#bryan fuller you are my idol

[gyllenhaux]

u guys remember this or just me

[katieamazeballs]

Dancing With the Stars' reigning mirrorball champion, Bobby Bones, is speaking out ahead of the upcoming all-new season.

The radio host, who won season 27 with pro partner Sharna Burgess, exclusively spoke with ET on Tuesday, where he discussed everything from the new cast lineup to format tweaks and more.

"I have all these little injuries from this show that I don't think people realize. I had a broken foot, torn shoulder, but at this point, I'm finally healed up," he shared when asked how he's been doing since dance rehearsals wrapped. "It took a whole year, but it was worth it!"

Bones confirmed to ET that he'll back in the ballroom next Monday for the two-hour season 28 premiere. While he's pumped about the competition, he admitted that he was just as surprised as fans to learn that Burgess (along with fellow fan-favorite Artem Chigvintsev) were cut as pros this season. He said he spoke with his former partner a few days before the cast reveal on Good Morning America last month.

"As a dancer, you kind of report and meet your partner [beforehand]," Bones shared. "So I hit her up three or four days before and said, 'Hey, who's your partner?' and she said, 'I don't know.' The next day she hit me up and was like, 'I don't have a partner. They didn't ask me to come back.' I was shocked, she was shocked. It was really close to the show and then we saw Artem didn't get asked back as well."

"I think all of us were a little stunned by it," he continued. "Now why [she was cut], I don't really know. I don't even know if they've told her. She had been there the longest and was one of the more popular ones, so it could have been a budget thing. I'm not really quite sure how that happened but everyone was shocked by it."

In case you missed it, Bones received some backlash from longtime fans of the show last season for going rogue on the choreography and winning the season over stars like Milo Manheim and Alexis Ren, who consistently received higher scores from the judges each week.

While Bones doesn't believe last season's controversies had anything to do with Burgess being cut, he thinks they probably opened the door for the new format tweaks ABC has planned.

"Well, I'm going back next week and Artem didn't get cut because of any backlash, so it really had nothing to do with that," Bones said. "I actually called and asked them. Like, 'Hey!' But actually, they were able to use our win to get celebrities this season. If anything, the network, to me, was like, 'We're really happy you won because we were able to reach out to people who would have never come on the show because they couldn't dance. And we were able to go, 'Hey, here's a guy who couldn't dance and won.'"

"I'm happy that we broke the system," he added of the format changes. "So, I think it's great. It's been on for 27 seasons, so it's cool to actually move around. And I love the team there, so I'm pumped!"

With the new 28th season ahead, Bones said it's also time for people to stop hating and let any backlash go.

"I have a humongous mirrorball in my living room that I look at and kiss every night before I go to bed. If anything, I think me winning last year showed a lot of people and celebrities that you don't have to be a great dancer to win. You have to learn how to dance, but you also have to be great at engaging with the audience," he said. "The backlash we still get is only from the people who are way too obsessed with that show. The hardcore Dancing With the Stars people, they need to get over it. Everybody else, all my people and the silent majority, we're in it together. We rock! They all need to shut up."

Although Bones isn't exactly ready to give up his "reigning mirrorball champion" title just yet, he told us he'll be rooting for his country music pal (and former American Idol alum), Lauren Alaina.

"I have the mirrorball, they can't take the actual mirrorball," he joked. "And who knows, I may come back. They haven't said who the mystery dancer is yet."

"As much as we kid around about the backlash and all of that, I love that show and I love the people, so I said, 'Lauren, you have to do it. It's awesome, and the fans are so passionate about it,'" he continued. "I stayed on her for a good two months and she agreed to do it. I've spoken to her almost every day at this point. Lauren's an athlete, so she won't go on with the most dance experience, but she has a great personality. People watching the show will love her, and she'll end up being a pretty good dancer, for sure."

Bones is especially excited for fans to get to know Alaina on a deeper, more personal level as she kicks off her DWTS journey. That typically happens during "Most Memorable Year" week, in which the stars are challenged to tell an impactful story that had a massive impact on their life through dance.

"I know she won't share the American Idol stuff. I mean, not that she doesn't want to, but I know what she's probably going to share, so I'm not going to speak on that because I'm going to let her have that moment," he teased. "But she had some tough times, as of recent, and I think that she's a really strong person and has really come through a lot. And if I know Lauren, she's going to put it all out there."

When the competition officially kicks off, Bones said he'll, of course, be rooting for Alaina, but will also be cheering on a few other dancers.

"I'm Team Lauren, 100%. But Kate Flannery sent me a message because I'm such a fan of The Office," he revealed. "It's my favorite show, so when Meredith sends you a message on Instagram, you're like, 'Holy crap, this is crazy!'"

"I know Hannah [Brown], too," he added. "I've been talking to Hannah a little bit about Dancing With the Stars as well, so there a few of them on there that I've talked to about it. Most of the advice I've given them is, not dance tips, but more like, 'Here's how you're going to feel and how it's going to affect you, and just know that you're not alone.'"

Aside from his continued support for DWTS, Bones is currently gearing up for the new season of American Idol, in which he'll return as an in-house mentor alongside judges Katy Perry, Luke Bryan and Lionel Richie. Bones has also been enjoying plenty of one-on-one time with his new pup, Stanley, whom he recently adopted and named after another character from The Office.

"I'm a single dog dad, and it's been great! One of my friends was like, 'We have a dog, and nobody wants him. He's a little out of control so people have been hesitant to take him,'" Bones explained. "He asked if I wanted him and sent me a picture of him. I said, 'He looks like Stanley [Leslie David Baker] from The Office, so I'll take him.'"

"My other dog was 16 when he passed away, so I forgot just how demanding a puppy is," he continued. "They have to pee all the time, and if you're not there when they have to pee, they pee anyway. But he's been good. We've finally broken up from chewing on everything. And all the Instagram likes has been a surprise. I don't hate that!"

For September's National Service Dog Awareness Month, Bones has teamed up with Purina Dog Chow for the "Service Dog Salute" campaign, a new partnership in which he assists American military veterans.

"I've been working with veterans on a wide range of things because that cause is so important to me. Even with the [Bobby Bones radio] show, we've been helping veterans get service dogs for the past three or four years," he shared. "What's wild is that they're quite expensive, around $20,000 apiece. That's a really heavy price to pay to help someone who has been a hero. So we got involved with Purina Dog Chow and it's the second year of this campaign. It was just a natural integration for something they do so well at and something that I'm really passionate about as well."

Bones is raising awareness in a number of ways, starting by informing his fans of the various reasons why veterans seek out service dogs.

"If you're a veteran and you see this program, or you know a veteran in your life, I found that a lot of people have questions about service dogs that have served and came back," Bones shared. "If you don't know what one really does or how they can get one, you can go to dogchow.com/service and that has plenty of information on the broader sense of things."

"Being a veteran, especially with post-traumatic stress disorder, is really difficult, to come home and try to reintegrate into this life that's so alien," veteran David Fuller added. "You go from this intensity, violence and then you're supposed to go to the store and buy groceries and try to be a normal person, and it just doesn't really work well. Having the service dog is sort of like a prosthetic. I didn't get my legs blown off in the military but a part of me was damaged in the same way inside my mind. Almost to the soul level. What my dog, Katie, does, she's the prosthetic for me in those areas so that I can be a good dad, I can go to the movies and to their sporting events and I can be present there without having a panic attack."

Dancing With the Stars returns with a two-hour premiere on Monday, Sept. 16 at 8 p.m. ET/PT. In the meantime, watch the video below to hear more on the new season.

[moviegooo]

