#kathy loomis

[medium-observation]

FEBRUARY RELEASE

Beetlejuice - First US National Tour

January 21, 2024 - Medium Observation

Video | Matinée

Cast:

Justin Collette (Beetlejuice), Larkin Reilly (u/s Lydia Deetz), Megan McGinnis (Barbara Maitland), Matthew Michael Janisse (s/w Adam Maitland), Jesse Sharp (Charles Deetz), Sarah Litzsinger (Delia Deetz), Hillary Porter (Miss Argentina), Abe Goldfarb (Otho), Brian Vaughn (Maxie Dean), Lexie Dorsett Sharp (s/w Maxine Dean/Juno), Haley Hannah (s/w Girl Scout), Ryan Breslin (s/w Ensemble)

Notes:

Excellent video of Larkin and Matthew as Lydia and Adam respectively. Minimal washout with very little to no obstruction.

NFT DATE: August 1st, 2024

Screenshots:https://flic.kr/s/aHBqjBbtWz

Video is $20

Moulin Rouge! The Musical - First US National Tour

January 6, 2024 - Medium Observation

Video | Matinée

Cast:

Mark Doyle (u/s Christian), Arianna Rosario (alt Satine), Robert Petkoff (Zidler), Kevyn Morrow (e/c Toulouse), Andrew Brewer (Duke), Danny Burgos (Santiago), Sarah Bowden (Nini), Harper Miles (La Chocolat), Nicci Claspell (Arabia), Max Heitmann (Baby Doll), Kamal Lado (Pierre), Sam J. Cahn, Darius Crenshaw, Jimena Flores Sanchez, Tommy Gedrich, Cameron Hobbs, Tamrin Goldberg (s/w), Pepe Munoz (s/w), Tanisha Moore, Brayden Newby, Elyse Niederee, Kent Overshown, Stefanie Renee Salyers, Adéa Michelle Sessoms, Preston Taylor

Notes:

Absolutely perfect video of Mark, Arianna and Kevyn as Christian, Satine and Toulouse respectively! Zero obstruction, minimal washout.

NFT DATE: August 1st, 2024

Screenshots:https://flic.kr/s/aHBqjB9sf1

Video is $20

Wicked - Second US National Tour (Munchkinland)

January 28, 2024 - Medium Observation

Video

Cast:

Olivia Valli (Elphaba), Celia Hottenstein (Glinda), Colin LeMoine (u/s Fiyero), Timothy Shew (The Wizard), Kathy Fitzgerald (Madame Morrible), Tara Kostmayer (Nessarose), Kyle McArthur (Boq), Boise Holmes (Doctor Dillamond), Mitchell Tobin (Chistery), Jane Brockman (Midwife), Alexia Acebo (Witch's Mother), Wayne Schroder (Witch's Father / Ozian Official), Jennifer Mariela Bermeo (Ensemble), Remmie Bourgeouis (Ensemble), Sean Burns (Ensemble), Jōvan Dansberry (Ensemble), Matt Densky (Ensemble), Marie Eife (Ensemble), Jenny Florkowski (s/w Ensemble), David Kaverman (s/w Ensemble), Lauren Leach (Ensemble), Megan Loomis (Ensemble), Madison Claire Parks (Ensemble), Jackie Raye (Ensemble), Kat Rodriguez (Ensemble), Anthony Santos (Ensemble), Derek Schiesel (Ensemble), Tregoney Shepherd (Ensemble), Brett Stoelker (Ensemble), Maggie Van Wieringen (Ensemble)

Notes:

Fantastic video of Colin Fiyero! Some readjusting throughout, minimal washout. 

NFT DATE: August 1st, 2024

Screenshots:https://flic.kr/s/aHBqjBcqfY

Video is $20

Videos can be purchased through me at mediumobservationtrading@gmail.com

[softearz]

𝑀𝐴𝑆𝑇𝐸𝑅𝐿𝐼𝑆𝑇. ౨ৎ

return to navigation! welcome to kathy's masterlist!

