#andrew greenberg

[gamesline]

The Bulletin: 08/30/24

This past week has been a week of a variety of losses. We're also getting a Croc remaster, for some reason. Read the full article

[evilhorse]

Magic is like telling a lie so convincing that even the universe believes you!

(Spawn #19)

[do-you-know-this-play]

[fearsmagazine]

OUT OF DARKNESS | Official Trailer, Poster & Images

Set some 45,000 years ago, a group of six people are struggling to find a new home having embarked on a perilous journey across the narrow sea. Starving and desperate, they seek shelter and set out towards distant mountains, hoping to find the caves.

Chuku Modu and Kit Young in Bleecker Street's OUT OF DARKNESS Credit: Bleecker Street

As night falls, eerie sounds in the landscape hint at the presence of something dangerous and monstrous. As As tension unravels the group the determination of one young woman reveals the horrifying acts people resorted to in order to survive.

Chuku Modu in Bleecker Street's OUT OF DARKNESS Credit: Bleecker Street

OUT OF DARKNESS is directed by Andrew Cumming, screenplay by Ruth Greenberg, and stars Safia Oakley-Green, Kit Young, Chuku Modu, Iola Evans, Arno Lüning, & Luna Mwezi.

Luna Mwezi in Bleecker Street's OUT OF DARKNESS Credit: Bleecker Street

OUT OF DARKNESS is being released by Bleecker Street Media in theaters nationwide February 9th, 2024.

[otakunoculture]

Just What Survives "Out of Darkness" May Well Haunt You!

Now playing in theatres is Out of Darkness, an effective #horror movie that combines the best elements from Prey (Predator) with a #prehistoric tale of #suspense that'll surprise in the end! My #spoilerfree #moviereview at:

Now in Theatres At a cursory glance, one may think Out of Darkness is Andrew Cumming and Ruth Greenberg‘s answer to Prey. This director and writer have a solid vision that kept me guessing, and while the comparison to the Predator film is unintentional, this horror movie kept me guessing at what lays out of focus, from the camera! That terror is lurking out of the edges of what’s filmed, and if…

[transmutationisms]

i think you do a really impressive job balancing comprehensive/concise while referencing a lot of complex frameworks(contexts? schools of thought? lol idk what to call that. big brain ideas) but if you have any readings specifically on the institution of psychiatry topic that you would recommend/think are relevant, I'd be interested. it's absolutely not a conversation that's being had enough and I want to be able to articulate myself around it

yes i have readings >:)

first of all, the anti-psychiatry bibliography and resource guide is a great place to start getting oriented in this literature. it's split by sub-topic, and there are paragraphs interspersed throughout that give summaries of major thinkers' positions and short intros to key texts.

it's from 1979, though, so here are some recs from the last 4 decades:

overview critiques

mind fixers: psychiatry's troubled search for the biology of mental illness, by anne harrington

psychiatric hegemony: a marxist theory of mental illness, by bruce m z cohen

desperate remedies: psychiatry's turbulent quest to cure mental illness, by andrew scull

psychiatry and its discontents, by andrew scull

madness is civilization: when the diagnosis was social, 1948–1980, by michael e staub

contesting psychiatry: social movements in mental health, by nick crossley

the dsm & pharmacy

dsm: a history of psychiatry's bible, by allan v horwitz

the dsm-5 in perspective: philosophical reflections on the psychiatric babel, by steeves demazeux & patrick singy

pharmageddon, by david healy

pillaged: psychiatric medications and suicide risk, by ronald w maris

the making of dsm-iii: a diagnostic manual's conquest of american psychiatry, by hannah s decker

the myth of the chemical cure: a critique of psychiatric drug treatment, by joanna moncrieff

the book of woe: the dsm and the unmaking of psychiatry, by gary greenberg

prozac on the couch: prescribing gender in the era of wonder drugs, by jonathan metzl

the creation of psychopharmacology, by david healy

the bitterest pills: the troubling story of antipsychotic drugs, by joanna moncrieff

psychiatry & race

the protest psychosis: how schizophrenia became a black disease, by jonathan metzl

administrations of lunacy: racism and the haunting of american psychiatry at the milledgeville asylum, by mab segrest

the peculiar institution and the making of modern psychiatry, 1840–1880, by wendy gonaver

what's wrong with the poor? psychiatry, race, and the war on poverty, by mical raz

national and cross-national contexts

mad by the millions: mental disorders and the early years of the world health organization, by harry yi-jui wu

psychiatry and empire, by sloan mahone & megan vaughan

ʿaṣfūriyyeh: a history of madness, modernity, and war in the middle east, by joelle m abi-rached

surfacing up: psychiatry and social order in colonial zimbabwe, 1908–1968, by lynette jackson

the british anti-psychiatrists: from institutional psychiatry to the counter-culture, 1960–1971, by oisín wall

crime, madness, and politics in modern france: the medical concept of national decline, by robert a nye

reasoning against madness: psychiatry and the state in rio de janeiro, 1830–1944, by manuella meyer

colonial madness: psychiatry in french north africa, by richard keller

madhouse: psychiatry and politics in cuban history, by jennifer lynn lambe

depression in japan: psychiatric cures for a society in distress, by junko kitanaka

inheriting madness: professionalization and psychiatric knowledge in 19th century france, by ian r dowbiggin

mad in america: bad science, bad medicine, and the enduring mistreatment of the mentally ill, by robert whitaker

[haveyouplayedthisttrpg]

Have you played MAGE : The Ascension ?

