#Patricia panther

[lemonsweet]

My friends are here! 🌼

[haveyoulistenedtothisalbum-poll]

Tracklist:

Wind and Winding • Dandelion • The Horse • Vinhos • Kanban • You're Welcome • The Panther • Loving Was • Boom • Our Axis • Fireflies

Bandcamp ♪ YouTube

[sweater-daddiesdumbdork]

For the slumber party's Bright Idea - how did you come up with the idea for The Pack and did you ever think it would be as long as it is?

The Pack was a set of characters I imagined up many years ago after reading books by Kelly Armstrong, Sherrilyn Kenyon, Patricia Briggs, etc. The wolfish sides having there own personalities came from a fascination I had reading a dragon series a few years ago (I would have to search my Kindle for the series official title). The humans inner dragons were their very own characters that I just loved so much that I wanted to try giving the wolves somethibg similar.

When I decided on taking a chance on my shifters here, I gave them the Marvel sides, changing the characters too fit Steve, Bucky, Sam, Natasha, Brock, etc. But at their core, they are still similar to the original versions I pictured them.

Little One/Reader was a welcome new addition to this verse.

No, I never imagine it to go this long or where it has. I never expected the Panthers to have an appearance in this story, or Thor's wild shifters, or a half feral Loki living on the edge of his brothers pack. I no longer try to figure out where the end is for this verse. Everytime I think I know where we are stopping, some part feels unfinished so I just keep going.

Originally I was going to stop after Steve and Little One bonded. We are way beyond that part now. 🐺

Thank you so much babes.

[im-defective-this-morning]

Female Engineers in Fiction

It is frustrating how a lot of the characters in tv shows and movies are for younger audiences and there’s very few female engineers in more mature films. (I also counted computer and chemical engineers)

Books:

Eleanor Arroway (Contact by Sagan)

Spensa (Skyward by Brandon Sanderson)

Moira Crewes (Seveneves by Neal Stephenson)

Dinah MacQuarie (Seveneves by Neal Stephenson)

Norma Cenva (Legends of Dune by Brian Herbert and Kevin J. Anderson)

Alana Quick (Ascension by Jacqueline Koyanagi)

Cinder (The Lunar Chronicles)

Shuri (Marvel Graphic Novels)

Angelica Spica (DC Graphic Novels)

Harper Row (DC Graphic Novels)

Charity Jones (Snowed by Maria Alexandria)

Mercedes Thompson (Moon Called by Patricia Briggs)

Cloelia Alesca (Seven Devils by Laura Lam)

Asa Almeida (City of Shattered Light by Claire Winn)

Movies:

Audrey Ramirez (Atlantis)

Ghoulia (Monster High)

Robecca Steam (Monster High)

Ellen Ripley (Alien)

Olivia Octavious (Spider-Man: into the Spiderverse)

Honeylemon (Big Hero 6)

GoGo (Big Hero 6)

Tinkerbell (Tinkerbell)

Shuri (Black Panther)

TV Shows:

April O’Neal (Teenage Mutant Ninja Turtles)

Lena Luther (Supergirl)

Raven Reyes (The 100)

Asami Sato (The Legends of Korra)

Peli Motto (The Mandolorian)

Jemma Simmons (Agents of Shield)

Daisy/Sky Johnson (Agents of Shield)

Kaylee Frye (Firefly)

Princess Bubblegum (Adventure Time)

Mary and Susan Test (Johnny Test)

Reagan Ridley (Inside Job)

Quinn Pensky (Zoey 101)

Harley Diaz (Stuck in the Middle)

Felicity Smoak (Arrow)

Aviva Corcovado (Wild Kratts)

Hatsume (BNHA)

Sandy Cheeks (SpongeBob)

B’Elanna Torres (Star Trek: Voyager)

Jinx (Arcane)

Evelyn Deavor (The Incredibles)

Riri Williams (Iron Heart MCU)

[twittercomfrnklin2001-blog]

