international rights (except in China) to Netflix after disappointing reactions in test screenings. Opening weekend audiences largely responded similarly, giving the film a poor C CinemaScore. Most critics loved “Annihilation,” but multiplex ticket buyers gave it a C grade in CinemaScore exit polls. Had it cost less to produce, Mr. Garland’s movie possibly could have succeeded as an art-house film.

But Paramount, which has struggled badly of late, wants to compete in the wide-release business. “Annihilation” was a holdover from a previous management team at the studio, where a large number of senior executives have quit or been fired over the last year as the studio attempts a turnaround. New managers sold off overseas rights for “Annihilation” to Netflix.

It’s not uncommon for studios to offload international rights to recoup their costs. But selling an ambitious film from Garland, writer-director of 2015′s acclaimed “Ex Machina,” to Netflix was seen by some as a sign of diminishing aspirations for a Hollywood major studio. But Paramount has been behind some of the more artistically audacious releases in recent years, including Darren Aronofsky’s “mother!,” Alexander Payne’s “Downsizing” and Martin Scorsese’s “Silence.” “Annihilation,” an unusually challenging and psychedelic sci-fi release for a major studio, cost about $40 million to produce. It’s among the last releases green-lit by previous Paramount head Brad Grey. Jim Gianopulos took over as chief executive and chairman last year, and he is pushing a more franchise-focused agenda. Kyle Davies, Paramount’s domestic distribution chief, declined to comment on the Netflix deal but said he was pleased with the film’s performance. “Alex is a very talented filmmaker, and he’s created this mind-bending experience,” Davies said. “And I think there’s going to be a lot of chatter and a lot of buzz that will propel the movie into the spring moviegoing season.” The weekend’s remaining new wide-release film was “Every Day,” a microbudgeted teenage fantasy-romance that took in about $3.1 million and was marketed mostly online. The movie was the first from a rebooted Orion Pictures, which is owned by Metro Goldwyn Mayer. Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to comScore. Where available, the latest international numbers also are included. Final three-day domestic figures will be released Monday.

“Black Panther,” $108 million ($83.8 million international).

“Game Night,” $16.6 million ($5.2 million international).

“Peter Rabbit,” $12.5 million.

“Annihilation,” $11 million.

“Fifty Shades Freed,” $6.9 million ($22.3 million international).

“Jumanji: Welcome to the Jungle,” $5.7 million ($3 million international).

“The 15:17 to Paris,” $3.6 million ($1.3 million international).

“The Greatest Showman,” $3.4 million ($7.7 million international).

“Every Day,” $3.1 million.

“MET Opera: La Boheme,” $1.9 million.

Estimated ticket sales for Friday through Sunday at international theaters (excluding the U.S. and Canada), according to comScore:

“Operation Red Sea,” $107 million.

“Black Panther,” $83.8 million.

“Detective Chinatown 2,” $80 million.

“Monster Hunt 2,” $33.5 million.

“Fifty Shades Freed,” $22.3 million.

“Boonie Bears: The Big Shrink,” $12.7 million.

“The Shape of Water,” $11.6 million.

“The Greatest Showman,” $7.7 million.

“Monkey King 3: The Kingdom of Women,” $7.6 million.

“Maze Runner: The Death Cure,” $7.1 million.

Movie TV Tech Geeks News

[hottytoddynews]

We’ve gotten used to the Christmas holiday season beginning around Halloween, but how often has Halloween thriller season begun the week after Labor Day? As the studios and moviemakers have learned, there’s a huge audience for horror. If you are skeptical, look at the grosses for new latest in Tyler Perry’s Madea franchise. Major record-breaking!

For the longest time, producers/studios would grind out assembly-line horror, capitalizing on mindless or copycat sequels of original hits that would make you groan, “Been there, seen it.” But even the usual suspects have come around; and there seems to be a newbie at the game: Blumhouse Productions, which this season could be crowned Prince of Horror.

You might say that horror season began way before Halloween — even in February. That’s when Get Out! (Blumhouse Productions/Universal), featuring Bradley Whitford, Catherine Keener, Allison Williams (TV’s Girls) and young Brit Daniel Kaluuya (TV’s Babylon; upcoming Watership Down mini-series based on Richard Adams novel) hit cineplexes. It wasn’t a cookie-cutter, standard-issue thriller, but smart and well made – and had a sense of humor. It also offered a thoughtful look at the race issues making headlines.

Young Anglo woman (Williams) invites Afro-American young man (Kaluuya) for a meet-the-parents getaway, where he finds the family overly accommodating — an effort to deal with their daughter’s interracial relationship. As the weekend progresses, disturbing discoveries come to a head and lead him to a truth he never could have imagined. Something different, yes? And, going even further, it was R-rated. That usually can be the death knell to a film pitched for teens, the catalyst for a film’s opening weekend. They came, whether accompanied by an adult or with fake I.D.s. A film budgeted at a minuscule $5 million has raked in over $175.5 million. 