DJ Khaled had big shoes to fill, in all ways. The star DJ and music producer will take over from John Cena as host of the “Kids’ Choice Awards” next month, Nickelodeon announced on Tuesday. Khaled will bring a party atmosphere to the annual slime-filled awards show for his inaugural hosting gig on March 23, thanks to his signature catchphrases and gregarious personality. Also Read: Nickelodeon to Revive 'Are You Smarter Than a 5th Grader' With New Host John Cena “Father of Asahd is here to let you know the biggest party of the year is about to go up!  That’s right, March 23 – I’m your host, DJ Khaled for the Nickelodeon ‘Kids’ Choice Awards.’ I’ll see you soon!” the musician said in a statement. This year’s top nominees include “Avengers: Infinity War,” “Black Panther,” Cardi B and “Hotel Transylvania 3: Summer Vacation.” First-time nominees include Jason Momoa, Emilia Clarke, James Corden, Noah Centineo, Bebe Rexha, Tyra Banks, Neil Patrick Harris and “Riverdale.” Khaled himself is nominated for three awards: Favorite TV Judge, Favorite Male Artist and Favorite Collaboration. Also Read: John Cena on Nickelodeon Conquest Plans, From 'TMNT' Villain to Hosting 'Kids' Choice Awards' This year’s show also introduces five new categories for voting: Favorite TV Host, Favorite TV Judges, Favorite Superhero, Favorite Gamer, and Vote For A Cause. Nickelodeon’s 2019 “Kids’ Choice Awards” airs live on Saturday, March 23, at 8 p.m. (ET/PT) from the Galen Center in Los Angeles. See the full list of nominees below. TELEVISION Favorite Funny TV Show The Big Bang Theory BUNK’D Fuller House Henry Danger Modern Family Raven’s Home Favorite TV Drama A Series of Unfortunate Events Chilling Adventures of Sabrina The Flash Riverdale Stranger Things The Walking Dead Favorite Reality Show America’s Got Talent American Idol American Ninja Warrior Dancing with the Stars: Juniors Double Dare The Voice Favorite TV Host* Ellen DeGeneres (Ellen’s Game of Games) Kevin Hart (TKO: Total Knock Out) Liza Koshy & Marc Summers (Double Dare) Nick Cannon & JoJo Siwa (Lip Sync Battle Shorties) Ryan Seacrest (American Idol) Tyra Banks (America’s Got Talent) Favorite TV Judges* Simon Cowell, Mel B, Heidi Klum, Howie Mandel (America’s Got Talent) Luke Bryan, Katy Perry, Lionel Richie (American Idol) Len Goodman, Bruno Tonioli, Carrie Ann Inaba, (Dancing with the Stars) Sean “Diddy” Combs, DJ Khaled, Meghan Trainor (THE FOUR: BATTLE FOR STARDOM) Kelly Clarkson, Jennifer Hudson, Adam Levine, Blake Shelton (The Voice) Jennifer Lopez, Derek Hough, NE-YO (World of Dance) Favorite Cartoon ALVINNN!!! and The Chipmunks The Boss Baby: Back in Business The Loud House Rise of the Teenage Mutant Ninja Turtles SpongeBob SquarePants Teen Titans Go! Favorite Male TV Star Caleb McLaughlin (Lucas Sinclair, Stranger Things) Grant Gustin (Barry Allen/The Flash, The Flash) Jace Norman (Henry Hart/Kid Danger, Henry Danger) Jim Parsons (Sheldon Cooper, The Big Bang Theory) Karan Brar (Ravi Ross, BUNK’D) Neil Patrick Harris (Count Olaf, A Series of Unfortunate Events) Favorite Female TV Star Candace Cameron Bure (DJ Tanner-Fuller, Fuller House) Kaley Cuoco (Penny, The Big Bang Theory) Millie Bobby Brown (Eleven, Stranger Things) Peyton Elizabeth Lee (Andi Mack, Andi Mack) Raven-Symoné (Raven Baxter, Raven’s Home) Zendaya (K.C. Cooper, K.C. Undercover) FILM Favorite Movie Aquaman Avengers: Infinity War Black Panther Mary Poppins Returns The Kissing Booth To All the Boys I’ve Loved Before Favorite Movie Actor Chadwick Boseman (T’Challa/Black Panther, Black Panther) Chris Evans (Steve Rogers/Captain America, Avengers: Infinity War) Chris Hemsworth (Thor, Avengers: Infinity War) Dwayne Johnson (Will Sawyer, Skyscraper) Jason Momoa (Arthur Curry/Aquaman, Aquaman) Noah Centineo (Peter Kavinsky, To All the Boys I’ve Loved Before) Favorite Movie Actress Emily Blunt (Mary Poppins, Mary Poppins Returns) Joey King (Elle Evans, The Kissing Booth) Lupita Nyong’o (Nakia, Black Panther) Rihanna (Nine Ball, Ocean’s 8) Scarlett Johansson (Natasha Romanoff/Black Widow, Avengers: Infinity War) Zoe Saldana (Gamora, Avengers: Infinity War) Favorite Superhero* Chadwick Boseman (T’Challa/Black Panther, Black Panther) Chris Evans (Steve Rogers/Captain America, Avengers: Infinity War) Chris Hemsworth (Thor, Avengers: Infinity War) Jason Momoa (Arthur Curry/Aquaman, Aquaman) Robert Downey Jr. (Tony Stark/Iron Man, Avengers: Infinity War) Scarlett Johansson (Natasha Romanoff/Black Widow, Avengers: Infinity War) Favorite Butt-Kicker Chris Pratt (Owen Grady, Jurassic World: Fallen Kingdom) Danai Gurira (Okoye, Black Panther) Dwayne Johnson (Will Sawyer, Skyscraper) Emilia Clarke (Qi’ra, Solo: A Star Wars Story) Michael B. Jordan (Adonis Johnson, Creed II) Zoe Saldana (Gamora, Avengers: Infinity War) Favorite Animated Movie The Grinch Hotel Transylvania 3: Summer Vacation Incredibles 2 Peter Rabbit Ralph Breaks the Internet Spider-Man: Into the Spider-Verse Favorite Male Voice from an Animated Movie Adam Sandler (Dracula, Hotel Transylvania 3: Summer Vacation) Andy Samberg (Johnny, Hotel Transylvania 3: Summer Vacation) Benedict Cumberbatch (Grinch, The Grinch) Channing Tatum (Migo, Smallfoot) James Corden (Peter Rabbit, Peter Rabbit) Shameik Moore (Miles Morales/Spider-Man, Spider-Man: Into the Spider-Verse) Favorite Female Voice from an Animated Movie Gal Gadot (Shank, Ralph Breaks the Internet) Hailee Steinfeld (Gwen Stacy/Spider-Gwen, Spider-Man: Into the Spider-Verse) Kristen Bell (Jade Wilson, Teen Titans GO! to the Movies) Selena Gomez (Mavis, Hotel Transylvania 3: Summer Vacation) Yara Shahidi (Brenda, Smallfoot) Zendaya (Meechee, Smallfoot) MUSIC Favorite Music Group The Chainsmokers Fall Out Boy Imagine Dragons Maroon 5 Migos twenty one pilots Favorite Male Artist Bruno Mars DJ Khaled Drake Justin Timberlake Luke Bryan Shawn Mendes Favorite Female Artist Ariana Grande Beyoncé Camila Cabello Cardi B Selena Gomez Taylor Swift Favorite Song Delicate (Taylor Swift) In My Blood (Shawn Mendes) In My Feelings (Drake) Natural (Imagine Dragons) thank u, next (Ariana Grande) Youngblood (5 Seconds of Summer) Favorite Breakout Artist Billie Eilish Cardi B Dan + Shay Juice WRLD Kane Brown Post Malone Favorite Collaboration Girls Like You (Maroon 5, featuring Cardi B) Happier (Marshmello, featuring Bastille) I Like It (Cardi B, Bad Bunny, J Balvin) Meant to Be (Bebe Rexha, featuring Florida Georgia Line) No Brainer (DJ Khaled, featuring Justin Bieber, Chance the Rapper, Quavo) SICKO MODE (Travis Scott, featuring Drake) Favorite Social Music Star Baby Ariel Chloe x Halle Jack & Jack JoJo Siwa Max & Harvey Why Don’t We Favorite Global Music Star Africa: Davido Asia: BLACKPINK Australia/New Zealand: Troye Sivan Europe: David Guetta North America: Taylor Swift Latin America: J Balvin United Kingdom: HRVY OTHER CATEGORIES Favorite Video Game Just Dance 2019 LEGO The Incredibles Spider-Man Super Smash Bros. Ultimate Super Mario Party Favorite Social Star David Dobrik Emma Chamberlain Guava Juice Lilly Singh Miranda Sings Ryan ToysReview Favorite Gamer* DanTDM Jacksepticeye Markiplier Ninja PopularMMOs SSSniperWolf How Do You Want to Help? Help Animals (pet rescue, wildlife preservation, service animals, and more) Help the Environment (disaster relief, clean water, recycling, and more) Help People in Need (homes, food, care, and more) Help Prevent Bullying (positivity, emotional support, respect, and more) Help Schools (supplies, after-school activities, arts/gym/STEM, and more) Related stories from TheWrap:'Paddington,' 'LEGO City' TV Series in Development at Nickelodeon'All That' Revival Ready at Nickelodeon, Kenan Thompson to Executive Produce'SpongeBob SquarePants' Spinoffs in the Works at NickelodeonNickelodeon to Revive 'Are You Smarter Than a 5th Grader' With New Host John Cena

http://www.movieg.ooo/2019/02/dj-khaled-set-to-host-nickelodeons-2019.html

[broken-lycan]

tag thingy

thank you @madsmeetsmisha !

Rules: If you get tagged, you DON’T have to do it. Only if you want. Also, you CAN just answer a few questions and skip the rest. When you do it tag as many people as you want or none at all. Your choice. Have fun answering!

1. How’s your day? It went okay. Better than I thought but still not that good.

2. Have you already, drank, ate, rested enough today? yes, yes and kinda.

3. 3 things you love about yourself? hmm… that I´m creative and a good friend (I hope). Uh I don´t know a third thing atm…

4. 4 songs that make you smile? depends on the day tbh… Today it was Einsam by Subway to Sally and The Greatest Show from the greatest showman. A few days ago I listened to Little Do You Know by Nightcore and Tryout and a cover of knocking on heavens door by raign.

5. Tell me one completely random fact about you!? I love being in the water, not necessarily swimming, just being under the surface and the sounds of everything seems quiet and far away.

6. Why did you create your account? um… fandom stuff. back when I made it (2013 I think) I was mostly into Sherlock.

7. Absolute dream job? (Like it doesn’t matter if that job doesn’t even exist!) Illustrator for books would be nice. Or storyboard artist or set designer for films.

8. Which book would you like to direct a movie for? how about a fanfic? I don´t have a particular one in mind, there are just so many amazing ones… As for real books probably one of the Torchwood novels (which are actually fanfiction too).

9. Do you want to marry one day? not necessarily.

10. Who is the person you trust the most? my friends

11. If you can do a movie marathon with 1 random person, who would it be? (No matter if celebrity/idol/lives away/ isn’t alive anymore) hm… that´s hard. @madsmeetsmisha maybe. I mean we haven´t met yet but I´d like to.

12. You can choose 3 languages that you can suddenly speak, which would you choose? Danish (I´m learning it anyway), Japanese cause it´s a beautiful language and I´d understand animes without having to rely on subtitles and Icelandic because it´s so beautiful.

13. Write down the first few words or sentence that comes to your mind, when you read/hear this word: HAPPY birthday

14. Do you prefer blue sky with sun or dark night sky with moon and stars? moon and stars!!! I´m a night person.

15. What were you scared of as a child? I don´t remember that much from my childhood… until age 7 or 8 I was really scared of fireworks cause they´re so loud. Same with thunderstorms. And my parents arguing again cause it´s so loud.

16. Are you still scared of those things? Fireworks are ok now, I still don´t like the really loud ones (Polenböller mostly). Thunderstorms make me uneasy because of the loud thunder. My parents arguing is still makes me really uncomfortable.

17. What outfit do you feel the most comfortable in? What do you wear when you’re really yourself? pajama pants or boxer shorts and a pullover.

18. Do you have tattoos? If yes what meaning do they have? If no do you want some and why? I don´t have any yet. I´d like to but the biggest problem is that it´s a lo of pain and I don´t know if I can endure that. Especially cause the tatoo I´d like would be kinda big (my whole forearm + part of the back of my hand).

19. Is there anything you would want to change about yourself? So much? Better mental health would probably solve the most problems I have.

20. Do you think you’re loved? I think there are a couple of people who I´m important to.

21. Which person that you don’t personally know, has influenced you the most? Um… there isn´t only one person. Bryan Fuller and Arthur Conan Doyle defintely had a great influence. Probably some other that I don´t remember at the moment.

22. Name 5 things that would be definitely on your bucket list? Travelling to New Zealand to see the Lord of the Rings studios and locations, seeing at least one more season of Hannibal happening, meeting Mads Mikkelsen,  meeting Hugh Dancy, meeting Bryan Fuller

I tag: @hanni-bunny-lecter @krey-9-jorce @thebeastswrite @martinvampire

[sunshinetoday]

Ricky Whittle talking about Gillian Anderson as Media, in American Gods

What was it like working with Dana Scully herself, Gillian Anderson?

Do you know how hard it was, to not call her Scully? So the first scene was the Lucille Ball, the ‘I love Lucy’ scene in the store and I was so excited. I, like you, have grown up with Scully, X-files, you know. Mulder and Scully were my jam, that was my thing and I was so excited. And I saw her make-up, we were talking about her charity and I  drew a doodle for her charity and I was like ‘Oh my goodness, Gillian Anderson just asked me to do something for her charity’ and she was so cool in the make-up chair and she is so wonderful and so we went to set and we kinda went through it and stuff and then when we went to, go for the take she was ‘You can go home’ and I was like ‘Excuse me?’  She was like ‘Well, it’s only me talking to the camera so don’t worry about it. You can just go. I don’t need you here’ and I was like ‘Oh, okay.’ That’s fine, I get it, I get it’. I don’t wanna distract you.’ But I was really gutted. I literally worked all day, every day for like a whole month, I hadn’t had any time off and then the one time I actually really really really wanted to work, Gillian Anderson gave me the afternoon off. So I was very grateful but I was really gutted because I really wanted to work with her. You know, she was talking straight down the lens so she didn’t actually need to see me. And she said it’s just gonna be distracting if I was the side of the camera. 