By Stewart Wieck, Christopher Earley, Stephan Wieck, Bill Bridges, Sam Chupp, Andrew Greenberg

Set in the World of Darkness, players are ordinary humans who awaken to magic and become able to shape the reality around them. Players will be a part of a sect which has its own philosophy of living and of the purpose/nature of magic and how it should be used. The ultimate goal of most mages is to ascend beyond mortality to become a higher being (some mages believe ascension to be impossible and focus more on day-to-day living). Players will need to survive in a harsh world of vampires and werewolves while also trying not to cause paradoxes with their magic. At the same time the faction known as the Technocracy is attempting to stamp out magic and hunting mages (unaware that they, themselves, are mages which is why their technology is so advanced).

[the-forest-library]

April 2024 Reads

Just for the Summer - Abby Jimenez

Only and Forever - Chloe Liese

Say You'll Be Mine - Nana Kumar

The Governess's Guide to Passion and Peril - Manda Collins

The Lying Game - Sara Jane Woodley

The Prospects - K.T. Hoffman

The Husbands - Holly Gramazio

Begin Again - Helly Acton

One Moment - Becky Hunter

Finlay Donovan Rolls the Dice - Elle Cosimano

Interesting Facts About Space - Emily R. Austin

Nothing to See Here - Kevin Wilson

The Tusks of Extinction - Ray Nayler

The Reappearance of Rachel Price - Holly Jackson

Every Time You Hear That Song - Jenna Voris

Rules for Rule Breaking - Talia Tucker

Hawkeye, Volume 3: L.A. Woman - Matt Fraction

No One Returns from the Enchanted Forest - Robin Robinson

Dear Sophie, Love Sophie - Sophie Lucido Johnson

Out of Left Field - Jonah Newman

Continental Drifter - Kathy MacLeod

Fiona the Hippo - Richard Cowdrey

Woodland Dreams - Karen Jameson

Mushroom Rain - Laura K. Zimmermann

Bluets - Maggie Nelson

Sociopath - Patric Gagne

Grimoire Girl - Hilarie Burton Morgan

I Am the New Black - Tracy Morgan

The 2000s Made Me Gay - Grace Perry

The Bookseller at the End of the World - Ruth Shaw

Dear Fahrenheit 451 - Annie Spence

Why We Read - Shannon Reed

Says Who? - Anne Curzan

The Anxiety Sisters' Survival Guide - Abbe Greenberg, Maggie Sarachek

The Microstress Effect - Rob Cross

Overcome Anxiety - Lilly Andrew

Mindfulness Now - Jesse Sands

The Cure for Burnout - Emily Ballesteros

Grown Woman Talk - Sharon Malone

Unfiltered Enneagram - Elizabeth Orr

Dear Prudence - Daniel M. Lavery

Bold = Highly Recommend Italics = Worth It Crossed out = Nope

Thoughts: 

A few standouts this month: Only and Forever brings the Bergman Brothers series to an end, and it was a worthy wrap up to these stories featuring MCs with disabilities and neurodivergence.

Just for the Summer is my new favorite Abby Jimenez book with several laugh out loud moments - especially the raccoon scene - which was hilarious on audio.

The Bookseller at the End of the World is not the cozy bookseller tale you might expect. Ruth led a varied and adventurous life filled with heartbreak and hope.

And I really enjoyed Says Who? - a super accessible and fun guide to English style and grammar.

Goodreads Goal: 150/200

2017 Reads | 2018 Reads | 2019 Reads | 2020 Reads | 2021 Reads | 

2022 Reads | 2023 Reads | 2024 Reads

[denimbex1986]

'Fleabag’s hot priest is about to take on his most liberating role yet: a one-man show of Chekhov’s Uncle Vanya in which he will play all nine roles, male and female. He loves taking risks, he says. It seems to be paying off…

I last saw Andrew Scott in the flesh eight years ago. I was sitting in the gloom at the top of what used to be St Martin’s School of Art in the Charing Cross Road – a tiny, temporary theatre had sprung up there – and he was three feet away from me, surrounded by great piles of stuff: newspapers, books, chairs, cupboards… a piano. The occasion was Richard Greenberg’s play The Dazzle, about two compulsive hoarders, the Collyer brothers, and his performance as one of them was mesmerising: in truth, almost too mesmerising. My mind went into overdrive. All that paper and mahogany. What if something toppled, and he was crushed – as the real Langley Collyer was – beneath a chest of drawers?

He wasn’t crushed, of course. But what’s striking and slightly odd is that today I’m seeing Scott in the flesh for the second time, and we’re again at the top of an old building – in this case, a public library – in rooms that feel a bit dilapidated, if not exactly derelict. People imagine the actor’s life to be a glamorous one, particularly if the actor in question has been in a Bond film – and of course it has its enchantments. But then there are the hours spent in spaces like this: long days of sandwiches, bottled water and elusive lines. When we came up in the ancient lift together, I couldn’t decide which of us was the more anxious. He was, I would guess. “MY TWELVE HOURS TRAPPED WITH FLEABAG STAR” ran the ticker tape in my mind as the mechanism creaked and groaned, and we each did our best not to meet the other’s eye.