Jeepers Creepers III (Infinity/Screen Media) quickly followed. Set between the first and second film, it was quickly obvious it was in the lesser category. Sergeant Tubbs (Brandon Smith) went about attempting to learn the secrets and identify of Creeper (Jonathan Breck), the monster terrorizes a local farming community. Lovely Trisha (Gina Phillips) was sort of pushed aside for the introduction of Gaylen Brandon (Meg Foster (TVs Pretty Little Liars and Ravenswood), stealing the film, as someone with a history with the Creeper. It didn’t help. Initial audiences were bored, word-of-mouth was a downer. Made for $18 million, it grossed a paltry $2.3 million (JC1 exploded at the box office with sales of $35.7 million). Maybe the gross will rise – a bit – with the DVDs’ December release.

Oscar nominee Jennifer Jason Leigh, Bella Thorne (Boo!: A Madea Halloween; TV’s Famous in Love, Big Love), Thomas Mann (Kong: Skull Island), and Kurtwood Smith (TV’s That 70s Show) weren’t enough to turn the lack of horror in Amityville: The Awakening (Blumhouse Productions/Dimension/TWC) into a silk purse. After a two-year shelf life, it was comatose (like Belle‘s twin brother) on arrival.

Then Came September   

“When you are a kid you think the world revolves around you, that you’ll always be protected, care for. Then, one day: a friend goes missing.” The opening words of It (New Line/Warner Bros./RatPac-Dune Entertainment), the cinema adaptation of the 1990 three-hour mini-series based on Stephen King’s terrifying best-seller, leads audiences on a thrill ride as satisfying as any on a mega coaster. The plot line involves kids of a small town, rumored to be cursed, disappearing in bloody spades. A gang of seven, led by Richie (Finn Wolfhard, Mikie on Stranger Things), united by their horrifying and strange encounters with the evil Pennywise the Clown (Bill Skarsgård), mount their bikes determined to kill “It.” Been there, seen it? But, even with parallels to Stand By Me, The Goonies, and TV’s Stranger Things, it rises to the occasion. Here, though much condensed, it’s all about bonding and the paranormal, but the paranormal’s never been quite like this: Atmosphere (that haunted house; and especially the horrific finale, which even tops David Lean’s in The Third Man), piercing score by Benjamin Wallfisch (Blade Runner 2049, Annabelle: Creation, Hidden Figures), jump-scare sound effects, and, best of all, the brotherly-love kiss to bring back the living dead. Argentine Andy Muschietti (2013 horror thriller Mama) is set to helm the 2019 sequel.

Oddly, with a cast of youngsters, the film’s R-rated for violence and, something you don’t hear often, F words cascading out of the mouths of babes. That hasn’t stopped it from blockbuster status – grossing $179 million in less than two months, ($189.5 million worldwide) on a budget of $35 million.  Reminder: whether pouring cats and dogs or not, on Jackson Street or any other, never look deep into those corner drains!

Happy Death Day (Blumhouse Productions/Universal Pictures) is a dark comedy mystery horror thriller borrowing lavishly from the classic Groundhog Day. On her birthday, teenager Tree (excellent Jessica Rothe) concludes that it will be her last one. That is, IF she can figure out who her killer is. To do that, she relives the day over and over – dying in a different way on each one. No way you’ll snooze, as you get sucked in even before the film begins [You’ll see]. Keep a keen eye on Tree. Christopher Landon (Disturbia, Paranormal Activity) knows how to keep you on the edge of your seat. Shooting in New Orleans’ Garden District, home to the streetcar and fabled mansions, adds tons of atmosphere.

In Boo 2: A Madea Halloween (Tyler Perry Company/Lionsgate) Madea, Bam, and Hattie venture to a haunted campground where they end up running for their lives from a boogeyman, goblins, and monsters, goblins, and the boogeyman are unleashed. Perry has an audience for his sometimes amateurish movies that  segue between embarrassing and somewhat funny. He comes up with great ideas and one has to be envious of his multi-talents and following. In his films, he  plays a lot of characters – some, such as Madea, much better than others. Maybe the mistake is in doing it all: writing, directing, and co-producing.  Boo! 2. But the film shot out of the gate October 20 and astonished the industry selling performances out. Budgeted at $25 milion, it has already grossed $35.5 million. Boo! 2 became an instant hit. Budgeted at $25 million, it’s close to exceeding that in just over a week.

Jigsaw (Serendipity Productions/Lionsgate) is the eighth title in the Saw franchise, which became a popular slasher series with face-cringing, spine tingling twists to the serial killer saga and a look at the day’s social mores. Then it ended, until this past weekend when it’s been reborn in hopes of bringing in more moola. As bodies drop everywhere – each with gruesome demise that fit Jigsaw’s style, police find themselves chasing the ghost of a man presumed dead for over a decade (Tobin Bell), and become embroiled in a new cat and mouse game. Is Jiggy/John Kramer back? Is this a copy cat? Or  are they falling into a trap set by another monster? The story is told in such a fast pace that there’s little time for character development. However, it gets props for the show-stopping, head-rolling finale. The film got a knife in its back from critics and moviegoers. One reviewer’s assessment: “Watching Jigsaw is a dumb, ugly waste of energy.”