But she is a phenomenon. She is incredible. You know, when people exceeds your expectations like that...Sometimes you are scared to meet your idols and these great actors ‘cause you don’t wanna be disappointed. Gillian Anderson will blow your minds. And I eventually did get to work with her and it was fantastic but I think, I’m not sure how much I can say about her different personalities as Media coming up but David Bowie blows my mind. Her as David Bowie is one of the best things you will see on TV. She is incredible and I’m looking forward to the world seeing that. I think Gillian Anderson dressed as David Bowie T-shirts will be everywhere. 

Bryan Fuller, Micheal Green have already gave all the cast these David Bowie T-shirts. Well Media, they are Media T-shirts actually. But she is dressed as David Bowie. They are great T-shirts and people are gonna lose their minds when they see it. They’re gonna want them everywhere. But as down to Gillian just doing an incredible job of portraying these kinda iconic stars of the past. (X)

[dariusblogpl]

Nominację do nagród GLAAD Media Award

LGBTQ, organizacja GLAAD, ogłosiła nominacje do 30. dorocznej nagród GLAAD Media Awards.

Outstanding Film – Wide Release (film):

Blockers (Universal)

Crazy Rich Asians (Warner Bros.)

Deadpool 2 (20th Century Fox)

The Girl in the Spider’s Web (Sony Pictures)

Love, Simon (20th Century Fox)

Outstanding Film – Limited Release (film):

1985 (Wolfe Releasing)

Boy Erased (Focus Features)

Can You Ever Forgive Me? (Fox Searchlight)

Disobedience (Bleecker Street)

The Favourite (Fox Searchlight)

Hearts Beat Loud (Gunpowder & Sky)

A Kid Like Jake (IFC Films)

The Miseducation of Cameron Post (FilmRise)

Saturday Church (Samuel Goldwyn Films)

We the Animals (The Orchard)

Outstanding Drama Series (serial):

Billions (Showtime - w Polsce TVN7)

Black Lightning (The CW - w Polsce brak)

Grey’s Anatomy (ABC - kanał Fox Polska)

The Handmaid’s Tale - Opowieść podręcznej (Hulu w Polsce HBO)

Instinct (CBS)

Pose (FX)

Shadowhunters (Freeform w Polsce Netflix)

Star (Fox)

Supergirl (The CW w Polsce Netflix)

Wynonna Earp (Syfy)

Outstanding Comedy Series (serial komediowy)

Brooklyn Nine-Nine (FOX - obecnie należy do NBC)

Crazy Ex-Girlfriend (The CW)

Dear White People (Netflix)

Modern Family (ABC w Polsce Fox Comedy/HBO)

One Day at a Time (Netflix)

Schitt’s Creek (Pop)

Superstore (NBC)

This Close (Sundance Now)

Vida (Starz)

Will i Grace (NBC w Polsce Fox Comedy)

Znakomity indywidualny odcinek (w serialu bez regularnej postaci LGBTQ):

“King in the North” Fresh Off the Boat - Przepis na amerykański sen (ABC w Polsce Comedy Central)

“Prom” Fuller House (Netflix)

“Service” Law Order: Special Victims Unit (NBC)

“She” The Good Doctor (ABC w Polsce TVP2)

“Someplace Other Than Here” The Guest Book (TBS)

Znakomity film telewizyjny lub serial:

American Horror Story: Apocalypse (FX w Polsce Fox Polska)

The Assassination of Gianni Versace: American Crime Story (FX w Polsce Fox Polska)

Life-Size 2 (Freeform)

Sense8 (Netflix)

A Very English Scandal - Skandal w angielskim stylu (Amazon Prime w Polsce HBO)

Najlepszy Dokument:

Believer (HBO USA)

Call Her Ganda (Breaking Glass Pictures)

My House (Viceland)

Quiet Heroes (Logo)

When the Beat Drops (Logo)

Programy dla dzieci/młodzieży:

Adventure Time (Cartoon Network)

Andi Mack (The Disney Channel)

Anne with an E (Netflix)

She-Ra (Netflix)

Steven Universe (Cartoon Network)

Reality Program:

American Idol (ABC)

I Am Jazz (TLC w Polsce Discovery Life)

Love & Hip Hop (VH1)

Queer Eye (Netflix)

RuPaul’s Drag Race (VH1 w Polsce Netflix)

Wykonawca muzyczny:

Brandi Carlile, By the Way, I Forgive You (Low Country Sound/Elektra)

Brockhampton, Iridescence (RCA)

Christine and the Queens, Chris (Because Music)

Hayley Kiyoko, Expectations (Atlantic)

Janelle Monáe, Dirty Computer (Bad Boy Records)

Kim Petras, Turn Off the Light, Vol. 1 (BunHead)

Shea Diamond, Seen It All (Asylum Worldwide)

Sophie, Oil of Every Pearl’s Un-Insides (Future Classics)

Troye Sivan, Bloom (Capitol Records)

Years & Years, Palo Santo (Polydor)

Komiksy:

Batwoman, written by Marguerite Bennett, K. Perkins (DC Comics)

Bingo Love, written by Tee Franklin (Image Comics)

Exit Stage Left: The Snagglepuss Chronicles, written by Mark Russell (DC Comics)

Fence, written by C.S. Pacat (BOOM! Studios)

Iceman, written by Sina Grace (Marvel Comics)

Lumberjanes: The Infernal Compass, written by Lilah Sturges (BOOM! Studios)

Oh S#!t It’s Kim & Kim, written by Magdalene Visaggio (Black Mask Comics)

Runaways, written by Rainbow Rowell (Marvel Comics)

Star Wars: Doctor Aphra, written by Kieron Gillen, Simon Spurrier (Marvel Comics)

Strangers in Paradise XXV, written by Terry Moore (Abstract Studio)

Najlepsza gra wideo:

Assassin’s Creed: Odyssey (Ubisoft)

The Elder Scrolls Online: Summerset (Bethesda Softworks)

Guild Wars 2: Path of Fire (ArenaNet)

Pillars of Eternity II: Deadfire (Versus Evil)

The Sims Mobile (Electronic Arts)

Najlepszy odcinek talk show:

“Mike Pence and ‘A Day in the Life of Marlon Bundo’” Last Week Tonight with John Oliver (HBO)

“NRA Problems, Chicken Bone Problems, Birmingham Problems” Wyatt Cenac’s Problem Areas (HBO)

“Trans Rights Under Attack” Full Frontal with Samantha Bee (TBS)

“Troye Sivan Hopes ‘Boy Erased’ Reaches All Parents” The Late Show with Stephen Colbert (CBS)

“Valedictorian Seth Owen” The Ellen DeGeneres Show

Wybitne dziennikarstwo telewizyjne informacyjne:

“Conversion Therapy: God Only Knows” CBS Sunday Morning (CBS)

“Gender: The Space Between” CBS News (CBS)

“Legacy of Hope” Nightline (ABC)

“Respect” SC Featured (ESPN)

“South Texas Pride” [series] KSAT News (KSAT-TV [San Antonio, Texas])

Najlepsze dziennikarstwa telewizyjnego:

“Historic Number of LGBTQ Candidates on Ballots This Year” NBC Nightly News (NBC)

“Mississippi Town Denies Pride Parade” Vice News Tonight (HBO)

“Olympian Adam Rippon” New Day (CNN)

“Same-sex Couple Reacts to Supreme Court Ruling” CNN Tonight with Don Lemon (CNN)

“Trump: ‘Looking Very Seriously’ at Changing Transgender Definition” Velshi Ruhle (MSNBC)

Najlepszy artykuł w prasie:

“He Took a Drug to Prevent AIDS. Then He Couldn’t Get Disability Insurance.” by Donald G. McNeil Jr. (The New York Times)

“LGBTQ Parents Challenge Stereotypes in China” by Sue-Lin Wong, Jason Lee (Reuters)

“‘More Than Fear’: Brazil’s LGBT Community Dreads Looming Bolsonaro Presidency” by Marina Lopes (The Washington Post)

“Pistons’ Reggie Bullock to Transgender Community: ‘I see y’all as people that I love’” by Malika Andrews (Chicago Tribune)

“Transgender Students Asked Betsy DeVos for Help. Here’s What Happened.” by Caitlin Emma (Politico)

Najlepszy artykuł w czasopiśmie:

“21 Transgender Stars, Creators Sound Off on Hollywood: ‘I Want to Portray These Characters, I’m Ready’” - Chris Gardner, Rebecca Sun, Lindsay Weinberg, Joelle Goldstein, Bryan White (The Hollywood Reporter)

“Can a Transgender Woman Get Justice in Texas?” - Nate Blakeslee (Texas Monthly)

“Ex-Scientologist Michelle LeClair Says Church Officials Humiliated Her After She Came Out as Gay” - Johnny Dodd, Tierney McAfee (People)

“Lena Waithe is Changing the Game” - Jacqueline Woodson (Vanity Fair)

“They are the Champions” by Katie Barnes (ESPN The Magazine)

Najlepszy krajowy magazyn prasowy:

Billboard

Ebony

Entertainment Weekly

GQ

Variety

Najlepszy artykuł internetowy:

“Across U.S., LGBTQ Christians Try to Change Hearts and Minds From the Pews” - Julie Compton (NBCNews.com)

“Bermuda Same-sex Marriage Ban Means Trouble for Tourism and Cruise Ships” - Ryan Ruggiero (CNBC.com)

“Deadnamed” - Lucas Waldron, Ken Schwencke (ProPublica.org)

“LGBTQ Caravan Migrants Marry While Waiting for Asylum in Tijuana” - Sarah Kinosian (INTOmore.com)

“Workplaces Need to Prepare for the Non-Binary Future” - Samantha Allen (TheDailyBeast.com)

Najlepszy artykuł lub reportaż internetowy:

“I Was Jailed for Raising the Pride Flag in Egypt” - Amro Helmy (Buzzfeed Video)

“The Latinx Drag Queens Spearheading HIV Activism on the Border” - Paola Ramos (Vice.com)

“March for Our Lives and LGBT activism: ‘They’re definitely linked for me,’ says Emma González” - Beth Greenfield (Yahoo! Lifestyle)

“Marielle and Monica: The LGBT Activists Resisting Bolsonaro’s Brazil” - Fabio Erdos, Marina Costa, Charlie Phillips, Jacqueline Edenbrow (TheGuardian.com)

“Trans Model Aaron Philip is Making a Space for Disabilities on the Runway” (NowThis)

Najlepszy Blog

Gays With Kids

Holy Bullies and Headless Monsters

My Fabulous Disease

Pittsburgh Lesbian Correspondents

TransGriot

Specjalne uznanie dla:

Nanette (Netflix)

TransMilitary (Logo)

[helloworlddemo1122-yahoopar-blog]

EXCLUSIVE: How ‘American Gods’ Star Ricky Whittle Found Karma Following Drama on ‘The 100’ Set

“If you don’t learn from the past, you’re condemned to repeat it again,” Ricky Whittle, the star of the upcoming Starz series American Gods, tells ET. While the sentiment could easily apply to his onscreen character, Shadow, who after an unexpected early release from prison is recruited by Mr. Wednesday (Ian McShane) to be the mysterious man’s bodyguard as he travels across the U.S., the English actor is actually referring to his time on The CW series The 100, which saw his character (and fan favorite), Lincoln, killed off after two seasons in a controversial exit from the show.