Scott has spent the past three weeks here, deep in rehearsals for Vanya, a new version by Simon Stephens of Anton Chekhov’s great tragicomedy Uncle Vanya. But there’s new, and then there is… new. This adaptation gives the play, among other things, a contemporary setting. However, when the production opens in the West End, its chief novelty – and its chief draw, given Scott’s huge following – will be the fact that it is a one-man show. He will be playing all nine parts: male and female, young and old, beautiful and not-so-beautiful. It must be hard to learn so many lines, I say, once he’s (semi) comfortable on a battered leather sofa, his old, white T-shirt giving him a slight look of Marlon Brando. Doesn’t he feel like he’s going mad, with all these voices in his head? He laughs – a high-pitched, wicked laugh. “Yeah. I do, and it’s really hard [to learn]. Usually, when you can’t remember a line, another actor will say, ‘What time is it?’ or something, and then it comes to you. But now I’ve no one to cue me.” Alone on stage, he has had to change his mindset completely: “I’ve come to understand that I’m sort of looking after all these characters.”

The idea for a one-man production came about by accident. Scott, Stephens, and Sam Yates, who is directing the play, were workshopping it together (Scott has worked with Stephens twice before, most notably in Birdland at the Royal Court, in which he played a rock star who has made a Faustian pact with fame). “We miscalculated the parts, and I ended up having to act with myself, and it was kind of interesting. It gave birth to the idea that, as much as these characters say they’re different from each other, actually, some of them are very similar. I’m more interested now in those similarities than in, you know, doing a funny voice [for each one]. The production seems to me to be about what the act of creation is. I love the idea that you might be able to represent what a writer experiences on stage, all these characters in his head.”

But how on earth will the audience work out what’s going on? I understand about the funny voices, but won’t Scott have to change his a little bit when he’s acting the part of a woman? He smiles, teasingly. “I don’t think I should tell you that… But you don’t need to worry too much. I feel so liberated! I hope people will start to look at what’s within the performer so that something happens that can only really take place in a theatre – which is that you’re seeing one thing, but imagining something else.” This sounds like reading a novel, visualising scenes and characters for yourself, filling the gaps between words. He nods. “Look, I definitely don’t want to shy away from the ridiculousness of this project, and yeah, I’m nervous, but I’m loving the process. I think it’s a really sexy play. You know, Chekhov was a doctor, and he saw death so much, and I think he was able to understand human beings like no other writer.”

The argument that actors should only play who they are – that a gay character, for instance, may be played only by a gay actor – is made more and more often lately. But this production seems (to me, at least) subtly to resist the notion of identity politics in the theatre; to suggest that such rigidity may sometimes be a cul-de-sac. “It can be a cul-de-sac, certainly,” Scott says. “Of course those arguments have to be heard. The world isn’t a level playing field. But I think transformation is as important as representation. Our first understanding of storytelling happens when we’re young. Our mother or father is pretending to be a wolf. We know we’re safe, but we’re scared, too. Our parent can be a wolf! Human beings can create worlds within themselves. I don’t think we can just slice that out of ourselves.”

He knows some will heartily dislike this Vanya, but the thought seems, if anything, to excite him. “It could go wrong,” he says. “But we need a bit more of people not liking things.” He’s ambivalent, to put it mildly, about standing ovations, which seem to happen in the theatre most evenings nowadays. “My concern is that everything becomes meaningless. I think it’s unfortunate that if someone decides not to stand up, it’s perceived that they hated it. That’s not necessarily true. Maybe I thought it was very good, but I didn’t feel like rising to my feet. My producers are going to hate me for saying this, but I strongly believe that if people don’t feel like standing up, they shouldn’t. People feel lonely, having to stand when they don’t want to. Equally, it’s kind of moving when most people are not standing up, and three people are.”

Does he blame the internet for this? Is it just another form of “liking” something? “I do blame the internet, yes.” But perhaps, too, it has to do with cost. “I was recently on Broadway, and tickets there are astronomically expensive, and I thought: well, these people have to stand up because they’ve spent $390, so it’s got to have been one of the best nights of their lives.” Either way, he doesn’t understand it: the firmness and immediacy of people’s responses. “When you’ve just seen a play, it’s a really sensitive time. It’s weird when people start talking straight away about their new conservatory.” All this may explain why he feels there is more value for him in doing experimental work. “Some people will like it, some people won’t, and that’s great. I feel ferocious about wanting to take risks.”

In the coming months, Scott will be everywhere: a trick of scheduling, rather than by design. Vanya will be followed in January by the release of All of Us Strangers, a film in which he stars with Paul Mescal and Claire Foy (he plays a depressed screenwriter who goes to visit his childhood home, only to find that his parents, far from having died in a car crash when he was 12, are alive and well – though much of the coverage of the movie so far has focused on the fact that his character and Mescal’s are lovers). “It’s a beautiful film,” he says, dreamily. And then there’s Ripley, a Netflix series (its release is expected at the end of this year), based on Patricia Highsmith’s novel The Talented Mr Ripley, written and directed by Steven Zaillian, the screenwriter of Schindler’s List and Hannibal.

“It’s a big, big thing,” he says, of his role as Tom Ripley, grifter and serial killer. And yet, Scott said he wouldn’t be doing any more crazed sociopaths, having played Moriarty in Sherlock (he was also a baddie in the Bond film Spectre). “I know, but what I find interesting about him is not the psycho-ness; it’s the otherness. To me, it’s about what it’s like never to be invited to the party. We all know people who don’t make it easy for themselves, who are maybe a bit strange. But if you’re constantly ignored, or sidelined, or don’t fit in, what happens? Is it that something dark emerges? I don’t mind saying that playing him was challenging. It was very lonely. We filmed during Covid, and the five-day isolation requirements that were in place both here and in Italy meant people couldn’t come and visit, and I couldn’t come home. It’s eight hours of television, and he’s a solitary figure in this version, so I was on my own a lot.”