Experiment in Terror

Maybe this dates me, but there’s something refreshing about watching a thriller with no forced romance, no jump scares, no attempts to launch a sequel and cutting that doesn’t try to give you motion sickness. Blake Edwards shot EXPERIMENT IN TERROR (1962, TCM, Tubi) in the tradition of Alfred Hitchcock and classic films noirs. Its clearest Hitchcock inspiration is PSYCHO (1960). Like that film, the production derived in part from the director’s work in television, with Edwards bringing cinematographer Phillip H. Lathrop, composer Henry Mancini and several supporting players from shows like PETER GUNN. And as with much TV of the time, he shot in glorious black and white. Both also feature cross-dressing killers, but unlike the Master of Suspense, Edwards makes no attempt to explain the pathology of his psychopath, nor is there any suggestion that the cross-dressing is anything more than expedience. The character played memorably by Ross Martin may queer the staid middle-class life of bank teller Lee Remick, but only in the sense that he disrupts her safe, sanitary existence.

In this adaptation by The Gordons of one of their John Ripley novels, “Operation Terror,” Martin accosts Remick in her garage and threatens her and sister Stefanie Powers to make Remick steal $100,000 from her bank. Despite his warnings, she calls the FBI, which is where Glenn Ford enters as Agent ‘Rip’ Ripley (Broderick Crawford had played the role in an earlier film). One of the joys of EXPERIMENT IN TERROR is watching the precision of Ford and his agents as they try to determine Martin’s identity and capture him while protecting Remick (who’s pretty good at protecting herself, as it turns out) and Powers. The procedural scenes are like a more serious take on the clockwork slapstick comedy of such later Edwards films as THE PARTY (1968) and the Pink Panther films. You may find it slower than most contemporary thrillers, but it’s tremendously entertaining, and the slowness pays off in the opening scene, where Edwards holds the initial shots of Martin threatening Remick for an almost unbearable length. You can feel her terror from the sheer endurance of it all.

The cast is uniformly solid, with Martin and Remick taking the showiest roles. There are also nice turns by Ned Glass as a stoolie and Anita Loo and Patricia Huston as two of Martin’s girlfriends. If you’re a Sondheim fan, you can try to spot Harvey Evans, Young Buddy in the original FOLLIES and a Broadway mainstay. A really dedicated soap fan will know which of Tom and Alice’s two children from DAYS OF OUR LIVES turn up in the film.b

[goalhofer]

2023 Miami Marlins Famous Relations

#78 Bryan Hoeing: Cousin of former Los Angeles Angels P Alex Meyer. #19 David Robertson: Brother of former Southern Maryland Blue Crabs P James Robertson. #28 Trevor Rogers: Cousin of San Francisco Giants spring training instructor Cody Ross. #58 Jacob Stallings: Son of former University Of Pittsburgh Panthers men's basketball head coach Kevin Stallings. #5 Jon Berti: Son of former Lakeland Tigers 2B Thomas Berti. #10 Yuli Gourriel: Son of former Industriales manager Lourdes Gourriel and brother of Arizona Diamondbacks LF Lourdes Gourriel; Jr.. #2 Jasrado Chisholm; Jr.: Grandson of former Bahamas national softball team SS Patricia Coakley. Pitching coach Mel Stottlemyre; Jr.: Son of former Seattle Mariners pitching coach the late Mel Stottlemyre and brother of former Arizona Diamondbacks P Todd Stottlemyre.

[mr-divabetic]

Join us for Divabetic's 9th Annual Mystery podcast! Enjoy loads of diabetes information and self-care tips wrapped up in a cozy mystery radio drama. 

The happy healthcare host, Mr. Divabetic, lands his to-die-for job as a caterer for the nation's hottest health guru, Wendy Wattage's Wellness Retreat on the Jersey Shore. Everything seems low pressure and low calorie until the body of the nasty food critic, Marilyn Macaroni, is found stabbed to death with one of Max's new chef knives. Now he's the prime suspect in a big, fat murder investigation!