𝐸𝑉𝐸𝑁𝑇𝑆.

nineteen eighty nine — the anthology

𝐹𝑅𝐼𝐸𝑁𝐷𝑆.

rachel green. joey tribbiani. chandler bing. monica geller. phoebe buffay. ross geller.

𝐻𝐴𝑅𝑅𝑌 𝑃𝑂𝑇𝑇𝐸𝑅.

draco malfoy. harry potter. ron weasley. hermione granger. luna lovegood.

𝑀𝐴𝑅𝑉𝐸𝐿.

peter quill. peter parker. wanda maximoff. loki laufeyson. pietro maximoff. scott lang. natasha romanoff. gamora.

𝑿-𝑴𝑬𝑵.

wade wilson. peter maximoff. logan howlett. jean grey. kurt wagner. storm. rogue. hank mccoy. scott summers. mystique. charles xavier. erik lehnsherr

𝑆𝐶𝑅𝐸𝐴𝑀.

stu macher. billy loomis. tara carpenter. sam carpenter. quinn bailey.

𝑆𝑇𝑅𝐴𝑁𝐺𝐸𝑅 𝑇𝐻𝐼𝑁𝐺𝑆.

eddie munson. chrissy cunningham. robin buckley. nancy wheeler. steve harrington.

𝐸𝑈𝑃𝐻𝑂𝑅𝐼𝐴.

cassie howard. maddy perez. eliott.

𝑇𝐻𝐸 𝐹𝐴𝐿𝐿 𝐺𝑈𝑌.

colt seavers. tom ryder. jody moreno.

𝑀𝐼𝑆𝐶. 𝐶𝐻𝐴𝑅𝐴𝐶𝑇𝐸𝑅𝑆.

owen grady. willy wonka. jake peralta. karen smith. regina george. joe goldberg. guinevere beck. cady heron.

[dweemeister]

Are You There God? It’s Me, Margaret. (2023)

According to the American Library Association, there were over 1,200 challenges to remove library books or resource materials from an American school or public library in 2022. It was the highest number since the ALA started collecting data in 2003 and about half of these challenges result in a restriction or full removal of that text from circulation. Judy Blume’s Are You There God? It’s Me, Margaret. was one of the most frequently challenged books in the United States from its publication in 1970 through the 2000s due to its discussions of spirituality, girls’ sexuality, and menstruation. The recent book banning headlines in America tend to feature novels that have LGBTQ+ themes or have protagonists and/or prominent secondary characters who are non-white in tales surrounding racial relations. These contemporary debates might make the fury surrounding Are You There God? It’s Me, Margaret. seem quaint, in a culture far removed from the present. However, Blume’s book (and the debate surrounding it) remains relevant more than fifty years after its publication.

Perhaps it might surprise non-readers that Kelly Fremon Craig’s adaptation of Are You There God? It’s Me, Margaret. (henceforth, I will use simply Margaret in italics if referring to the book) is a gentle coming-of-age film in an environment sorely lacking such works right now. The lack of overly precocious children with a cynical wisecrack for every situation has few relations among its raunchy relatives of the last few decades; so too the absence of the meta humor and period-specific jokes of John Hughes’ (1984’s Sixteen Candles, 1985’s Ferris Bueller’s Day Off) movies. That cynical precociousness and audience-winking, period-specific humor could easily have appeared in Margaret if Craig, who also wrote the screenplay, made too many deviations from the source material. With Blume’s guiding hand as a producer, Craig’s as writer, and an enjoyable ensemble performance – especially Abby Ryder Fortson as Margaret – this is a worthy adaptation and entry into the American coming-of-age film canon.