Scott is 46, though you wouldn’t know it; his enthusiasm, like his fidgetiness, belong to a younger man. He grew up in Dublin, with his two sisters – his father worked at an employment agency; his mother was an art teacher – where he was educated at private Jesuit school, attending drama classes on Saturdays. Art was his first plan – painting is still his great love; he can’t wait for the forthcoming Hockney show at the National Portrait Gallery – and he won a bursary to art school at 17. But then he was cast in a film, Korea, about an Irish boy emigrating to America in the 1950s who’s enlisted to fight in the Korean war, so he turned the place down, and once the movie was done, went to Trinity College to study drama instead. After six months, bored by the course, he left to join Dublin’s Abbey theatre.

He seems hardly ever to have been out of work, and his CV is such a mixture: Gethin the tense gay Welshman in Matthew Warchus’s film Pride; eccentric Lord Merlin in the BBC adaptation of The Pursuit of Love; an acclaimed Hamlet in 2017 at the Almeida theatre. By this point, his mantlepiece – he has two, one in London, and one in Dublin – must be quite frantic with statuettes (his most recent win, in 2020, was a Laurence Olivier award for best actor for his performance as Garry Essendine in Noël Coward’s Present Laughter). Does he feel blessed? “Yes, and that’s a really nice way of putting it. I’m grateful.” But perhaps this sounds too… humble: “I’ve never understood why there’s some sort of shame associated with being an artist. I feel able to call myself one.”

His fame is at a level that means he can move around London unnoticed, and he’d like to keep it that way. “I’m suspicious of it. I’ve no real interest in the value of it. The idea of being followed by a photographer seems hellish to me.” Does it affect his relationships? He doesn’t believe that it does, though there are “creepy, unsavoury people” out there who might not “have my best interests at heart”. Is he single? “Yes, I am.” Would he like to meet someone? He would. Surely it’s easy in his world? So many lovely new people entering his orbit all the time – and with his looks… He laughs. “That’s a lot of projection, there,” he says, sounding suddenly more Irish.

I read somewhere that some women in Ireland will always think of him as the guy who turned up to their demonstrations in the run-up to the abortion referendum in 2018, even when it was raining (the vote overturned the ban on abortion in the country, and followed one of 2015, which allowed same sex couples to marry). Isn’t it amazing how much Ireland has changed? When he was 16, it was still illegal to be gay, as he is. “Yes, it’s immense for people of my generation to have been emancipated from the shame of the Catholic church. But it’s interesting. Privacy matters to me, but then I remember Sinéad O’Connor being on The Late, Late Show, talking about human rights, and how important that was. Her kindness… We’re only just finding out about it. She didn’t announce it to the world. Again, it brings us back to social media. Does kindness happen if you don’t tell everybody about it?”

Scott is no longer a practising Catholic. But he can’t be certain this means he won’t call for the priest at the end (this conversation has taken a morbid turn, and it’s my fault). Perhaps it’s in the marrow. “It’s the organisation that’s the problem, not the principles behind it, which are very beautiful for the most part. I remember when Simon and I were doing [the play] Sea Wall. One of the lines in it is: show me God, where is he? And then the next line is: well, show me love, where is that? You can’t get evidence for either of them really. They’re just strong feelings. I believe in the power of love. I feel it’s stronger than anything, because you can’t do anything about it. I’ve so much of it in my life, and one of the things I’m most proud of is how much I’m able, not only to receive it, but to give it – and if somebody thinks that’s sentimental or mawkish, well, to me it’s the opposite.” He talks for a while in this vein. “I want to try to be a good person; not just a nice person, but a good person,” he says, his voice racing on – and it makes me think of him as the Hot Priest in Phoebe Waller-Bridge’s Fleabag, the role for which he may now be best known. If every pulpit came with an Andrew Scott, our churches would be bulging at the seams.

Soon after this, there’s a knock on the door. It’s time to begin rehearsal (in the hall outside, his director stands at a lectern, looking quite priestly himself). He has, he says, another three weeks to go before Vanya opens, and when it does, he’ll be looking out for me; I’d better be sitting down at the curtain call, he jokes. Well, perhaps I’ll have good reason to be sitting down, I joke back. But he’s ever serious: “I always remember what my mum used to say. She’s an art teacher, and she used to tell us that a good drawer never rubs out. So, you draw a line, and then you get it wrong, and then you start a new line. The fact that people can see your old line doesn’t make them appreciate your new line any less. It may even make them appreciate it more.” What he means, I think, is that he believes it’ll be all right on the night.'

[deadpresidents]

ABRAHAM LINCOLN •Team of Rivals: The Political Genius of Abraham Lincoln by Doris Kearns Goodwin (BOOK | KINDLE | AUDIO) •Lincoln by David Herbert Donald (BOOK | KINDLE | AUDIO) •And There Was Light: Abraham Lincoln and the American Struggle by Jon Meacham (BOOK | KINDLE | AUDIO) •The Political Life of Abraham Lincoln Trilogy by Sidney Blumenthal: -A Self-Made Man: The Political Life of Abraham Lincoln, Vol. I, 1809-1849 (BOOK | KINDLE | AUDIO) -Wrestling With His Angel: The Political Life of Abraham Lincoln, Vol. II, 1849-1856 (BOOK | KINDLE) -All the Powers of the Earth: The Political Life of Abraham Lincoln, Vol. III, 1856-1860 (BOOK | KINDLE | AUDIO)