Shortly after the episode aired last year, Whittle spoke out against The 100 creator and showrunner Jason Rothenberg. “[He] abused his position to make my job untenable. What he did was disgusting and he should be ashamed,” the actor told The Hollywood Reporter. “He was professionally bullying me, cutting out all the storyline I was supposed to be doing, cutting lines, cutting everything out, trying to make my character and myself as insignificant as possible.”

MORE: Kristin Chenoweth Praises Her Powerful 'American Gods' Role

Fed up with where the character was going and the dynamic on set, Whittle asked to be let go. “I took myself out of a negative situation,” Whittle tells ET. “I think it was important. I stood up for myself and others. It's something to feel proud of, and it's something I'd do time and time and time again.”

Following the accusations, Rothenberg released a short statement to the press: “Ricky Whittle is a talented actor; I appreciate his work on The 100 and wish him all the best moving forward on American Gods.” He did not address Whittle’s comments directly.

Now that he’s removed from the situation, Whittle says it’s an incredible shame that his relationship with Rothenberg overshadowed his time on The 100. “For some reason there is a poison in there that just won’t go away, unfortunately,” he says, adding that the cast and crew are incredibly passionate about their work -- but that everything that happened with the show’s creator soured things. “If they ever wanted me to do anything for that show, I would do it because I loved that character and I loved that show and those people, but I will never work for that person [Rothenberg] ever again.”

Instead, the actor is taking lessons he learned from that experience to the set of American Gods, where he’s found renewed satisfaction in playing Shadow and in the relationship he’s forged with co-creators and executive producers Bryan Fuller and Michael Green. “I am now blessed with karma and a situation where that’s never going to happen [again],” Whittle says, adding: “I don’t think without the darkness you can really appreciate the light. I’m so grateful for the past and having that experience with a disgusting individual because now I’m so happy and I bounce on the way to work.”

On the upcoming series, which premieres Sunday, April 30, Whittle finds himself surrounded not only by celebrated names in TV (Fuller is responsible for Pushing Daisies and Hannibal; Green produced Heroes and wrote the upcoming Alien: Covenant and Blade Runner 2049) but an A-list ensemble of actors including McShane, Gillian Anderson, Kristin Chenoweth, Emily Browning, Orlando Jones, Crispin Glover and Pablo Schreiber.

“All of a sudden, it started to snowball,” Whittle says of the show, which first came to his attention on social media when Starz put out a call to fans for suggestions (#CastingShadow) and they responded with the actor’s name. Whittle was the first to get cast and was followed by McShane, an idol of his growing up, and then soon after, everyone else. “Every time they cast someone, it was a gift for me, personally.”

Another gift is Shadow. Initially drawn to his strength, Whittle found himself having to work backward to create the character. “We knew where we wanted him to be,” the actor says, but when audiences first meet Shadow, “he’s a shell of man … but he goes on and moves forward.” Having experienced loss in his own life, Whittle brought a real emotion to Shadow, as he mourns for the death of his wife (Browning) at the onset of the series. And there’s no ignoring the similarities to Lincoln. Despite the very different settings and stories, both are strong yet stoic. Both are morally good people. And it’s something that the actor sees in both characters.

“I often joke that Lincoln died and became an American god,” Whittle says, perhaps in more ways than one.

[newyorktheater]

Jeff Daniels as Atticus Finch, Bryan Cranston as Howard Beale, Stephanie J. Block as Cher

Three shows opening this month on Broadway bring to the stage  adaptations of three landmarks of American culture: “To Kill A Mockingbird,” “Network,” and “The Cher Show.”

The three Chers in the Cher musical are not the only Chers in a musical. Off Broadway, Disney star Dove Cameron is playing Cher Horowitz in The New Group’s adaptation of “Clueless.”

Clueless might be a good description of the audience before it attends “Nassim,” the first production of Barrow Street Theatricals after leaving its home on Barrow Street after 15 years. We’re given very few clues as to what “Nassim” is about. I

It’s one of the several new plays Off-Broadway  that promise a novel experience, at venues that often fulfill that promise  — “The Head and the Load” at Park Avenue Armory, “The Jungle” at St. Ann’s Warehouse, “Slave

from The Jungle

Play” at New York Theatre Workshop, and much of the work at BAM’s Next Wave Festival and Soho Rep’s Fringe Encores series.

In “Noura” at Playwrights Horizons, a family that fled Iraq eight years ago plans the perfect Christmas dinner. But “Noura” is in no way a “Christmas show.” There are plenty of those, some included below in my selection of openings in December, organized chronologically by opening date. Each title is linked to a relevant website for more information.

Color key: Broadway: Red. Off Broadway: Black or Blue. Off Off Broadway: Green. Theater Festival: Orange.  Christmas Show: Gold (A post later in the month will offer a fuller list of holiday shows)

For more information about the season in general, check out Broadway 2018-2019 Season Guideand Off Broadway Fall 2018 Preview Guide

December 2

The Emperor’s Nightingale (Pan Asian Rep @ Theatre Row)

Damon Chua’s adaptation of Hans Christian Andersen’s story “The Nightingale,” set in 18th-century China, employing traditional lion dance, puppetry, 18th century Chinese songs. The future Qianlong Emperor befriends a magical bird who helps him learn what he must do to be King.

December 3

The Cher Show (Neil Simon)

The musical traces the career of pop star Cher, who is played by three performers at different ages of her life.

  Wars of the Roses: Henry VI & Richard III (Theater for the New City)

For just three performances, Austin Pendleton directs and adapts the story of Richard III, combining Shakespeare’s text from ‘Henry VI, Part 3’ and ‘Richard III.’

A Child’s Christmas In Wales (Irish Rep)

The annual adaptation of Dylan Thomas’s short story, with new and old songs.

  December 4

The Head and the Load (Park Ave Armory)

The title is a play on the Ghanaian proverb, “the head and the load are the troubles of the neck.” William Kentridge’s collaborative combination musical piece, performance art and art installation is about the nearly two million African porters and carriers used by the British, French, and Germans who bore the brunt of the casualties during the First World War in Africa.

Wounded (Soho Rep)

Print of Fringe Encores Festival: A woman struggles to find a balance between her own needs and being a full-time caregiver to her husband, a veteran severely mentally and physically injured in the Iraq war.

December 5

Greek (BAM)

Part of the Next Wave Festival: An “in-your-face operatic retelling of the Oedipus tale,” set in 1980s London.

December 6

Network (Belasco)

Directed by Ivo Van Hove, Bryan Cranston stars as Howard Beale the network anchor who’s mad as hell and can’t take it anymore, in the stage adaptation of the 1976 film.

December 9

Slave Play (New York Theatre Workshop)

The old South lives on at the MacGregor Plantation in this antebellum fever-dream written by Jeremy O. Harris and directed by Robert O’Hara.

The Jungle (St Ann’s Warehouse)

Meet the hopeful, resilient residents of the Jungle – a sprawling refugee camp in Calais, France. Take a seat inside the bustling Afghan Café to experience how, with minimal resources in a cold, inhospitable environment, refugees and volunteers built a warm, self-governing society out of nothing

December 10

Noura (Playwrights Horizons)

A play written by and starring Heather Raffo as Noura, who eight years ago, fled her home in Iraq along with her husband and family. Today, she plans the perfect Christmas dinner to celebrate their new life in New York. But the arrival of a visitor stirs up long-buried memories. Inspired by the Nora in Ibsen’s “A Doll’s House.”

Fabulation, or The Re-Education of Undine (Signature)

A revival of a satire by Lynn Nottage: After her husband steals her fortune, successful African-American publicist Undine must move back into her childhood home in the Brooklyn projects

December 11

Clueless The Musical (The New Group at Signature)

Amy Heckerling adapts her 1995 movie into a musical, directed by Kristin Hanggi(Rock of Ages), choreographed by Kelly Devine(Come from Away) and starring Dove Cameron (he star of the Disney Channel teen sitcom Liv and Maddie) as Cher Horowitz, a girl “so psychotically optimistic she can’t see that her bungling attempts at playing Cupid disguise her own fashion-plated isolation.”

  Ruben & Clay’s Christmas Show (Imperial)

Officially called Ruben & Clay’s First Annual Christmas Carol Family Fun Pageant Spectacular Reunion Show,Ruben Studdard and Clay Aiken reunite on Broadway 15 years after their run on the second season of “American Idol.”

December 12

  Nassim (Barrow St at City Center)

“Nassim” marks the return of Iranian playwright Nassim Soleimanpour (White Rabbit Red Rabbit)  — and of Barrow Street Theater, now renamed Barrow Street Theatricals, since it lost its theater on Barrow Street after a stellar 15-year run. (Our Town, Tribes, Every Brilliant Thing, Sweeney Todd,etc.) Now at New York City Center, the theater presents a show that we’re told has played in 10 countries, but aren’t told what it’s about: “No rehearsals. A different guest actor at every performance. A sealed envelope. And some surprises.” We do now the guest actors will include Michael Shannon, Cush Jumbo and Michael Urie.

Nervous/System (BAM)

Part of BAM’s Next Wave Festival: The latest tech-heavy work by Andrew Schneider, “a high-tech bird’s-eye view of everyday life.”

Strange Window: Turn of the Screw (BAM)

Part of BAM’s Next Wave Festival: The Builder Association’s adaptation of Henry James’s gothic tale.

The Net Will Appear (Mile Square at 59e59)

A comedy of an unlikely friendship between the feisty 9-year-old Rory and her septuagenarian neighbor Bernard (Richard Masur.)