Returning home to Brooklyn from a New England summer camp, eleven-year-old Margaret Simon (Fortson) is upset to hear that her parents Barbara (Rachel McAdams) and Herb (Benny Safdie) are soon to move to suburban New Jersey, leaving grandmother Sylvia (Kathy Bates) alone in New York. Shortly after arriving at the Simons’ new home, Margaret befriends eventual classmate Nancy Wheeler (Elle Graham), and her friends Janie Loomis (Amari Alexis Price) and Gretchen Potter (Katherine Kupferer). Through the school year, the girls will gossip about their classmates, talk about boys who catch their interest, bras, changes to their bodies, and more – the manner of their conversations, for middle school-aged characters, are unusual to see in films, let alone in literature. Meanwhile, their teacher, Mr. Benedict (Echo Kellum) assigns a yearlong research project to all. Noting Margaret’s answers on a getting-to-know-you assignment, he suggests looking into religion. That’s a touchy subject in the Simon household. Mother Barbara comes from a Christian family; father Herb from a Jewish family. Due to furious disagreements with Margaret’s grandparents, neither parent actively practices religion, nor have they imposed religion upon Margaret (she is free to choose when she “grows up”). Despite this, Margaret communicates to God on occasion about her hopes and concerns. Through the school year, Margaret will learn more about herself and religion, mostly on her terms.

Are You There God? It’s Me Margaret. also stars Isol Young as Laura Danker, a girl who is the target of nasty words because of her early puberty; Aidan Wotjak-Hissong as Margaret’s sort-of crush, Moose (I certainly hope that is a nickname); Landon S. Baxter as Nancy’s brother, Evan; Zackary Brooks as slick-haired handsome boy/shmuck Philip Leroy; and Kate MacCluggage as Mrs. Jan Wheeler (also PTA President). Mia Dillon and Gary Houston play Margaret’s maternal grandparents.

In terms of approach and tone, this is as finely-tuned a literary adaptation as there could be. Blume’s Margaret, slender as it is at under two hundred pages, is episodic by necessity and structure, often employing time skips of several days or a few weeks into a new chapter. Craig’s Margaret does so as well, but brief montages and editing from Nick Moore (1997’s The Full Monty, 2005’s Nanny McPhee) and Oona Flaherty ease the transitions – fully exemplifying one advantage motion pictures have over prose. The period detail in Margaret firmly grounds it in 1970. Together, the costume design by Ann Roth (1985’s Places in the Heart, 2021’s Ma Rainey’s Black Bottom) and production design by Steve Sakald (2005’s Thank You for Smoking, 2021’s Barb and Star Go to Vista Del Mar) transport the viewer to that period.

This adaptation contains a refreshing lack of major deletions from the original novel. All of the book’s important episodes, exchanges, ideas, and tender wisdom are in the film, and none of the secondary cast have been short-changed. If anything, the only notable alteration from Blume’s novel is the addition of a subplot for Rachel McAdams’ Barbara. Within this cast, McAdams is easily the most bankable movie star at present (with apologies the wonderful Kathy Bates, but her character is not as central to the narrative), which may have been the justification for this decision. Nevertheless, the subplot – which revolves around Barbara joining the school’s parent-teacher association (PTA) and volunteering for multiple committees – seems unnecessary, sidetracking from Margaret’s point of view (and Blume’s book is entirely written in Margaret’s voice). Thankfully, Barbara’s PTA experience does not have much screentime and always quickly reverts to Margaret. That the filmmakers did not fully trust Abby Ryder Fortson to carry an adult audience’s attention for the film’s entirety is disappointing, regardless of McAdams’ solid performance, as she needs to be the true star of this film.

Audiences may know Abby Ryder Fortson best as Cassie Lang from Ant-Man (2015) and its 2018 sequel. In her first film as the lead, Fortson is brilliant. She embodies Margaret’s guardedness and anxiety when first moving to New Jersey, especially in juxtaposition to the overly confident Nancy. Fortson also capture Margaret’s earnestness, as well as a few scenes of cruelty and thoughtlessness – crucially, Margaret’s worst moment feels plausible, and never seems as if the behavior is coming from some other character entirely. However, Craig’s screenplay, due to its inability to stay firmly in Margaret’s point of view, underserves her in the film’s final act when her maternal grandparents arrive. By no fault of Fortson’s, the film does not delve deeply enough into how Margaret feels about her maternal grandparents’ estrangement and attempts to reconcile with her parents. Fortson can only do so much in lending Margaret a mix of bafflement and uncertainty in these scenes in arguably the most emotionally charged scenes of the film. Here, the film is torn between Margaret’s feelings about her maternal grandparents and parents’ disagreements and how parental decisions can impact children for the rest of their lives. It achieves neither.