ANDREW JOHNSON •Andrew Johnson: A Biography by Hans L. Trefousse (BOOK) •Impeached: The Trial of President Andrew Johnson and the Fight for Lincoln's Legacy by David O. Stewart (BOOK | KINDLE | AUDIO) •The Impeachers: The Trial of Andrew Johnson and the Dream of a Just Nation by Brenda Wineapple (BOOK | KINDLE | AUDIO) •High Crimes & Misdemeanors: The Impeachment and Trial of Andrew Johnson by Gene Smith (BOOK)

ULYSSES S. GRANT •Grant by Ron Chernow (BOOK | KINDLE | AUDIO) •American Ulysses: A Life of Ulysses S. Grant by Ronald C. White (BOOK | KINDLE | AUDIO) •The Man Who Saved the Union: Ulysses Grant in War and Peace by H.W. Brands (BOOK | KINDLE | AUDIO) •Grant's Final Victory: Ulysses S. Grant's Heroic Last Year by Charles Bracelen Flood (BOOK | KINDLE | AUDIO) •The Personal Memoirs of Ulysses S. Grant: The Complete Annotated Edition by Ulysses S. Grant, Edited by John F. Marszalek (BOOK | KINDLE)

RUTHERFORD B. HAYES •Rutherford B. Hayes: Warrior and President by Ari Hoogenboom (BOOK) •Fraud of the Century: Rutherford B. Hayes, Samuel Tilden, and the Stolen Election of 1876 by Roy Morris, Jr. (BOOK | KINDLE)

JAMES GARFIELD •President Garfield: From Radical to Unifier by C.W. Goodyear (BOOK | KINDLE | AUDIO) •Destiny of the Republic: A Tale of Madness, Medicine and the Murder of a President by Candice Millard (BOOK | KINDLE | AUDIO) •The Dark Horse: The Surprise Election and Political Murder of President James A. Garfield by Kenneth D. Ackerman (BOOK | KINDLE) •Garfield by Allan Peskin (BOOK | KINDLE)

CHESTER A. ARTHUR •The Unexpected President: The Life and Times of Chester A. Arthur by Scott S. Greenberger (BOOK | KINDLE | AUDIO) •Gentleman Boss: The Life of Chester Alan Arthur by Thomas C. Reeves (BOOK | KINDLE) •Chester A. Arthur: The Accidental President by John M. Pafford (BOOK | KINDLE | AUDIO)

[motherofplatypus]

Bisan Owda is a journalist in Gaza that keeps updating about the barbaric genocide actions that israel committed with weapons supplied mainly by US, all the while living through that genocide itself.

Over 30k+ has been killed, and over 15k+ of those are children and babies.

The celebs and artists who wanted to rescind Bisan's nomination are as follow:

Ari Ingel, Executive Director, Creative Community for Peace

David Renzer, Former Chairman/CEO Universal Music Publishing Group, CCFP Chairman & Co-Founder

Steve Schnur, Worldwide Executive & Music President, Electronic Arts, CCFP Co-Founder

Rakefet Abergel, Actor/Director, Cyclamen Films

Orly Adelson, Former President of ITV Studios, America

Marty Adelstein, CEO, Tomorrow Studios

Anne-Marie Asner, Co-Founder, Animation Israel

Jeff Astrof, TV Producer/Showrunner, Other Shoe Productions

Michael Auerbach, Partner, Jackoway Austen Tyerman Wertheimer Mandelbaum Morris Bernstein Trattner Auerbach Hynick Jaime LeVine Sample & Klein

Dean Bahat, Attorney, Ziffren Brittenham

Andrea Ballas, VP Comms, CBS

Jackie Barrie, A&R Manager, Nvak Collective

Richard Baskind, Partner & Head of Music, Simons Muirhead & Burton

Aton Ben-Horin, Executive VP of Global A&R, Atlantic Records Group

Steven Bensusan, President, Blue Note Entertainment Group

Adam Berkowitz, Founder and President, Lenore Entertainment Group

Sharon Bialy, Casting Director, Bialy/Thomas & Associates

Josh Binder, Co-Founder and Partner, Rothenberg Mohr & Binder, LLP

Neil Blair, Founding Partner, The Blair Partnership

Selma Blair, Actress, Author, Advocate, Sainted Productions

Rebecca Blumberg, SVP Ad Sales, Paramount

Evan Bogart, Songwriter & CEO, Seeker Music

Benjamin Budde, CEO, Budde Group GmbH

Bruce Burger, Producer, RebbeSoul

David Byrnes, Attorney, Ziffren Brittenham

Civia Caroline, Social Impact Consultant, CLiC Impact

Pamela Charbit, Director of A&R, Warner Music Group

Emmanuelle Chriqui, Actor, Yellow Ray Entertainment

Leanne Coronel, Talent Manager, The Coronel Group

Raye Cosbert, Managing Director, Metropolis Musi

Paul Craig, Ceo, Nostromo Management

Doug Davis, NATAS Member, 2x Emmy winner, The Davis Firm

Rebecca De Mornay, Actor

Jamie Denbo, Co-Executive Producer, Grey’s Anatomy, ABC/Disney

Josh Deutsch, Chairman/CEO, Premier Music Group

Avi Diamond, Director, Film/TV Sync, Warner Music Canada

Craig Dorfman, President and Owner, Frontline MGMT

Rachel Douglas, Manager, Range Media Partners

David Draiman, Frontman, Disturbed

Jeremy Drysdale, Screenwriter, bigbamboo

Craig Emanuel, Ryan Murphy Productions

Hannah Epstein, Agent, CAA

Rami “Kosha dillz” Even-Esh, Rapper/Comic/Actor

Lindsay Fabes, Actor

Ron Fair, Record Producer & CEO, Faircraft Inc.