Can he and his team of friends, diabetes educators, and his nosey Italian mother, Mama Rose Marie, find the killer before the police arrive? Or will he be trading his fruit suit for coveralls with stripes?

Weight loss murder never tasted so good.

Starring Mr. Divabetic, Best-Selling Author Tonya Kappes, Mama Rose Marie, Patricia Addie-Gentle RN, CDCES, Maryann Horst Nicolay MEd, NTDR, Kathie Dolgin aka 'High Voltage,' Seveda Williams, Dave Jones, Catherine Schuller and Lorraine Brooks. Produced by Leisa Chester Weir. Special thanks to our colleague, the multi-talented Wendy Radford. 

Music from The Pink Panther and The Return of The Pink Panther soundtracks by Henry Mancini courtesy of SONY Music. 

[yasmineputristan]

Woman’s History Month Variants

Iron Man #7 (Bartel Hellcat Women's History Month Variant)

Silk #1 (Bartel Silk Women's History Month Variant)

The Avengers #43 (Bartel She-Hulk Women's History Month Variant)

Black Panther #24 (Bartel Shuri Women's History Month Variant)

King in Black: Ghost Rider #1 (Bartel Women's History Month Variant)

Black Cat #4 (Bartel Black Cat Women's History Month Variant)

X-Men #19 (Jen Bartel Emma Frost Women's History Month Variant)

Spider-Woman #10 (Bartel Spider-Woman Women's History Month Variant)

[lemonsweet]

do NOT forget them ok

[hell-comes-to-gotham]

Marvel's Women's History Month Variants by Jen Bartel

Jessica Drew, Spider-Woman Vol 7 #10 (March 17, 2021)

Shuri, Black Panther Vol 7 #24 (March 26, 2021)

Cindy Moon, Silk Vol 3 #1 (March 31, 2021)

Kushala, King in Black: Ghost Rider #1 (March 31, 2021)

Patsy Walker, Iron Man Vol 6 #7 (March 17, 2021)

Jen Walters, Avengers Vol 8 #43 (March 3, 2021)

Felicia Hardy, Black Cat Vol 2 #4 (March 31, 2021)

Emma Frost, X-Men Vol 5 #19 (March 31, 2021)

[sondrawr]

Adam: Well, that is quite the entourage. You have a mixtape coming out?

Wulfe: Actually, yeah, there is one! I’ll send you the Soundcloud link, if you’d like!

Adam: Please don’t make me listen to your music.

[byneddiedingo]

Lee Remick and Ross Martin in Experiment in Terror (Blake Edwards, 1962 Cast: Lee Remick, Glenn Ford, Ross Martin, Stefanie Powers, Roy Poole, Ned Glass, Anita Loo, Patricia Huston, Gilbert Green, Clifton James, Al Avalon, William Bryant, Dick Crockett, James Lanphier. Screenplay: Gordon Gordon, Mildred Gordon, based on their novel. Cinematography: Philip H. Lathrop. Art direction: Robert Peterson. Film editing: Patrick McCormack. Music: Henry Mancini. Experiment in Terror is a moody but slackly paced thriller that was the first film directed by Blake Edwards after his smash hit Breakfast at Tiffany's (1961). He would follow it up with another dark but more successful movie, Days of Wine and Roses (1962), also starring Lee Remick, but he became best known for his lighter work, especially the series of Peter Sellers comedies that began with The Pink Panther in 1963. Experiment in Terror begins well, with Kelly Sherwood (Remick) arriving home from her job in a San Francisco bank only to be trapped in her garage by a man who threatens to kill her or her sister if she doesn't help him steal $100,000 from the bank. It's an intense, well-played scene, filmed with some harrowing long-take closeups of Remick and the shadowy figure of the man, who speaks with a kind of raspy wheeze. This is all she can really tell the FBI when she defies the man's order not to contact the police. The agent who takes her call, John Ripley (Glenn Ford), immediately sets in motion an attempt to identify and trap the man, whose identity becomes clearer to us only as it becomes clearer to the G-men. He's "Red" Lynch, played very creepily by Ross Martin, a character actor familiar from TV, on which he had a recurring role in a series created by Edwards, Mr. Lucky, in 1959 and 1960, and would later gain more fame as Artemus Gordon on the late '60s series The Wild Wild West. In the course of the film, Red terrorizes and murders another woman before finally getting shot down on the pitcher's mound after a Giants-Dodgers game at the late, unlamented Candlestick Park in San Francisco, one of several locations used to good effect in the film. Unfortunately, a lot of the burden of the film falls on Ford, who gives a bland, colorless performance as Ripley, and Edwards doesn't build suspense effectively. Some of the fault of the film may lie in its screenplay by the married writing couple known as The Gordons, adapting their own novel. What life the film has comes from Remick and Martin, from Philip H. Lathrop's views of San Francisco, and from a score by Edwards's frequent collaborator, Henry Mancini.