December 13

To Kill A Mockingbird (Shubert)

A play written by Aaron Sorkin and directed by Bartlett Sher, based on Harper Lee’s beloved novel about virtuous Southern lawyer Atticus Finch (portrayed by Jeff Daniels) at a time of racial bigotry

Christmas In Hell (York)

On Christmas Eve, little 8-year-old Davin is mistakenly taken down to Hell. When he returns, not only has he missed Christmas, but he is devilishly changed.

Can’t get tickets that you want at the box office? Try Ticket Liquidator for tickets to..

The Cher Show

Bryan Cranston

  Network

To Kill a Mockingbird

December 2018 New York Theater Openings Three shows opening this month on Broadway bring to the stage  adaptations of three landmarks of American culture: "To Kill A Mockingbird," "Network," and "The Cher Show."

[kartiavelino]

Meet the woman that a closeted Freddie Mercury fell in love with

Freddie Mercury was one in all the greatest musicians in the world in the 1970s and ’80s, however one individual may nonetheless boss him round: Mary Austin, his one-time fiancée. “He would chuck a tube of toothpaste that was half-used into the waste bin and he or she would go into the bin and get it again and roll the toothpaste again up . . . and [say], ‘You end the tube. You’ll be able to’t be wasteful like this, Freddie,’ ” recalled author Lesley-Ann Jones, who toured with the band in the 1980s and wrote “Bohemian Rhapsody: the Definitive Biography.” “He would say: ‘However I’m the richest man in the world!’ And [Austin] would say, ‘I don’t care. You don’t throw away cash.’ She was fairly bossy. He wouldn’t take that from anybody else.” Mercury, the lead singer of Queen, was well-known for hits like “Bohemian Rhapsody,” “One other One Bites the Mud” and “Loopy Little Factor Referred to as Love.” However many followers by no means knew he had a long-term girlfriend, not to mention one he known as his spouse. Particularly given that the singer, who died of issues associated to HIV in 1991, was posthumously revealed to have had a bevy of male lovers. When the trailer for “Bohemian Rhapsody,” a film about Mercury’s life that hits theaters Nov. 2 Friday, began circulating, critics attacked the movie for “straight-washing” Mercury by prominently that includes his relationship with Austin. Bryan Fuller, the creator of TV reveals together with “Hannibal” and “American Gods,” tweeted: “Anybody else mildly irritated . . . that the ‘Bohemian Rhapsody’ trailer options homosexual/bi famous person Freddie Mercury flirting with and twirling with a woman however no indication of his love of males?” Austin was extra than simply a fling or a beard for Mercury, nonetheless. “All my lovers requested me why they couldn’t change Mary, however it’s merely unimaginable,” Mercury mentioned in a 1985 interview. “The one buddy I’ve obtained is Mary, and I don’t need anyone else. To me, she was my common-law spouse. To me, it was a marriage. We consider in one another, that’s sufficient for me.” After his loss of life, Mercury bequeathed Austin the bulk of his $100 million fortune, in addition to Backyard Lodge, a 28-room mansion in the tony Kensington space of London — regardless of the truth that the two now not lived collectively and Mercury by then had a long-term boyfriend, Jim Hutton. “Freddie idolized her, actually. He was dedicated to her,” mentioned Jones of Austin, now 67. The 2 ended their relationship in 1976 after Mercury, who was publicly closeted, confessed he was bisexual. “I keep in mind saying to him, ‘No, Freddie, I don’t suppose you might be bisexual. I believe you might be homosexual,’ ” Austin instructed the Day by day Mail in a uncommon ­interview in 2013. However the two by no means actually parted methods. After splitting, Mercury purchased Austin an house and put her on the payroll. “She taken care of him, mothered him,” Jones added. “It was to Mary that he at all times returned: his ‘Previous Trustworthy,’ as he known as her. She even wrote that phrase on the card that accompanied her wreath at his funeral.” Mercury and Austin met in 1969 after Brian Could — who would turn into the lead guitarist in Queen when the band shaped the subsequent yr — launched them. Like Mercury, she grew up working class. Her mother and father have been deaf, and her father labored as a trimmer for a wallpaper firm and her mom as a home servant. When she obtained collectively with Mercury, Austin was 19 years outdated and dealing at Biba, a hip West London boutique. Mercury, then 24, had simply completed artwork school and was launching his music profession (Queen shaped in 1970). The 2 fell in love and shortly moved in collectively. To some Mercury insiders, the pairing by no means actually made sense — and never essentially as a result of Austin was a woman. “She was the reverse of Freddie,” mentioned Jones. “She by no means actually mentioned very a lot.” Mercury was a larger-than-life persona who liked flamboyance. However Austin appealed to his secret homebody facet. “Mick Rock, the photographer, used to go round and have tea with them and he mentioned it could all be terribly candy. The tablecloth would come out [along with] bone china cups and little teacups and good little plates of biscuits, and also you’d all sit there with your little fingers form of raised, ingesting tea correctly,” mentioned Jones. “They have been [like] this outdated married couple,” she continued, “and they’d spend a lot of time in mattress, however [Mercury] would pull the piano to the bedside to put in writing songs.” Mercury proposed to Austin with a jade ring in 1973. However by the subsequent yr, she had surmised that the singer, by then a world star, was dishonest on her with males. Jones says she was shocked Austin didn’t instantly reduce ties with Mercury. “I at all times thought, how bizarre is that?” mentioned the author. “Go have a life. Don’t keep glued to the hip to this one who . . . isn’t going to have the ability to give you a typical ­relationship. “After they separated, she even prompt to Freddie that they’ve a youngster collectively,” Jones added. “Freddie instructed her that he would relatively have one other cat.” Austin did finally have two kids, Jamie and Richard, with painter Piers Cameron. She later married and divorced businessman Nick Holford. As soon as he was single, Mercury, born Farrokh Bulsara, stayed closeted for worry of ostracizing his conservative mother and father. Bomi and Jer Bulsara, each of Parsi descent, practiced the Zoroastrian faith, which views homosexuality as demon ­worship. “At one stage on the street, he and his entourage would keep in one lodge and the remainder of the band and the crew and their entourage would keep in one other lodge and this was all to facilitate Freddie’s covert nightlife,” mentioned Jones. Extra publicly, he dated Austrian actress Barbara Valentin in the ’80s and the two shared an house in Munich, Germany. Nonetheless, Austin stayed shut. “She form of grew to become a right-hand man,” Jones mentioned. “[Mercury] purchased a lot of antiques and went to a lot of artwork galleries and auctions. She would comply with him round to those locations with a notepad and he would make a bid on one thing or different, and her job was to jot it down and hold observe of all the pieces. “Her complete existence trusted Freddie. She had a dwelling due to him — he purchased it. She had an revenue due to him,” Jones added. Freddie Mercury and Mary AustinGetty Pictures Based on musician Peter Straker, who was one in all Mercury’s closest mates, “It’s a kind of issues that I believe is inexplicable, when folks know one another very nicely and are such good mates and have been lovers earlier than. She was at all times there for him and he for her.” Amongst Mercury’s final needs was the ­request that Austin scatter his ashes — and by no means reveal the location. He additionally left her a massive portion of his $100 million property, plus the ­London mansion. “He mentioned he needed this home to remain alive and that meant it needed to be with kids,” mentioned director Rudi Dolezal, who labored with Queen on practically 30 music movies and produced the 2000 documentary “Freddie Mercury: The Untold Story.” “At the time there was no method two homosexual males may undertake kids in London,” mentioned Dolezal, noting Austin’s two sons. “Freddie instructed me that’s why he gave Mary the home.” Austin has mentioned the cash and duty have been overwhelming, nonetheless. “I discovered myself considering, ‘Oh Freddie, you’ve left me an excessive amount of and an excessive amount of to deal with as nicely.’ I felt I couldn’t stay as much as it,” she instructed the Day by day Mail. A part of it, she claimed, was fueled by Mercury insiders — together with his bandmates — who felt ignored. “I hit jealousy head on — like a Japanese bullet practice. Very painful,” Austin has mentioned. “I don’t suppose the remaining members of Queen have ever reconciled themselves to it.” However it additionally appears that Austin alienated herself. Based on Jones, regardless of the truth that Mercury’s will stipulated members of his family — together with his boyfriend Hutton — may keep at Backyard Lodge till their inheritances kicked in, Austin ousted them instantly. As for Queen followers, at first, Austin used to greet the mourners who got here to the dwelling on the anniversary of Mercury’s loss of life. “She would stand and lightweight a candle or learn a prayer and greet followers,” mentioned Jones, who was amongst guests. “However then that stopped. She nailed a thick plastic round the wall [around the property] . . . so folks couldn’t pin their tributes.” Based on Jones, Austin now lives in a smaller dwelling round the nook from Backyard Lodge. She is reportedly a recluse, though Straker mentioned he had dinner at a London restaurant with her final yr. “I misplaced my household, actually, when Freddie died,” Austin instructed the Day by day Mail. “He was all the pieces to me, other than my sons. He was like nobody I had met earlier than.” And whereas Austin, little doubt, relied on her unconventional relationship with Mercury for survival, it was a mutually helpful setup. Based on Jones, Austin represented Mercury’s alternate actuality — “Had he been in a position to lay apart all the different issues that have been drawing him in, all the different temptations. Married her and settled down, had kids. “She was that distinguished image of what his life may have been like and he was unhappy about that.” Share this: https://nypost.com/2018/10/28/meet-the-woman-that-a-closeted-freddie-mercury-fell-in-love-with/ The post Meet the woman that a closeted Freddie Mercury fell in love with appeared first on My style by Kartia. https://www.kartiavelino.com/2018/10/meet-the-woman-that-a-closeted-freddie-mercury-fell-in-love-with.html

[farawayhills2-blog]

Carrie Underwood: Cry Pretty Album Review

This album represents Carrie's first formal role as producer (although there have been indications that she frequently discussed production and made suggestions before.) Here she shares production with David Garcia, a relatively new connection, that evolved from songwriting together. Although Garcia has had some recent connection with Mainstream Country, his main experience has been in Pop and Contemporary Christian Music, enabling him to bring mixed influences, and probably relatively few genre preconceptions, to the production desk. Many of the songs do strike me as having a definite "Carrie" feel, and I think she has made considerable use of the freedom her co-producer role has given her to innovate and express herself in a variety of ways. What I believe is likely to have been of considerable help to Carrie in expressing musically the styles she wanted to develop, and in giving much of the album an overall cohesion is the continuity of key musicians. Throughout her major label career, Carrie has shown a marked tendency to use the same session players on substantial parts of her albums. Her favoured rhythm section, of Chris McHugh on drums and Jimmie Lee Sloas on bass, have appeared on every one of her albums, as has electric guitarist, Tom Bukovac, and although the same combination is not heard on every track, it is on the majority. Other players, such as multi string specialist, Ilya Toshinskiy, and flatpicking acoustic guitarist, Bryan Sutton, are also well known from several earlier apperarences. This tends to give rise to a situation in which she knows and trusts the musicians, and they are pretty familiar with her singing styles. A number of other specialist players also make a strong contribution, and the combinations show that the two producers have been prepared to put considerable effort into musical planning and innovation. This has resulted in a situation in which the music and the vocal lines seem particularly to complement each other, and, for me, this remains apparent even when bold and complex production is being employed. One result is that I find that Carrie's exceptional vocal talent often comes across with more variety and clarity than ever.