Sharon Farber, Composer, Score by Score Music

Danny Federman, Owner, Maccabi Tel Aviv Basketball Club

Eric Feig, Attorney and TV Academy Member, Feig/Finkel

Patti Felker, Attorney, Felker Toczek Suddleson McGinnis Ryan LLP

Ken Fermaglich, Partner, United Talent Agency

Ross “Remedy” Filler, Artist

Shalom Fisch, President, MediaKidz Research & Consulting

David Fishof, CEO, RRFC Films, LLC

Siri Garber, Publicist, Platform

David Gardner, President, Artists First

Barbara Garshman, CEO, Garshman Productions LLC

Gary Gersh

Gary Ginsberg, Senior VP, SoftBank Group Corp.

Brian Ralston, Composer/Producer, Studio 74 Music, LLC

David Glick, Founder & CEO, Edge Group

Zusha Goldin, Celebrity Photographer, Zusha Goldin

Michael Goldwasser, President, Easy Star Records

Andrew Gould, President, Music Publishing

Scott Greenberg, Partner, LBI

Steven Greenberg, Founder and President, S-Curve Records

Daniel Grindlinger, Writer

Ronnie Harris, Partner, Harris & Trotter

Michael Hirschhorn, Manager, Streaming and Sales, Atlantic Records

Linda Edell Howard, Attorney, Novick Law

Rich Ingram, Artist/Creator

Neil Jacobson, Former President, Geffen Records, Founder & CEO of Hallwood Media

Michael Kaplan, Writer/Producer

Sam Katz, Music Manager, Homebase MGMT, LLC

Zach Katz, CEO & Co-Founder, Fixated

Ketura Kestin, Film Producer, Serendipity Productions

Amanda Kogan, Manager, Aaron Kogan Management

Keetgi Kogan Steinberg, Writer/Producer/Showrunner

Jason Kozel, Creative Executive, Range Media Partners

Rick Krim, CEO, Krim Music + Media

Evan Lamberg, President, North America, Universal Music Publishing Group

Sherry Lansing, Former CEO, Paramount Pictures

Colin Lester OBE, Founder/Chairman, JEM Music Group

Sean Liebowitz, Agent

Koura Linda, Founder & CEO, Space Dream Productions

Marci Liroff, Intimacy Coordinator/Casting Director

Cory Litwin, Managing Partner, Range Media Partners

David Lonner, CEO, The David Lonner Company

Ben Maddahi, President, Unrestricted Publishing & Mgmt

Gabriel Mann, Composer

Deborah Marcus, Executive, CAA Foundation

Susan Markheim, Full Stop Mgt., The Azoff Company

Amanda Markowitz, Actor/Producer, SAG/AFTRA & PGA

Orly Marley, President, Tuff Gong Worldwide

Devra Maza, Screenwriter

Debra Messing, Actor/Producer

Hilary Michael, Agent and Partner, WME

Beth Milstein, Writer

Jennifer Morrow, Actor, CAA

Patrick Moss, Writer, Moroccan Boychik

Robert Munic, Writer/Showrunner, Pull The Pin Productions, Inc.