[beardedmrbean]

May 27 (UPI) -- Patricia Krenwinkel, a former follower of late convicted murderer Charles Manson, is up for release from a California prison after the state's parole board recommended on Thursday that she should go free.

Krenwinkel, now 74, was convicted in the 1969 murders of pregnant actress Sharon Tate, Folger Coffee heiress Abigail Folger and Hollywood hairstylist Jay Sebring.

The California Department of Corrections and Rehabilitation said the parole board's decision moves Krenwinkel's case to the Board of Parole Hearing Legal Division for review. If Krenwinkel clears the review, which could take up to 120 days, it could go to Gov. Gavin Newsom for final review. Krenwinkel was last denied parole in 2017.

Manson had hoped to take advantage of the racial tensions in the country with hope that the Black Panthers would be blamed for the murder and spark a race war. Krenwinkel admitted to stabbing Folger 28 times during the crime spree.

She is serving a life sentence for the murder spree because California outlawed the death penalty in 1972.

"She's completely transformed from the person she was when she committed this crime, which is all that it's supposed to take to be granted parole," Krenwinkel's attorney Keith Wattley said, according to KCRA-TV.

"I'm hopeful that the governor recognizes that he shouldn't be playing political games with people's lives. The governor would be blocking her parole not because he's afraid of her, but because he doesn't like her. And the law doesn't allow that."

Wattley said the families of the victims continued to object to her release but the Los Angeles County prosecutors did not attend because of a policy change under District Attorney George Gascon.

[dweemeister]

Jungle Book (1942)

For a few years in the early 1940s, a young actor of Indian descent was a household name among American moviegoers. His name was Sabu Dastagir (better known as simply “Sabu”), and he debuted in Robert Flaherty’s The Elephant Boy (1937). Sabu’s performance in The Elephant Boy was enough to convince Hungarian-British producer Alexander Korda to have the young Indian actor star in the 1940 remake of The Thief of Bagdad and, two years later, Jungle Book. Sabu did find film work after his two most iconic motion pictures, but these opportunities proved harder to find in the United States than in Britain. Almost eighty years later, Sabu remains only one of a handful of actors of South Asian descent to achieve even the briefest Hollywood stardom.

As an adaptation of Rudyard Kipling’s The Jungle Book, this is a Korda brothers’ production – eldest brother Alexander produces, middle brother Zoltan directs, and youngest brother Vincent is the art director. Many readers’ point of reference to Kipling’s work is most likely Disney’s animated musical from 1967. Compared to the Disney animated feature, the Korda Jungle Book, distributed by United Artists, is more interested in Mowgli’s interactions with humans, rather than the animals of the jungle. In a time when Technicolor was still relatively new, this Jungle Book contains some of the best use of color in an early 1940s movie. Beyond than the eye-catching palette and then-innovative visual effects, this Jungle Book loses its way anytime Sabu or the wildlife are not on-screen. The original source material, a reflection of Kipling’s imperialist and racist attitudes, also transfers some of those values to this screen adaptation (not related to the plot but in a similarly concerning development, Sabu is the only actor of South Asian descent in a cast almost entirely donning brownface).