The two albums with which I'd be most inclined to compare this one are "Storyteller" and "Some Hearts". "Storyteller" is an easy comparison, since I think this album noticeably builds on directions which Carrie was already exploring on its predecessor. In that category I'd place the willingness to explore more personal and intimate themes, the desire to push some songs in a deeper Country stylistic direction, and the Pop-leaning experiments in other songs. All those trends occurred, to some extent, in earlier work - but I feel it is in the two most recent albums that they find a fuller expression - a sign of Carrie's greater maturity and confidence, and perhaps willingness to explore areas she chooses, with relatively less concern for the expectations of outside interests.

The comparison with "Some Hearts" may be less obvious, but I mention it for two reasons. Firstly, both albums have a group of standout songs that are stylistically different from other parts of the album, and which I consider to be among Carrie's best work. The four Country singles from "Some Hearts" were largely responsible for winning her critical acclaim and her early spate of award wins at the Country trade shows, and it was only later, with lighter songs such as "Last Name" and "All American Girl" that some of that support moved away from her, notwithstanding her continued commercial success. I believe there is a block of songs on "Cry Pretty" which, if they receive sufficiently wide exposure, could restore her earlier reputation.

The second reason is that both "Some Hearts" and "Cry Pretty" appear to be aimed at a mixed audience - probably to a greater extent than the intervening albums, which, while varied, stemmed from a situation in which Carrie's career seemed securely focused on a prominent position within Mainstream Country radio. "Some Hearts" came at a time when that position was not secure, and her reputation as a Country singer of note had to be established, while, at the same time keeping faith with the more mixed audience which had encountered her on "American Idol". In the case of "Cry Pretty", Carrie is arguably also at something of a career turning point, since gaining a wider international audience is one of the stated objectives of her move to a new label group - which, by definition, means, to some extent, looking beyond Mainstream Country radio. I think it would probably be a mistake to over-emphasize that point, because much of the album has the feel of being personal to Carrie, expressing what she wants to say, as an individual and as an artist, rather than simply being targeted to particular tastes. But, nevertheless, the potential audiences for different types of song do seem to have been taken into account,

(The bonus track, "The Champion", is the only one with a different producer, Jim Jonsin, and, while the new direction it explored, and the interest and popularity it aroused, justified its album place as an extra, because of its very different origins and purpose, I've not included it in this album review)

CRY PRETTY

This title track, and lead single was co-written with the three Love Junkies, who also provided one of the most memorable (and emotional) songs, "Like I'll Never Love You Again", on Carrie's last album. This one sets the scene for the new album, by emphasizing some of the developments in production, vocal delivery, and more personal themes that Carrie is experimenting with. The first minute is a slow, stark and emotional statement of feelings, accompanied by a sparse arrangement that creates a sense of foreboding. This is probably one of the longest passages of quiet vocal development that Carrie has used, and is very effective in identifying the raw sense of dichotomy between an artist's inner feelings, and the expectations of glamour that her public role insists on. It's followed by a bursting out of Carrie's well known power singing. Inevitably, perhaps, this section seems less innovative, but it serves to reassure the many listeners who principally identify with this style that it is still an important part of her stylistic range. It is in three quarter time, evoking the traditional Country Waltz feel - a reminder that Carrie likes to combine striking modern arrangements with touches that still pay homage to older styles. What I find becomes particularly impressive and unusual about the later development of the song is that both the music and the voice continue to build up into an increasing sense of chaos and despair, in which the lyric sometimes melts into a wordless wail. This is very effective in expressing the theme of the song that, regardless of appearances, an artist might be almost overwhelmed by her own inner feelings, that can arise from matters quite beyond the artificiality of her stage role. In that sense I would regard this song as one of four on the album that deal with topical issues: the demands of the entertainment world (here); substance abuse ("Spinning Bottles"); empathy with victims of gun violence ("The Bullet", and "Love Wins"); political division and prejudice ("Love Wins"). Carrie has addressed social issues before ("Temporary Home", "Change" and "Nobody Ever Told You" being earlier examples), but "Smoke Break" on the previous album, and the four songs on this one, represent a definite development in both depth and emphasis

GHOSTS ON THE STEREO

Sadly one of the writers, Andrew Dorff, passed away shortly before Christmas, 2016, at the early age of 40, and this remarkable song must serve as one of his memorials.

I have seen some criticism that Carrie, a leading Mainstream singer, may have chosen this song as a "nod" to evoke a nominal allegiance to traditional singers whose work runs counter to her own - but that criticism strikes me as missing the whole point, in two important senses. One is that Carrie, although a contemporary singer, who draws on a mix of influences (something which, if we're honest, we should admit has happened throughout the genre's history), she does show a persistent and marked loyalty to her place in the genre (something she would have had numerous opportunities to reject), and does take more trouble than many contemporary chart artists to include specific references to the genre's traditions in much of her own work. Hating on the Mainstream is often understandable (I share that emotion often enough myself!), but singling out Carrie as the symbolic target is far from identifying the worst offender. The second reason is contained in the song itself - the character is described as going through a separation, but finding solace in listening to recordings of past heroes. The point is that the party mood described is imaginary - it seems like a haunted house, with just one car in the drive. But the singer finds her company in identifying with the timeless mood of the songs she recalls. Far from being a "nod" to a set of names, connecting with the stream of emotion those singers represent is the whole point of the song. And we should not miss the significance of the guest artists brought in to supplement Carrie's more usual session players. Holly Williams is Hank's granddaughter, and Ben Haggard is Merle's son. Steel player Steve Hinson often worked with George Jones. These people didn't need to appear, and the fact that they did is consistent with my own experience - years ago, I was persuaded to look up Carrie's work by remarks made by women singers in Roots Country who admired her. The reality is that she often gets more respect from artists in that sector than from some of the more partisan critics. "Ghosts on the Stereo" is one that I find to be among the most memorable tracks on the album. I like the concept, find the music interesting with the slow build up, and the sequence of notes that keeps recurring through the changing background. And Carrie's vocal conveys the mood well, knowing when to draw out the emotion, and when to emphasize the sense of recovery, showing enough power singing, without going over the top, in a song that might be spoilt by too forceful a delivery,

LOW

A standout track, with some of the best lyrics, and one of the best vocal performances of Carrie's career - this is a singing style that I would hope Carrie will continue to develop. Coming after the last song, this track clearly reflects the influence of Hank Williams' landmark album "Moanin' The Blues", both in the general singing style, and in the lyrical references to the whippoorwill and to lonesome, which recall the track, "I'm So Lonesome I Could Cry", often considered his lyrical masterpiece. However, I would also point to possible influence from Bill Mack's 1958 song "Blue", both in the drawn out vowel wail, and in the specific wording "so lonesome for you". Williams' album (which has influenced generations of Country singers, especially in the more Roots-leaning sectors) came out in 1952, but was really a collection of singles dating from 1947 onwards - so in drawing on these two influences, Carrie is probably reaching back 60 to 70 years in the genre's history. But nothing stands still, and this is not just a derivative track - the strong percussion that breaks in, and the electric guitar work of Danny Rader and Rob McNelley add notable modern progression to the arrangement. Since the album came out, Carrie has revealed that she suffered three miscarriages in the years since her last album. There is a prevailing sadness in several songs on this album, but some of those seem to involve broken relationships, or other issues affecting people in general - "Low", though, strikes me as one of the most personal, in which Carrie may have focused particularly on her own feelings. The line "Everything that was right is wrong, ever since baby you've been gone" seems especially poignant, in light of what has since been revealed, and may go beyond the more superficial interpretation of a departed lover. And it is interesting that Hillary Lindsey plays acoustic guitar on this song. She has sung on every one of Carrie's albums, but just playing seems new - it is tempting to interpret this as a friend, who was with her in the writing session, accompanying her while she tracked her vocals, to support her on what may have been a difficult song for her to sing.

BACKSLIDING

In my opinion, this song could be a strong launchpad for a thrust into the UK General Music market. It demonstrates the advantages to Carrie of taking control of her own production, since it enables her to use a multi-layered arrangement to create a song that seems to transcend genre, in a way that ties together varied modern elements, without sacrificing an underlying Country feel. Dan Dugmore's pedal steel glides through the song, giving it a haunting, timeless quality. And there is an interesting lyrical point, that I think reinforces the sense of the song bridging a transition through time for Carrie herself. She uses a line which is almost a doublet for a line in the very first Country song she recorded after "American Idol" - Gretchen Peters' "Independence Day". The line in the older song (on which Gretchen herself played strings for Carrie's recording) was "Word gets around in a small, small town", and the line Carrie uses here is "word gets around in such a small town". That close resemblance seems unlikely to be accidental, and suggests to me that Carrie might be using it to emphasize that this album too is a new turning point in her career. Her vocal line in the verses comes across as particularly clear and expressive, not swamped by the complex, but relatively light, musical production. It is combined with choruses that bring in an element of her signature power vocal, and allow her to express the sense of desperation and inevitability in the repetition of the word "Backsliding". The background vocals (where Carrie joins her co-writers Hillary and David, in tracking her own voice) are an interesting element, which adds mood to the song, and Bryan Sutton's melodic riff gives it a perfect finish.

SOUTHBOUND

While the more memorable songs on this album lean towards sadness and retrospection, this track breaks that mood with a nod towards the prevailing Mainstream liking for party songs. That may increase its appeal to radio, and to listeners seeking a lighter, upbeat song to balance the more serious tracks. Those considerations may justify its inclusion, but for me, this is a disappointing song, which seems an ill fit for the mixture of progressive innovation and deep genre references that characterize the album as a whole. It is Carrie's second venture into "getaway" songs, but in my opinion, her earlier "One Way Ticket" showed a greater individuality, having more of the feel of a parody, and a touch of defiance in telling the boss to "stick it". By contrast, I feel that "Southbound" seems too accepting of "bro country" conventions of parties, boys catching the eye of pretty girls, tan lines and outdoor dancing. The music seems to include a slight Louisiana Cajun influence, but that strikes me as virtually the only concession to variation, in a rather obvious pitch to an arguably over-used Mainstream sub-genre. Carrie has always enjoyed some fun songs - but her singles have usually striven to add depth and originality to the general run of radio hits. This, I feel, would risk that reputation, and it's an album track I'd be inclined to skip.