Lisa Nupoff, Manager, iminmusic management

Scott Packman, Founder and Managing Member, SSP Partners LLC

Mark Pinkus, President, Rhino Records

Jonah Platt, Actor/Producer

Wendy Plaut, SVP Music & Celebrity Talent, Paramount Global

Jessica Poter, Writer, Gustavo Anibal Productions

Golan Ramraz, Writer/Producer, EGX Film Factory

Bruce Resnikof

Frederic Richter, Producer, Writer & Researcher

Wendy Robbins, Executive Producer, Creators Inc

Dan Rosen, President, Warner Music Australasia

Rick Rosen, Co-Founder, Endeavor, WME

Aaron Rosenberg, Partner, Myman Greenspan Fox Rosenberg Mobasser Younger & Light

Gregg Rossen, Screenwriter

Michael Rotenberg, CEO, 3 Arts Entertainment

Joshua Rothstein, CEO/Founder, Ice Cream For Dinner

Haim Saban, Chairman and CEO, Saban Capital Group

Glenn Sanders, Writer/Director/Creative Director, Masonry Creative

Ayelet Schiffman, SVP Head of Promotions, Island Records

Paul Schindler, Senior Partner, Greenberg Traurig LLC

Jordan Schur, CEO and Chairman, Mimran Schur Pictures and Suretone Entertainment

Adam Schwartz, Writer

Sam Schwartz, Partner, Gorfaine/Schwartz Agency

Jay Schweid, Founder/CEO, ephelants/Village

Adam Segal, President, The 2050 Group

Ben Silverman, Chairman and Co-CEO, Propagate Content

Ralph Simon, Chairman & Chief Executive Officer, Mobilium Global Limited

Tamar Simon, Owner/CEO, Mean Streets Management

Martin Singer, Attorney, Lavely and Singer

Halle Stanford, President of Television, The Jim Henson Company

Mimi Steinberg, Writer/Producer

Jonathan Steinsapir, Partner, Kinsella Holley Iser Kump Steinsapir

Gary Stiffelman, Founder, GSS Law

Traci Symanski, CEO, Co-Star Entertainment

Aaron Symonds, Film Composer

Fernando Szew, President, Fox Entertainment

Tal Tavin, Actor

Adam Taylor, President, APM Music

Michael Testa, Casting Director, Michael Testa Casting

Fred Toczek, Partner, Felker Toczek Suddleson Abramson McGinnis Ryan LLP

Eric Tuchman, Writer/Producer, MGM-TV

Noa Vinshtok, Streaming, Range Media Partners

Joshua Washington, International Recording Artist, JoDavi Music LLC

Avi Weider, Filmmaker, Loop Filmworks

Jon Weinbach, President, Skydance Sports

Nola Weinstein, Tech Executive

Ilana Wernick, Writer/Producer, Fox

Modi Wiczyk, Co-Founder, MRC

Evan Winiker, Managing Partner, Range Music

Seth Yanklewitz, Casting Director, Yanklewitz Pollack Casting

Sharon Tal Yguado, Founder & CEO, Astrid Entertainment

Ky Zaretsky, Manager, Range Media Partners

David Zedeck, Global Co-Head of Music

[Sources: here, here, and here]

[evilhorse]

Right behind you, Hell’s-pawn.

(Spawn #19)

[hallmark-movie-fanatics]

New photos for Entertainment Weekly preview article.

LINK

Hallmark Channel - Countdown to Christmas

1 - Where Are You, Christmas? (Michael Rad & Lyndsy Fonseca) 2 - Christmas Island (Rachel Skarsten & Andrew Walker) 3 - Holiday Hotline (Emily Tennant & Niall Matter) 4 - Catch Me If You Claus (Luke Macfarlane & Italia Ricci) 5 - Holiday Road (Princess Davis, Enid-Raye Adams, Warren Christie, Brittany Willacy, Sara Canning, Kiefer O’Reilly, Sharon Crandall, Ryan Mah, & Trevor Lerner) 6 - Our Christmas Mural (Dan Jeannotte & Alex Paxton-Beesley) 7 - My Norwegian Holiday (David Elsendoorn & Rhiannon Fish) 8 - A Not So Royal Christmas (Brooke D'Orsay & Will Kemp) 9 - Christmas With a Kiss (Jamie M. Callica & Mishael Morgan) 10 - Magic in Mistletoe (Lyndie Greenwood & Paul Campbell) 11 - Round and Round (Bryan Greenberg & Vic Michaelis) 12 - The Secret Gift of Christmas (Mehghan Try & Christopher Russell) 13/14/15 - Christmas on Cherry Lane (Vincent Rodriquez III, Jonathan Bebbett, John Brotherton, Erin Cahill, Catherine Bell & James Denton) 16 - Sealed With a Lis (Katie Findlay & Evan Roderick) 17 - Friends & Family Christmas (Humbly Gonzalez & Ali Liebert)

Hallmark Movies Now

18 - Rescuing Christmas (Rachel Leigh Cook & Sam Page)

Hallmark Movies & Mysteries

19 - Mystery on Mistletoe Lane (Victor Webster & Erica Cerra) 20 - To All a Good Night (Kimberly Sustad & Mark Ghanimé) 21 - A Season For Family (Laura Soltis, Cameron Bancroft , Brendan Penny, Stacey Faber, Azriel Dalman, and Benjamin Jacobson) 22 - Miracle in Bethlehem, PA (Laura Vandervoort & Benjamin Ayres)

[fearsmagazine]

DRACULA, A COMEDY OF TERRORS - Review

DATES: Sept. 4th, 2023 – Jan. 7th, 2024 COMPANY: Drew & Dane Productions THEATER: New World Stages, 340 West 50th Street, New York City ACTORS: Jordan Boatman, Arnie Burton, James Daly, Ellen Harvey, Andrew Keenan-Bolger, Kaitlyn Boyer and Sean-Michael Wilkinson. CREW: Director/Writer - Gordon Greenberg; Writer - Steve Rosen; Producers - Drew Desky and Dane Levens; Scenic and Puppet Designer - Tijana Bjelajac; Costume Designer - Tristan Raines; Lighting Designer - Rob Denton; Original Music and Sound Designer - Victoria Deiorio; Wig and Hair Designer - Ashley Rae Callahan.

(L-R) Andrew Keenan-Bolger, Jordan Boatman, James Daly, Ellen harvey and Arnie Burton in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

SYNOPSIS: A pansexual GenZ Count Dracula is in the midst of an existential crisis. When he sets his sights on the brilliant young earth scientist Lucy Westfeldt, he meets his match for the first time – as well as a slew of other colorful characters including vampire hunter Jean Van Helsing, insect connoisseur Percy Renfield and behavioral psychiatrist Wallace Westfeldt, whose British country estate doubles as a free-range mental asylum.

(L-R) Ellen Harvey, James Daly and Arnie Burton TERRORS. Photo by Matthew Murphy

REVIEW: Horror comedies come in only two flavors - good and bad. DRACULA, A COMEDY OF TERRORS is a sensational, decadent satire that is the perfect treat for the Halloween season.

Gordon Greenberg and Steve Rosen's satirical and irreverent treatment of the Stoker novel resides somewhere in between “The Rocky Horror Musical” and a Monty Python film, with flares of the immortal Charles Ludlam. The tone is set right from the start as the cast tosses the novel and the hilarity begins. The previous productions of the play, including an adaptation of the piece as a radio play for The Broadway Podcast Network, clearly have sharpened the dialogue and wordplay to a razor sharp wordplay duel that had the audience laughing out loud within the first few moments. The writers have trimmed the novel down to a 90 minute tale that tries to incorporate key elements of the story, taking liberties with the novel’s climax to nicely dovetail with the themes of their play. The satire runs the spectrum from that of the novel, political, contemporary pop culture, and gender. Except for Dracula, the other actors have dual or multiple roles where the juggling of the characters adds to the merriment.