In the prologue, an elderly Indian man named Buldeo (Joseph Calleia) regales his fellow villagers and anyone else in the area with tales of the past. When a British woman stop to listen, Buldeo begins the story of Mowgli and how the young boy, raised by wolves and a product of the jungle, came to reintegrate into human society. Unlike Disney’s two Jungle Book adaptations, the Korda Jungle Book cares more for Mowgli’s relationships with humans as opposed to that of the jungle animals. The tiger Shere Khan and the snake Kaa (voiced acted by Mel Blanc) garner plenty of screentime in the film’s closing scenes. But fans of Mowgli’s closest friends – the bear Baloo and the black panther Bagheera – might be disappointed, as they only have glorified cameos. In place of this focus on animals, this film spends ample time on Mowgli’s developing relationships with his mother Messua (Rosemary DeCamp), Buldeo, and Buldeo’s daughter Mahala (Patricia O’Rourke).

The exotified rural India that appears in Jungle Book overshadows most everything about this adaptation, including Sabu’s starring role. That Zoltan Korda, United Artists, and London Films felt no need to cast any other actors of South Asian descent for Jungle Book exemplifies the casual racism that permeates the narrative. The all-white cast playing noble half-savages or passive women is off-putting, fracturing one’s ability to feel as if the events on-screen are not taking place somewhere in sunny Southern California.

Jungle Book’s Indian setting came together at Lake Sherwood near Thousand Oaks, California and what is now known as Sunset Las Palmas Studios in Hollywood, which was then (and still remains) an independent production lot that hosts shoots for various television and cinematic works. Flown onto the sets were hundreds of fauna rented from local farms and zoos and tons of foliage (natural and synthetic), making the jungle scenes – despite the noticeable background or matte painting at times – feel vast and enclosing. And even though it is difficult to distinguish which scenes were shot indoors or outdoors, the amount of water, however improbably still it is in some parts, appearing in the film assists in immersing the audience into this dense environment. For all of the human settlements – in ruins or otherwise – production designers Vincent Korda and Julia Heron (1943’s Hangmen Also Die!, set decorator on 1960’s Spartacus) are not appealing to any sense of cultural understanding appropriateness. Yet the scope of their village and abandoned temple sets are tremendous, with an assist from the incredible matte paintings.

Cinematographers Lee Garmes (1933’s Shanghai Express, 1944’s Since You Went Away) and W. Howard Greene (1937’s A Star is Born, 1951’s When Worlds Collide) use of highly-saturated Technicolor features eye-catching images perfect for this unrealistic reality. Even in the darkest parts of the jungle, the explosion of emerald greens, cool blues, and other earthy colors feels anything but mute, a fantastical version of a rainforest brought to life. The jungle, despite the obvious artificialities in some of the foliage and fauna, almost becomes a character in the Korda Jungle Book. Other artificialities are a shade more convincing, most notably some of the effects required to capture animal movements. Using footage of both mechanical and actual animals alike, Garmes and Greene do their best to hide some strings and wires pulling along stunning mechanical snakes or to allow Bagheera and Shere Khan’s animal actors appear as if they are interacting with the events in the film. For the most dangerous animals that this production features, the black panther and tiger that played Bagheera and Shere Khan, respectively, were separated from the cameras by a glass barrier. This is immaculate visual effects footage, perhaps the film’s saving grace.