THAT SONG WE USED TO MAKE LOVE TO

This is one of the most experimental songs on the album, and indeed, of Carrie's career so far. Some might criticize it for going too far "off genre", but I find that criticism misplaced, and would judge the song a success. Hilary Lindsey's co-writer here is Jason Evigan, a Californian writer and artist/producer, who has worked widely in innovative Pop. His involvement, and the use of electronic programming give this song a definite General Music feel in its experimentation. But, while it may be a reasonable criticism that this trend is increasingly watering down the character of Mainstream Country, especially when simply copying other musical forms, Carrie seems to have planned to take care here to have woven this innovation into Country. Her vocal retains a strong Country tone (ironically, perhaps, more noticeable here than in some of her more soaring "Pop Country" chorus-driven songs). And she relies heavily on her familiar cohort of Country session players, with Dan Dugmore, Danny Rader and Ilya Toshinskiy all playing variations on the steel guitar. The resophonic tone more than holds its own amongst the electronic instruments, and this combination strikes me as closer to some of the Progressive music being played in Alternative Country circles than to the off-genre music of some of the contemporary male Mainstream singers. I get a somewhat similar impression here to the one I gained several years ago, when Carrie collaborated with Swedish Pop producers, on "Quitter" - namely, that she will try new approaches, but is confident enough to use them to enlarge a genre that she's at home in, rather than attempt to leave it. The complex vocal on this song is all Carrie, tracking her own voice - again, a confident move. And another point that I find striking is that she's prepared to use quite erotic lyrical lines, "When you laid my body down, and then got drunk on me like wine"; "baby go on, let it take my breath" - making this probably her most passionate song since she covered Maria McKee's "Show Me Heaven" as a teenager. All told, this is a bold experiment, by an artist not prepared to always accept limitations.

DRINKING ALONE

Another experimental song, with synthesized programming, and a variety of vocal effects tracked into the mix by Carrie herself. This time, she relies on Danny Rader's dobro to add some acoustic twang, but that element is generally less evident here than in some of the other songs. Perhaps because the theme suggests a classic Country "tear in my beer" motif, I would have preferred more emphasis on the twang (but, presumably, that would miss the point that Carrie wanted to ring the changes with something more unexpected). As it is, her vocal tone in the main chorus line is one of the most Country aspects of the song - and this is one of the few occasions where I prefer her chorus delivery (which, in other songs, can sometimes prove too overwhelming for my taste). Here, her verse narration, which is often the most interesting part of her songs, strikes me as rather rushed in parts, where I would have preferred a more lingering, reflective delivery. Although I don't find this song to be the most successful of the album's experiments, I admire the uncompromising tone of some of the lyrics, such as "Tonight all I need is a stranger, lips with a whiskey chaser, and a corner booth kiss to make me forget that he's gone" - which shows a willingness to defy the more one dimensional "girl next door" image that some might want to persist in applying to a mature and varied artist.

THE BULLET

A much needed song, and one that I find stronger and more effective than the album's somewhat similarly themed and topical song, "Love Wins". "The Bullet", too, may fall rather short of being a perfect track - mainly, in my opinion, because the production tends to become rather forced and overly dramatic as the song develops, blurring some of the sense of emptiness that is at the heart of the lyric - but it is, nevertheless, one of the most significant statements by a leading Mainstream artist, and a topic which would shame the genre if it was kept suppressed as something too controversial to be broached. I've seen criticism that the song ducks placing any blame - but I disagree. It says plainly "You can blame it on hate, or blame it on guns" - and those are the very things that the root of the issue can be blamed on, rather than taking refuge in secondary excuses about loners, misfits, social degeneration, patchy background checks, or failure to arm more responsible civilians. I admire Carrie for tackling the topic - and it both strengthens the song's impact, and seems very much in line with her personality, that the lyric focuses on the pain and ongoing effects of premature loss on the families and survivors. The recording seems most effective in its mainly acoustic opening passages, where Carrie's vocal delivery is at its simplest and most sensitive. This style returns at various points, including the very effective closing chorus. But, in general, as the song progresses, the production becomes more complex, and the vocal (where Carrie is supported by Hillary, although neither was a writer here) becomes more forceful, and the delivery rather more hasty. This strikes me as the style Carrie often prefers, when dealing with emotional topics. It can be effective, in stressing a sense of desperation and anguish - but the downside can also be that it puts the singer rather more into a staged role, a little removed from personal immersion in the feelings expressed in those parts of the song. Carrie has said that she would find this song difficult to perform live - and if this more detached, role playing style is the one that helps her deal with more heart-rending topics, then we must accept that that may be the price of including such significant themes on her albums. This may not become a single, but I consider it one of the corner stones of the album.

SPINNING BOTTLES

Drinking references have played have an increasing part in Carrie's songs, on both "Storyteller" and "Cry Pretty", and this album, in particular, shows how they can be used, in the stronger songs, to reflect a range of themes, including desperation, recovery and abuse. This is one of the starker, and in my view, most effective, songs, which focuses on the way alcohol addiction can destroy a relationship. The song is skilfully constructed, to show first the apparent harmlessness of the over-indulgence, by comparing it to a children's game with empty bottles, and moving on to the anguish of the wife, waiting at home, not knowing when, or if, the addict will return - then considering the addict's own perspective, wanting to quit, but knowing he won't, and that it will finally lead to separation, before collapsing in a lonely hotel room. The track begins with a sparse piano arrangement, and later two keyboard parts (played by Dave Cohen and David Garcia) intertwine, being joined by melodic lines from 'cello (Austin Hoke), and pedal steel (Dan Dugmore). This amounts to one of the more contained musical arrangements on the album, but the interaction between the instruments is more complex than it might at first appear, and its relative lack of additional effects brings out the disparity between apparent normality, and the mounting despair of the lyric. It enables Carrie to concentrate on a more intimate, emotional, vocal delivery, which I think proves to be one of the most expressive of her career. I've been hoping that she'd explore song constructions and vocal deliveries more along these lines, as her career matures, and I hope this development continues.

LOVE WINS

This song has attracted considerable attention, much of it focusing on whether it can be seen as a Gay anthem (for which it's both been applauded as a relatively bold step in the context of her career limitations, and also criticized for not going far enough). But that entire area of interpretation requires the listener to relate the song to an external back story - something which doesn't actually appear in the song itself. I think it's worth emphasizing that the two actual issues that are highlighted are the effects of a shooting, and the political divisions that are so apparent in society today (and not just in the USA). As these are specifically mentioned, they deserve to be considered as issues that Carrie considered important in her choice and development of this song (especially as it is the second album track to focus on shooting). Beyond that, the song is a general appeal for love - something that any listener can apply, regardless of context. That generality can be a strength - we need that uplifting message, and it certainly deserves support. But, sadly, I do feel that the wish to make the song as general as possible has led Carrie into its relative weakness. The main problem for me does not lie in what it may fail to say (I understand her wish not to see the song lost in bickering and controversy) - but rather in what I see as its relative failure to live up to the overall feel and spirit of this innovative album. It involves virtually the same musicians as appear in "Kingdom" (which I regard as a much more exceptional and successful track), and they provide some pleasing touches in the musical backing - but the overall production here seems less innovative and more wary of challenging listeners' expectations. And, for me, that becomes even more apparent in the vocal style that Carrie mainly adopts, after the opening stanzas. I'm not questioning that she is, indeed, an exceptionally gifted singer, nor that a great many listeners do relate to this style. But the fact that this seems mainly a reprise of a style that she's used many times before, with an emphasis on power singing, hastened delivery, and considerable lyrical repetition, makes it appear something of a backward-looking approach and a rather problematic fit for much of the rest of the album. That does make this a rather disappointing song for me - something I regret in view of its potential and its positive message.

END UP WITH YOU

Another of Carrie's interesting use of cross genre influences, this song is one that might fit well into today's Mainstream radio chart. The mix of musical backgrounds is a particularly striking feature here. Of Hillary Lindsey's co-writers, Brett McLaughlin (who also records as Leland) is generally known for his Pop work (though he has also worked in Country with Kelsie Ballerini) - while Will Weatherley has, for example, also worked on Dan Tyminski's innovative album "Southern Gothic", both as writer and electronic programmer, as he is here. The music also reflects this innovative mix, with a leading role given to Rob McNelley, who has won Guitarist of the Year at the ACM, and performs with Bob Seger's Silver Bullet Band, as well as being a leading session player in progressive Country Rock. Here, he shares the rhythm role with Nir Z, an Israeli drummer with a distinguished career in General Music, working for example with Genesis, and John Mayer. (Carrie's own interest in percussion is also seen here, as she adds her own support to the mix). There will, inevitably, be those who regret the tendency to blur the Mainstream's musical identity in stylistic mixing - but this also occurs in many of the Roots fields, where it usually seems more acceptable. The key point is often not the fact that it occurs, but more the way in which it is done. In this example, I think Carrie has taken steps to handle the experimentation along lines sympathetic to current trends, but also in a way that evokes interest in the forms the innovation takes. For those listeners who prefer a soaring, pure voice led delivery, the staccato, singalong lyrical couplets of this song may not be among their favourite Carrie styles, but it is unrealistic to expect an artist to become stereotyped to a particular style, and I think this could stand out favourably among many of the contemporary radio offerings.

KINGDOM

Leaving aside the bonus track (which, for all its merits, has no production or thematic connection to the album as a whole), "Kingdom" is effectively the album's closing track - a placing that Carrie traditionally reserves for a song that has a special meaning for her, and which has often been different, in style and theme, from the rest of her albums. This time, the personal meaning is certainly there - but rather than being an outlier, I see it this time as a culmination of the production innovation and stylistic growth that Carrie and David Garcia have been experimenting with on this album. And in that, I would rate it as a success, and one of the best songs on the album. I love the way the production develops through this song. It could be described as an increasing build up in sound and power - but that would also oversimplify its complexity, for there are also a variety of sections, where different instrumental and vocal textures predominate - and that is what holds the interest. Although they are very different songs, "Good Girl" is the earlier one that most reminds me of the complexity and surprises in the music that can make a song exceptional. In "Kingdom", I love the acoustic beginning, led by Ilya Toshinskyi and Dan Dugmore, with special touches like the pedal steel echoing Carrie's opening hum. I like the part where Chris McHugh's drums dominate. The speciality string playing of Kris Wilkinson (viola) and Carole Rabinowitz (cello) - two ladies who, between them, have played with so many of the great names of the contemporary scene, in Roots music and well beyond - is effective here. And Carrie's multiple tracking of her own voice in the latter part of the song was a bold additional element that worked well, in my opinion. We know that Carrie loves power vocals and strong production - and I have found this approach overwhelming in some of her earlier work (her Greatest Hits album, where the songs included lacked the counter-balance of the more varied textures of their original albums was a case in point). The power elements occur in "Kingdom" - but here, they seem more in context, with the layered production itself supplying the variety of interest, and I prefer this approach to some of her more "concert stage" vocals. Much of the song is built around Carrie's own life, with domestic details, due weight given to her personal faith, and a willingness to acknowledge that life can pose personal challenges, even for the glamorous and most successful. But, at the same time, God, Home and Family are classic Country themes, and the stanza about hard times seems aimed at people generally, and this can be a relatable song for many in her audience. I get the impression that much of what Carrie wanted to say and do with this album finds its conclusion in this song.