I have never been a teenage girl, nor was I raised in an environment where any of the Abrahamic religions were even tangentially part of my life (let alone being part of an interfaith family). Judy Blume probably did not have someone like me principally in her mind when she wrote her book. But in Margaret, I saw a glimmer of the past that I imagine many of you will see for yourselves, too. The incredible awkwardness of being a pre-teen is probably something you, the reader, would probably like to keep half-forgotten. Rare is the film that can summon those feelings: of wanting to grow up (and quickly!), only to realize that those milestones that we associate with maturity are perhaps not as earthshaking as we imagined them to be. True maturation is more elusive than what Margaret and her friends envision. Religion, the passage of time, and sexuality cannot confer it. And some grown-ups never quite discover that. Fortson, through her performance, and Craig’s screenplay deliver on all of this, even if Fortson herself might not realize it yet.

At eighty-five years of age, Judy Blume has had a modest cinematic renaissance this year. Her books, fixtures in American children’s and young adult literature, have curiously not often been adapted for television or film. But with this film and the documentary Judy Blume Forever premiering at the Sundance Film Festival earlier this year, that appears to be changing. On the television front, Netflix is currently in production on an adaptation of her young adult novel Forever… (another Blume work often finding itself on most banned/challenged book lists); also in the pipeline are TV adaptations of the Fudge series for children and the adult book Summer Sisters. For the New Jersey-born-and-raised Key West, Florida native, conversations about her legacy are underway. Despite her unassuming persona and the gentleness of both Margaret and its film adaptation, Blume has been a vocal critic of Florida’s recent Parental Rights in Education bill (also known as the “Don’t Say Gay” bill) and requirements to review books based on state guidelines mostly over gender identity, race, and sex. No surprise for an author who has been the target of book bans from almost the beginning of her career.

Are You There God? It’s Me, Margaret. arrives at a time when coming-of-age movies are, at least among the major and mini-major (such as Lionsgate, which distributed this film) American movie studios, no longer perceived as commercially viable for theatrical exhibition. Coming-of-age movies must be packaged within a superhero movie or tied to a franchise in order to find its way to American cinemas. The creative and financial heads of the superhero cinematic universes claim that their narratives can encompass genres/subgenres such as coming-of-age or political thrillers or historical epics, but their approach and distributional dominance precludes non-superhero affiliated films of such genres/subgenres from appearing in theaters in the first place. Their influence makes the existence of this film’s theatrical run – despite its apparent failure to find much of an audience beyond those who have read the book (non-readers of certain political stripes probably mistakenly thought this was a faith-based film from the evangelical Christian film industry or already knew about the book’s reputation and refused to see it) – a minor miracle.

Director Kelly Fremon Craig has worked on a coming-of-age film before surrounding a female protagonist in The Edge of Seventeen (2016). But Margaret – for its remarkable faith to the source material, engaging performances, and meticulous period detail – is an achievement surpassing that. Craig’s sensibilities as director and writer suit the film, and Fortson’s performance elevates it to the level of the most universal American coming-of-age movies.

My rating: 8/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

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

[lunaraindrop]

tag 9 people you want to get to know better. tagged by the magical @cpmhew 💖

3 ships: Steddie, Queliot, Margo/Fen

First ship ever: Oh God, that is tough. Umm...I think Serena/Darien aka Usagi/Mamoru from Sailor Moon? Maybe Belle/Beast|Prince Adam. I have had quite a few ships, and was even a hopeless romantic as a child.

Last Movie: Here's a secret, kind folks.

Come close.

Closer.