Contrast this with Laurence Stallings’ (1925’s The Big Parade, 1949’s She Wore a Yellow Ribbon) clunker of a screenplay. An inordinate amount of the dialogue is expository and declarative, and too many supporting characters speak in formalities with nary a shred of humor. Jungle Book’s narrative thus feels too formulaic, uptight, and unimaginative. When anyone other than Mowgli or the animals are on-screen, the film is a slog. Kipling’s literary influence on the film might not be apparent in how the humans speak, but it certainly comes through in the most perilous sequences in this movie – and that includes a scene of a forest fire that has to raise questions about animal endangerment on-set at a time with almost no laws against animal mistreatment on film shoots. The Kordas’ Jungle Book works best if seen as an extravagant picture book, but one wishes for Sabu, in a decent performance chockfull of glee, to talk a tad more to the animals.

Hungarian-American composer Miklós Rózsa (1940’s The Thief of Bagdad, 1959’s Ben-Hur) scores perhaps his best body of work owing to elements outside Western classical music. Rózsa’s score to Jungle Book is bolstered by the composer’s detailed research into Hindu music’s chord progressions and modes. His compositions and the orchestration come as close as possible to capturing the harmonic developments of Hindu music as one can while using a Western orchestra. Thus, one can imagine that the music for Jungle Book might be difficult for Indian and non-Indian audiences to appreciate. But as a harmonically complex take on Mowgli’s adventures in the jungle and among humans, this is a bold sound – occupying a space between the melodic demands and orchestration of the West and the wide-ranging tempo and virtuosic harmonic swirls found in classical Hindu music.

The closest analogue to the Kordas’ Jungle Book in this era of Hollywood history must have been the Tarzan series (1932-1948) starring Johnny Weissmuller as the character created by Edgar Rice Burroughs. That, however, is a fraught comparison to make. The Weissmuller Tarzan films were modestly-budgeted and its numerous sequels relied on increasingly laughable contrivances. The Kordas’ Jungle Book is an expensive motion picture leaning on its special effects wizardry while its narrative scarcely makes much of an impression. The premise of Weissmuller and Sabu’s legacies are upon a particular set of roles. By choice, Weissmuller took the roles of jungle-dwelling strongmen. The major Hollywood studios typecasted Sabu – against his wishes – as the urchin, usually a jungle-dweller, from an exotic Asian locale.

This Jungle Book is, for an older generation, a foundational film of their childhood (although I reject any attempts to label this as a children’s film) and an unmitigated technical achievement. In numerous ways, it is also a prime example of how Hollywood viewed Asian influences and actors of Asian descent for decades to come.

My rating: 6/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[brian-in-finance]

Movie-loving British period drama fans have had a busy year.

With cinemas kept closed for the majority of 2020 due to the coronavirus pandemic, many exciting titles had their release dates postponed, resulting in a year that was jam-packed with new films to watch.

Here, in alphabetical order, is every new British historical and period drama movie from 2021!

What’s it about?

Caitriona Balfe (Outlander), Judi Dench (Skyfall), and Jamie Dornan (50 Shades of Grey) star in this poignant story of love, laughter and loss in one boy’s childhood.

Written and directed by Academy Award nominee Kenneth Branagh, Belfast is set amid the music and social tumult of the late 1960s in Northern Ireland.

What did the reviews say?

“There is a terrific warmth and tenderness to Kenneth Branagh’s elegiac, autobiographical movie about the Belfast of his childhood: spryly written, beautifully acted and shot in a lustrous monochrome, with set pieces, madeleines and epiphanies that feel like a more emollient version of Terence Davies.” ★★★★★ – The Guardian

“It’s a film of formal beauty, letter-perfect performances, complex and textured writing (also from Branagh) and enough comedic one-liners and Van Morrison musical montages to make you forget that you’re watching a drama about seething sectarian hatreds. It will nab an easy best picture Oscar nomination next year.” ★★★★★ – The Times

What’s it about?

Based on actual events, World War II drama Six Minutes to Midnight stars Judi Dench (Casino Royale), James D’Arcy (Broadchurch), Jim Broadbent (War and Peace), and Eddie Izzard (Victoria & Abdul).

In the summer of 1939, influential families in Nazi Germany have sent their daughters to a finishing school in an English seaside town to learn the language and be ambassadors for a future looking National Socialist. A teacher there sees what is coming and is trying to raise the alarm. But the authorities believe he is the problem.