James Daly and Jordan Boatman in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

Gordon Greenberg’s direction is superb. It is a finely tuned choreography of dialogue and movement that harkens back to the golden era of silent films to the Marx Brothers. There are some delightful props, including puppets, that add yet another level of humor to the production. Greenberg turns up the energy right at the start and maintains it for 90 minutes, giving the audience little time to recover from the side splitting laughter.

James Daly and Andrew Keenan-Bolger in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

Tijana Bjelajac’s Scenic Design is a wonderful minimalist and still adds atmosphere to the production. Integrated into the set are nice visual and functional elements that are scaled down for an off-broadway production but are lavish enough, and easily would work for a Broadway staging. Tristan Raines’ costume designs are fabulous. The designs capture the period but also combine contemporary elements that highlight the performances.

Arnie Burton and James Daly in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

DRACULA, A COMEDY OF TERRORS features an award worthy ensemble cast. The delivery of lines, the body language and facial expressions, their interactions are flawless, and if there were any misfires I didn’t notice. There was a fluidity to their performances that at times it felt like choreography. James Daly is outstanding as Dracula. He is as dynamic and enchanting as Tim Curry’s Dr. Frank-n-Furter, combined with the physique of Rocky. He delivers this multifaceted performance rich with comedic timing. Actor Arnie Burton steals the show as both Mina and Jean Van Helsing. He creates two unique performances that embodies the comedic prowess that is reminiscent of Milton Berle to Harvey Fierstein, with a dash of Bugs Bunny. In contrast, actress Ellen Harvey brings to life Wallace Westfeldt and Percy Renfield. She brilliantly effects switching between the two extremes that eventually becomes an uproarious gag in play. The cast does an astounding job of maintaining the energy level of the play for 90 minutes.

Andrew Keenan-Bolger and Jordan Boatman in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

DRACULA, A COMEDY OF TERRORS is a side-splitting tour de force that would leave Bram Stoker and Mel Brooks rolling in the aisles, and maybe a bit envious. I’ve always advocated that there is a distinct bond between comedy and horror, and this is at its finest. Outstanding performances, fabulous production designs, brilliant directing, all deliver an energetic feel good and memorable theater experience. You must bring your friends for a night you’ll long remember as the perfect treat of this Halloween season.

James Daly in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

Opening night is September 18. Performances are Monday, Wednesday, Thursday and Sunday at 7PM, Friday and Saturday at 8PM, with matinees Saturday and Sunday at 2PM. Tickets are $99 - $119. Premium seating is available. Tickets are now on sale at Telecharge.com, (212) 239-6200. For more information, visit www.DraculaComedy.com.

Review By: Joseph B Mauceri

Listen to our interview with director & co-writer Gordon Greenberg & co-write Steve Rosen on creating DRACULA, A COMEDY OF TERRORS – HERE

[brokehorrorfan]

Little Monsters will be released on Blu-ray (with Digital) in Steelbook packaging on March 5 exclusively at Walmart for $19.96. Other than the packaging, the disc is identical to Lionsgate's Vestron Video release from 2020.

The 1989 comedy film is directed by Richard Greenberg and written by Terry Rossio & Ted Elliott (Aladdin, Pirates of the Caribbean: The Curse of the Black Pearl). Fred Savage, Howie Mandel, Daniel Stern, Margaret Whitton, Frank Whaley, and Rick Ducommun star.

Vance Kelly designed the Steelbook art. Special features are listed below, where you can also see the interior layout.

Special features:

Audio commentary by Cult of Monster editor-in-chief Jarret Gahan

Isolated score selections and audio interview with composer David Newman

Interview with actor Howie Mandel

Interview with producer Andrew Licht

Interview with special makeup effects creator Robert Short

Vintage interviews with director Richard Alan Greenberg, actors Fred Savage and Ben Savage, special makeup effects creator Robert Short

Behind-the-scenes footage

Howie Mandel makeup transformation footage

EPK & VHS promo

Theatrical trailer

Still gallery

Little Monsters is the story of Brian (Fred Savage), a sixth-grader who’s recently moved to a new town and made friends with Maurice (Howie Mandel) – the monster who lives under Brian’s bed! Maurice introduces Brian to the world of monsters, where junk food rules, adulters aren’t allowed, and the fun and games never end. But when Brian’s brother is kidnapped, it’s time for Brian to get serious and fight the monsters on their turf.

[brokenpiecesshine]

Andy Biersack on Instagram, 09/06/2023.

BLACK VEIL BRIDES FEATURING VV ‘TEMPLE OF LOVE’ -SISTERS OF MERCY COVER NOW STREAMING ON ALL DIGITAL MUSIC PLATFORMS Director: Justin Slade McClain Prod Co: Grey Matters Producer: Chris Pluchar DP: Deangelo Harding  Editor: Andrew Wilsak  MUA: Nicole Hernandez AMUA: Morgan McVay Color Grade: RKM Studios Art Director: C.J. Mora  1st AC: Tevin Texiera  1st AC: Marques Mallare  Gaffer: Eric Thompson  BBE: Andrew Garrett KG: Will Greenberg BBG: Simeon Mihaylov  Camera Gear: Nienhuis Camera Service Lighting Gear: Illuminar  Dancers: Choreography: Brittany DeWeese Dancers: Brittany DeWeese, Hetehya Russo, Kieana Chisolm, Samantha Steiniger, Julie Hackett, Lindsey C. Garcia @spinefarmrecords