[sunshinetoday]

Gillian Anderson in American Gods as Media (David Bowie & Marilyn Monroe)

The show just released a sneak peak of Anderson as Bowie, and the internet is losing their shit over it. (X)

Media adapts and changes to the time she’s living in. And it turns out our beloved Gillian Anderson is the perfect chameleon for the role. (X)

Gillian Anderson as David Bowie in American Gods is as spectacular as it sounds. (X)

Gillian Anderson is one of the most charismatic, magnetic, talented actresses around so it feels just right that she would impersonate David Bowie. (X)

Then there’s this. Media, dressed as Ziggy Stardust-era David Bowie, gives Technical Boy a stern lecture about apologies. It’s sublime. Absolutely out of this world. Gillian Anderson is a treasure. (X)

Media’s Lucy Ricardo won’t prepare you for Gillian Anderson’s complete disappearance into the roles of a distorted David Bowie and otherworldly Marilyn Monroe... Media’s turns as Bowie and Monroe are completely shocking in a way that defies explanation. (X) 

My favorite scene apart from that is in Episode 5, when we get Gillian Anderson as David Bowie, chewing out the Technical Boy. It’s straight out of Bryan’s head. (Neil Gaiman, X)

“But she is a phenomenon. She is incredible. You know, when people exceeds your expectations like that…Sometimes you are scared to meet your idols and these great actors ‘cause you don’t wanna be disappointed. Gillian Anderson will blow your minds.” (Ricky Whittle, X )

NOTIFY NEXT OF KIN. SHE WILL SLAY YOU. (Bryan Fuller, X) 

[katiezstorey93]

The Houses October Constructed 2 Ranked Blu-ray and DVD this January

Bryan Fuller Removed as Showrunner for American Infantry Season Two

As sad as it is to confess, I did not check out as it aired last year around Starz! My bad. I understand. I was just planning to make it through the book first.

But that mommy is a creature. Excellent shite.

That said, I do plan on completing the book soon and then checking up on the first season. But I may have to pick up the pace as it sounds season two is moving right along…

And it’ll do so without showrunner Bryan Fuller.

But fear not, Fuller is not the only one which has been let go for season two. Co-showrunner Michael Green also walked off from what’s calling “disagreements over budget and creative direction.”

What that seems to mean is that the budget for season two has been set at $10 million per incident (Jesus, please us) and apparently that was not sufficient for Fuller and Green.

All of this drama aside, are you still eager for the next season of “American  Idol”? Make certain that you hit us up and let’s know in the comments below or on societal networking!

Until we hear more on the subject of season two, you can always buy the first season  . Check out all of the goodies included below.

Based on a book by Neil Gaiman, “American Gods” posits a different kind of war brewing–one between Aged Gods and New. The conventional Old Gods, using mythological roots from around the world, dread irrelevance because their believers perish or have been seduced by the money, technology, and celebrity provided by the New Gods. Shadow Moon (Whittle) is a ex-con who, left adrift by the recent passing of his wife, becomes bodyguard and traveling partner into conman Mr. Wednesday (McShane). But in fact, Mr. Wednesday is a potent old deity, on a cross-country mission to construct an army and reclaim his lost glory.

“The Path to ‘American Gods”’ Documentary

“Title Gods” Featurette

“`American Gods’ Origins” Featurette

“Old Gods” Featurette

“New Gods” Featurette

“What Is ‘American Idol? ”’ Featurette

“Book vs. Show” Featurette

God Squad Video Documentary

Research the Crocodile Bar in 360 Levels with Commentary by Cast and Crew

Audio Commentary with Cast and Crew about the Premiere and Finale Episodes — Episode 101 together with Creators-Writers Bryan Fuller and Michael Green and Director David Slade — Episode 101 with Celebrities — Prove 108 God Squad Video together with Actors Ricky Whittle, Emily Browning, Yetide Badaki, Bruce Langley, and Orlando Jones

Tarantino’s New Film Will Hit about the 50th Anniversary of the Sharon Tate Murders

The final word we brought you men on the approaching by Quentin Tarantino was when we let you know the film’s plot was shown by Vanity Fair.

You can check out this plot rundown below.

Now we have news via which Tarantino’s new film is going to be released on August 9th, 2019. A date which “coincidently” lines up with all the 50th anniversary of the Manson Family murders of Sharon Tate.

As you might remember we first heard saying that the new film was about to Manson-centric. Only to then have Tarantino dispel the “rumor.” Now it seems like the chances would be the film will soon be Manson-centric again.

At least to some degree. Right?

One way or another, just how eager are you for Tarantino’s new film? Make certain that you hit us up and let’s know in the comments below or on societal networking!

Tarantino’s ninth film is expected to begin shooting in LA this June before hitting theaters near one on August 9th, 2019.

Set in Los Angeles in the summer of 1969, Tarantino’s upcoming film, according to a source who read the script, ” concentrates on a man TV celebrity who has had just one hit series and his searching for a way to get into the film business. His sidekick–who’s also his stunt double–is searching for the exact same thing. The horrible murder of Sharon Tate and a few of her friends by Charles Manson’s cult of followers serves as a backdrop to the main narrative.

Netflix Renews David Fincher’s Mindhunter For Season two!

A few weeks back, we caught up with the chilling original Netflix serial killer series from master director David Fincher. And it was amazing.

In our review, we called the show the “finest original Netflix series to date.”

And if that glowing recommend was not enough   to get one to have a look at the phenomenal series, I do not understand what we could do for you, buddy.

That said, 1 way or another you will have to begin checking up soon as Netflix has just announced that “Mindhunter” will be receiving another season!

I am extremely  enthusiastic about the further adventures of our hero FBI agents and their search to understand the makings of a murderer. Especially considering that the next season is believed to call Charles Manson… And let’s hope for much more Dennis Rader too.

How excited are you for the following season of Netflix’s “Mindhunter”? Make certain that you hit us up and let’s know in the comments below or on societal networking!

“Mindhunter” comes from executive producers David Fincher and Charlize Theron and celebrities Jonathan Groff, Holt McCallany, Anna Torv, Hannah Gross, Cotter Smith.

The primary season is currently flowing on Netflix.

At the late 1970s, two FBI agents expand criminal science by delving into the psychology of murder and receiving uneasily close to all-too-real creatures.

The post <p>The Houses October Constructed 2 Ranked Blu-ray and DVD this January</p> appeared first on blue ray search.

from network 8 http://www.blueraysearch.com/the-houses-october-constructed-2-ranked-blu-ray-and-dvd-this-january/

[helloworlddemo1122-yahoopar-blog]

EXCLUSIVE: How ‘American Gods’ Star Ricky Whittle Found Karma Following Drama on ‘The 100’ Set

“If you don’t learn from the past, you’re condemned to repeat it again,” Ricky Whittle, the star of the upcoming Starz series American Gods, tells ET. While the sentiment could easily apply to his onscreen character, Shadow, who after an unexpected early release from prison is recruited by Mr. Wednesday (Ian McShane) to be the mysterious man’s bodyguard as he travels across the U.S., the English actor is actually referring to his time on The CW series The 100, which saw his character (and fan favorite), Lincoln, killed off after two seasons in a controversial exit from the show.

Shortly after the episode aired last year, Whittle spoke out against The 100 creator and showrunner Jason Rothenberg. “[He] abused his position to make my job untenable. What he did was disgusting and he should be ashamed,” the actor told The Hollywood Reporter. “He was professionally bullying me, cutting out all the storyline I was supposed to be doing, cutting lines, cutting everything out, trying to make my character and myself as insignificant as possible.”

MORE: Kristin Chenoweth Praises Her Powerful 'American Gods' Role

Fed up with where the character was going and the dynamic on set, Whittle asked to be let go. “I took myself out of a negative situation,” Whittle tells ET. “I think it was important. I stood up for myself and others. It's something to feel proud of, and it's something I'd do time and time and time again.”

Following the accusations, Rothenberg released a short statement to the press: “Ricky Whittle is a talented actor; I appreciate his work on The 100 and wish him all the best moving forward on American Gods.” He did not address Whittle’s comments directly.

Now that he’s removed from the situation, Whittle says it’s an incredible shame that his relationship with Rothenberg overshadowed his time on The 100. “For some reason there is a poison in there that just won’t go away, unfortunately,” he says, adding that the cast and crew are incredibly passionate about their work -- but that everything that happened with the show’s creator soured things. “If they ever wanted me to do anything for that show, I would do it because I loved that character and I loved that show and those people, but I will never work for that person [Rothenberg] ever again.”

Instead, the actor is taking lessons he learned from that experience to the set of American Gods, where he’s found renewed satisfaction in playing Shadow and in the relationship he’s forged with co-creators and executive producers Bryan Fuller and Michael Green. “I am now blessed with karma and a situation where that’s never going to happen [again],” Whittle says, adding: “I don’t think without the darkness you can really appreciate the light. I’m so grateful for the past and having that experience with a disgusting individual because now I’m so happy and I bounce on the way to work.”

On the upcoming series, which premieres Sunday, April 30, Whittle finds himself surrounded not only by celebrated names in TV (Fuller is responsible for Pushing Daisies and Hannibal; Green produced Heroes and wrote the upcoming Alien: Covenant and Blade Runner 2049) but an A-list ensemble of actors including McShane, Gillian Anderson, Kristin Chenoweth, Emily Browning, Orlando Jones, Crispin Glover and Pablo Schreiber.

“All of a sudden, it started to snowball,” Whittle says of the show, which first came to his attention on social media when Starz put out a call to fans for suggestions (#CastingShadow) and they responded with the actor’s name. Whittle was the first to get cast and was followed by McShane, an idol of his growing up, and then soon after, everyone else. “Every time they cast someone, it was a gift for me, personally.”

Another gift is Shadow. Initially drawn to his strength, Whittle found himself having to work backward to create the character. “We knew where we wanted him to be,” the actor says, but when audiences first meet Shadow, “he’s a shell of man … but he goes on and moves forward.” Having experienced loss in his own life, Whittle brought a real emotion to Shadow, as he mourns for the death of his wife (Browning) at the onset of the series. And there’s no ignoring the similarities to Lincoln. Despite the very different settings and stories, both are strong yet stoic. Both are morally good people. And it’s something that the actor sees in both characters.

“I often joke that Lincoln died and became an American god,” Whittle says, perhaps in more ways than one.