There Was Another Horror at the Weekend Box Office

Suburbicon (Paramount/Dark Castle/Black Bear Pictures) – It had the cache of George Clooney as director when it premiered at the Venice Film Festival, but was received with a few boos. Conceived by Joel and Ethan Coen (remember their 2016 misfire Hail, Caesar!, about a tough Hollywood studio “fixer”), Clooney (a Hail, Caesar! co-star), and Grant Heslov (co-writer, Matt Damon’s Best Picture Argo), is a racially-charged farce that “draws parallels between the U.S.’ ugly past and the situation today.” Damon, Julianne Moore, and Oscar Isaac, Summer of 1959, are in an Eden to raise a family: an idyllic community with affordable homes and manicured lawns. However, tranquility changes to disturbing reality in the town’s s dark underbelly of betrayal, deceit, and violence [including flaming Confederate flags]. Come critics went “Huh?” and “Huh!” The often kind Rotten Tomatoes wrote: “It’s A Raisin in the Sun Meets The Donna Reed Show. Only occasionally does an image strike a lyrical blow and yield the creepy effect Clooney is aiming for.” Worse, audiences weren’t camping overnight to be the first at box offices. Maybe it will develop a cult following.

At Home 24/7 Horror and Halloween Fright Fest  

Is this not the best time of year to revisit famous Halloween spook with everything from zombies and slashers to séances and lots of screams? There’s so much horror to enjoy spread on the couch with a beer or soda and chips and dip. Can anything top the original Frankenstein, Dracula, The Mummy, Hitch’s Psycho, Kubrick’s The Shining [Where’s Jack? Bring him back!]? Maybe a bit of Poltergeist; or some Stephen King? How about Halloween, The Fog, Christine or anything by John Carpenter, because he knows how to scare your pants off? There’s Wes Craven’s bad ole Freddy in  Nightmare on Elm Street; or the original Saw; contemporary grand guignol of Whatever Happened to Baby Jane?; and any season of American Horror Story – because Ryan Murphy and Brad Falchuck know how to creep you out. Then, there’s family-friendly “horror” in Abbott & Costello Meet Frankenstein/Dr. Jekyll and Mr. Hyde/The Invisible Man.

3-D is having a much-longer shelf life than expected. For a great at-home theatrical experience, check out the Blu-ray 3-D edition of the edge-of-your-cushioned-seat 1953 blockbuster House of Wax [Warner Home Entertainment, SRP $40]. Vincent Price, so fantastic playing madmen, is perfect casting for demented Professor Henry Jarrod. The Technicolor, pre-digital 3-D two-projector image realignment, and sound track have been meticulously remastered with a 4K scan. Don’t spill your popcorn as you experience one of the most incredible horror flick finales. Beware: You can’t escape the flames!

If your dream is a near lifetime of at-home horror, get 50 Horror  Classics (Mill Creek Entertainment; 3,743 minutes/12 discs; $15.65 on Amazon). The massive set contains some classics – keep in mind the majority are from the 30s and 40s and most, if not all, fall into Public Domain, so they haven’t been remastered: The Ape (Boris Karloff), Bluebeard (John Carradine), Dr. Jekyll and Mr. Hyde (John Barrymore, Silent), Allan Dwan’s comic romp The Gorilla (Ritz Brothers, Bela Lugosi), William Castle’s The House on Haunted Hill (Vincent Price),

The Hunchback of Notre Dame (Lon Chaney, Silent), Roger Corman’s  Little Shop of Horrors (Jack Nicholson),  Fritz Lang’s Metropolis, Murnau’s Nosferatu (Max Schreck, Silent), The Phantom of the Opera (Lon Chaney, Silent), and, among numerous others, White Zombie (Lugosi).

Universal Studios’ horror period produced first-rate thrillers. Six have been remastered for Blu-ray for Classic Monsters: The Essential Collection (Universal Home Entertainment; eight discs/710 minutes; $45 on Amazon): James Whale’s  Bride of Frankenstein (Elsa Lancaster, Karloff, Colin Clive) – many feel this sequel surpasses its predecessor, Tod Browning’s Dracula (Lugosi) – note how the mood is set with a lack of score, Whale’s Frankenstein (Karloff, Clive, Mae Clark), The Invisible Man (Claude Rains) – with humor to offset the horror, The Mummy (Karloff), and The Wolfman (Lon Chaney Jr.). There’s bonus material galore, including an alternate Dracula score by Philip Glass, performed by the Kronos Quartet.

Ellis Nassour is an Ole Miss alum and noted arts journalist and author who recently donated an ever-growing exhibition of performing arts history to the University of Mississippi. He is the author of the best-selling Patsy Cline biography, Honky Tonk Angel, as well as the hit musical revue, Always, Patsy Cline. He can be reached at ENassour@aol.com. 

The post Halloween Cinema Treats That Keep on Giving appeared first on HottyToddy.com.