What did the reviews say?

“There’s a fascinating film — a mix of The Beguiled and Picnic at Hanging Rock — trying to escape from this creaky passion project of Eddie Izzard’s.” ★★ – The Times

“Judi Dench and Jim Broadbent co-star in a peculiar blend of spy thriller and Ealing comedy that wobbles tonally but will keep you smiling.” ★★★ – The Telegraph

What’s it about?

Based on Stephen Michael Shearer’s An Unquiet Life, this movie – originally titled An Unquiet Life – stars Hugh Bonneville (Downton Abbey) as Roald Dahl in the early 1960s as the British children’s author struggles to write some of his most famous works. Brian’s note: Sam Heughan (Outlander) plays Paul Newman.

The story focuses on Dahl’s marriage to American actress Patricia Neal, played by The Durrells star Keeley Hawes.

What did the reviews say?

“Hugh Bonneville steps effortlessly into the role of the author, portraying a slightly eccentric yet ultimately grief-stricken man on the brink of a creative jackpot. Due praise must also be awarded to Keeley Hawes whose portrayal of Patricia Neal is equally enthralling.” ★★★★ – The Upcoming

“A well-intentioned biopic about a little-discussed but pivotal moment for both artists. If it’s never transcendent, it at least offers charming child performances, and Hawes is a particularly good fit as Neal. ” ★★★ – Empire

Complete 2021 list: https://britishperioddramas.com/lists/2021-best-new-british-period-drama-movies/

2022 is looking like another exciting year for British period drama fans.

Here, in alphabetical order, are all the new British historical and period drama movies you need to see next year!

What’s it about?

Kenneth Branagh returns as Hercule Poirot in the sequel to 2017’s Murder on the Orient Express.

Based on Agatha Christie’s classic murder mystery novel, Death on the Nile sees Poirot investigate a murder while on a luxury cruise on the Nile River in Egypt.

The all-star cast includes Gal Gadot (Wonder Woman), Armie Hammer (Call Me By Your Name), Rose Leslie (Downton Abbey), Letitia Wright (Black Panther), Annette Bening (American Beauty), Ali Fazal (Victoria & Abdul), Sophie Okonedo (Christopher Robin), Tom Bateman (Vanity Fair), Jennifer Saunders (Absolutely Fabulous), Dawn French (The Vicar of Dibley), and comedian Russell Brand.

When’s it out?

Death on the Nile will finally sail in to cinemas in February.

What’s it about?

Set in 1862 and based on Emma Donoghue’s 2016 novel, this Irish period drama movie stars Florence Pugh (Little Women), Tom Burke (The Musketeers), Niamh Algar (Deceit), Toby Jones (Dad’s Army), and Ciarán Hinds (The Woman in Black).

The Wonder follows a young girl who stops eating, but remains miraculously alive and well. English nurse Lib Wright is brought to a tiny village to investigate, as tourists and pilgrims flock to witness the girl who is said to have survived without food for months. Is the village harbouring a saint ‘surviving on manna from heaven’ or are there more ominous motives at work?

When’s it out?

The Wonder will premiere on Netflix in 2022.

Complete 2022 list: https://britishperioddramas.com/lists/2022-best-new-british-period-drama-movies/

Remember the last time you didn’t enjoy a British period drama?

[mr-divabetic]

Divabetic’s mystery podcast stars Mr. Divabetic, Best-Selling Author Tonya Kappes, Mama Rose Marie, Patricia Addie-Gentle RN, CDCES, Maryann Horst Nicolay MEd, NTDR, Kathie Dolgin aka 'High Voltage,' Seveda Williams, Dave Jones, Catherine Schuller, and Lorraine Brooks. Produced by Leisa Chester Weir. Special thanks to Wendy Radford. Music from The Pink Panther and The Return of The Pink Panther soundtracks by Henry Mancini courtesy of SONY Music.