Hi! 👋 My name is Luna, and the last movie I have probably watched for me in full was probably at Christmas (Love Actually, it is a tradition, and I'm a romantic at heart.) . Most of the things I "watch" are educational videos for preschoolers (I'm a preschooler teacher), something for professional development, clips of movies, and videos that are no longer than five minutes unless I binge-watch shows over some weekends (thank you streaming services). What was the last thing I watched over five minutes for myself? Ducktales. Woo-hoo

Last song: River- Bishop Briggs

Currently reading:

Fic: Stay A Little Longer (Stay A Little Longer With Me) by literaldisneyprincess 💗💗💗

Non Fic: The GIANT Encyclopedia of Lesson Plan Ideas by Kathy Charner

Currently watching: Scream 2 (1997) All Mrs. Loomis Scenes on YouTube. This is for research for a character. No, not a psychotic mother. No no. Laurie Metcalf is one of the two who I picture when I think of Steve Harrington's mom. The other is Christine Baranski, or some crazy mash-up of the two.

Currently consuming: grande chai with soy milk. I can't properly digest lactose, and hate coffee 🤷‍♀️

Currently craving: Wait, is this supposed to be about food? I did crave chai earlier, and, well...☕️ Other cravings? Really soft and hot Steddie fics. My Q voice to come back to finish fics. And maybe something potato

Tags: I'm tagging @zelmane @allegria23 @domsaysstuff @frankenstein-ate-my-left-shoe @mhbills92 @orchardsinsnow @princessstevemunson and really anyone that wants to do it idk

[ulkaralakbarova]

With a serial strangler on the loose, a bookkeeper wanders around town searching for the vigilante group intent on catching the killer. Credits: TheMovieDb. Film Cast: Kleinman: Woody Allen Prostitute: Kathy Bates Student Jack: John Cusack Irmy: Mia Farrow Prostitute: Jodie Foster Hacker’s Follower: Fred Gwynne Clown: John Malkovich Alma: Julie Kavner Marie: Madonna Magician: Kenneth Mars Eve: Kate Nelligan Doctor: Donald Pleasence Prostitute: Lily Tomlin Mr. Paulsen: Philip Bosco Spiro’s Assistant: Robert Joy Simon Carr: Wallace Shawn Vogel’s Follower: Kurtwood Smith Priest: Josef Sommer Hacker: David Ogden Stiers Cop at Police Station: John C. Reilly Woman with Baby: Eszter Balint Vigilante: James Rebhorn Roustabout: Richard Riehle Cop: William H. Macy Undesirables Onlooker: Fred Melamed Killer: Michael Kirby Vigilante: Victor Argo Vigilante: Daniel von Bargen Landlady: Camille Saviola Dwarf: Tim Loomis Fat Lady: Katy Dierlam Strongman: Dennis Vestunis Prostitute: Anne Lange Student: Andy Berman Student: Paul Anthony Stewart Student: Thomas L. Bolster Police Chief: Greg Stebner Cop at Police Station: Peter Appel Cop at Police Station: Brian Smiar Cop at Police Station: Michael P. Troy Cop at Police Station: Remak Ramsay Cop at Police Station: Ron Turek Bartender: Peter McRobbie Cop with Priest: Ira Wheeler Baby: Rebecca Gibson Hacker’s Follower: Robert Silver Spiro: Charles Cragin Vigilante with Spiro: Tom Riis Farrell Vigilante with Spiro: Ron Weyand Roustabout: Max Robinson Film Crew: Additional Casting: Todd M. Thaler Casting: Juliet Taylor Writer: Woody Allen Producer: Robert Greenhut Assistant Editor: Mark Livolsi Costume Design: Jeffrey Kurland Production Coordinator: Helen Robin Executive Producer: Charles H. Joffe Executive Producer: Jack Rollins Editor: Susan E. Morse Hairstylist: Romaine Greene Assistant Art Director: W. Steven Graham Casting Associate: Laura Rosenthal Supervising Sound Editor: Robert Hein Director of Photography: Carlo Di Palma Gaffer: Ray Quinlan Sound Designer: Dan Sable Foley Artist: Brian Vancho Set Decoration: George DeTitta Jr. Assistant Costume Designer: Donna Zakowska Production Sound Mixer: James Sabat Production Design: Santo Loquasto Assistant Sound Editor: Stuart Levy Co-Producer: Joseph Hartwick Sound Re-Recording Mixer: Lee Dichter Construction Coordinator: Ron Petagna Key Scenic Artist: James Sorice Production Assistant: Robert C. Albertell Makeup Artist: Bernadette Mazur First Assistant Director: Thomas A. Reilly Art Direction: Speed Hopkins Property Master: James Mazzola Assistant Production Coordinator: Ilyse A. Reutlinger Still Photographer: Brian Hamill Standby Carpenter: Joseph A. Alfieri Jr. Scenic Artist: Cosmo Sorice Set Dresser: Dave Weinman Assistant Camera: Michael Green Sound Recordist: Frank Graziadei Camera Operator: Dick Mingalone Script Supervisor: Kay Chapin Set Decoration: Amy Marshall Boom Operator: Louis Sabat Dolly Grip: Ronald Burke Key Grip: Robert Ward Wardrobe Supervisor: Patricia Eiben Second Assistant Camera: Michael Caracciolo Camera Trainee: David E. Baron Art Department Coordinator: Glenn Lloyd Second Assistant Director: Richard Patrick Assistant Editor: William Kruzykowski Transportation Captain: Peter Tavis Transportation Captain: Harold ‘Whitey’ McEvoy Production Assistant: Justin Moritt Wardrobe Supervisor: Bill Christians Foley Artist: Elisha Birnbaum Additional Casting: Judie Fixler Key Construction Grip: Vincent Guarriello Production Assistant: Danielle Rigby Projection: Carl Turnquest Best Boy Electric: Jim Manzione Costume Assistant: Lauren Gibson Assistant Art Director: Robert Perdziola Foley Editor: Lori Kornspun Assistant Art Director: Peter Eastman Location Scout: Megan Monaghan Assistant Art Director: Richard Michael Miller Apprentice Sound Editor: Yasmine Amitai Location Manager: James A. Davis Movie Reviews:

[jackstanleyroberts]

The Cast of the Extended Cut of the Scream franchise Part 1

Aloha everybody, sorry for the delay because i was starting part 1 of the storyline of the Extended Cut of the Scream franchise & i'll be starting part 2 soon. But the movies that i be sticking & start doing the Extended Cut is the fifth & sixth installments of the films. So here is part 1 of the cast of the Extended Cut of the Scream franchise.

Synopsis: Twenty-Five years since the murders that shocked the quiet town of Woodsboro, a new killer dons the Ghostface mask & targets a group of teenagers who is linked of the killings to resurrect the town's deadly past.

Scream (2022) (Extended Cut) Cast:

Neve Campbell as Sidney Prescott

Courtney Cox as Gale Weathers

David Arquette as Dewey Riley

Marley Shelton as Judy Hicks

Melissa Barrera as Sam Carpenter

Jenna Ortega as Tara Carpenter

Mason Gooding as Chad Meeks-Martin

Jasmin Savoy Brown as Mindy Meeks-Martin

Mikey Madison as Amber Freeman

Dylan Minnette as Wes Hicks

Sonia Ammar as Liv McKenzie

Kyle Gallner as Vince Schneider

Jack Quaid as Richie Kirsch

Daniel Sharman as Kurt Parker

Skeet Ulrich as Billy Loomis

Jack Roberts (me) as Terrence William "Terry" Watkins

Chosen Jacobs as Lawrence James "Larry" Watkins

Meg Donnelly as Lexi Hicks

Olivia Scott Welch as Wendy Hicks

Jacob Bertrand as William "Will" Hicks

Jackson Brundage as Frederick "Fred" Hicks

Emily Rudd as Carrie Tatum Riley-Weathers

Isabelle Fuhrman as Rebecca "Becca" Bishop

Braeden Lemasters as Matthew Bishop

Ysa Penarejo as Miranda Rodriguez

Joshua Bassett as Connor "Cash" Conway

Joey King as Yvonne Conway

Deja Monique Cruz as Laura "Lori" Sanchez

Yvette Monreal as Lorraine "Lynn" Sanchez

Cameron Gellman as Trent McCoy

Ryan Lee as Marty McCreary

Ross Lynch as Ronald "Rory" Williams

Samantha Boscarino as Elaine Williams

Jade Pettyjohn as Graceland "Grace" Prescott

Emily Meade as Elena Connors

Sophia Lillis as Grace-Lynn "Gracie" Moore

Kathryn Newton as Kathleen "Kathy" Williamson

Julia Rehwald as Katherine "Katie" Jones

Anjelica Bette Fellini as Dorothy Johnson

Bailee Madison as Riley Johnson

Stella Maeve as Nicole Kennedy

Lewis Pullman as Richard Jackson

Melissa Collazo as Isabella "Izzy" Yales

Hayden Byerly as Damian "Dame" Yales

Akiel Julien as Malik Hubar

Karan Brar as Craig Karbar

Odessa A'zion as Susan Winters

Violett Beane as Eleanor "Ellie" Winters

Madison Davenport as Gabrielle "Gabby" Stafford

Talitha Eliana Bateman as Yolanda Preston

Gabriel Bateman as Philip "Phil" Preston

Megan Stott as Kimberly "Kim" Watson

Charlie Plummer as Samuel Jonathan "Sam" Kincaid

Katherine Langford as Jennifer Annie "Jenny" Kincaid

Rachel Zegler as Emily Jones

Annalise Basso as Andrea Lewis

Jodelle Ferland as Joanna Thompson

Rachel Fox as Angela Stewart

Mackenzie Foy as Luna Stewart

Jimmy Bennett as Andrew "Andy" Anderson

Mickeey Nguyen as Sylvester Bradford

Jaeden Martell as Landon Andrews

Chester Tam as Officer Vinson

Reggie Conquest as Ferney, a Woodsboro police officer

Heather Matarazzo as Martha Meeks

Roger L. Jackson as the voice of Ghostface

There's more of the Extended Cut of the Scream franchise to come.

So Stay Tuned.

[magg0t-king]

My IRL friends: omg Jeffrey Dahmer is so hot! I want to make out with him. There's nothing wrong with it cause its just like kissing a nasty slasher-

Me:

[mermaidsirennikita]

I HAVE ANOTHER HORROR ASK who are your top tennn favorite horror villains or antagonists?

Aaaaaaah yes

Well, I won't miss her again so let's get the first one out of the way:

Elaine Parks--The Love Witch (2016). An absolutely wacky bitch. Totally horrendously deluded, a menace to society. I love her.

Red--Us (2019). First of all, a masterful performance. Second, obviously the best thing about this movie. On so many levels. Levels I cannot even fully get into because spoilers.

Pelle--Midsommar, (2019). I know it's a cliche to love Midsommar. But I do love Midsommar. And this guy! I mean I think he's definitely a member of a white supremacist cult, so like. Horrible guy. Hate him as a person. But I wonder about his motives a lot. Like. I fully believe that he was recruiting Dani to be his Zodiac sign bride. And he never stops being cheerful, which is the most horrifying.

Lucille Sharpe--Crimson Peak (2015). Love this broad. What a fucking loon. Easily the best part of the movie. All she wants to do is hop up on her brother's dick and use his wives for money. A bangin' Jessica Chastain performance, also.

The Shark--Jaws (1975). Would it surprise you that I watch Jaws as my 4th of July movie? Probably not. I love this shark... so much. This shark just wanted to eat people and move on, and everyone ruined their fun.

Billy Loomis--Scream (1996). As it turns out, I am also but a woman hiding within her teenage self, and my teenage self most def wanted Billy Loomis. It's fine.

Norman Bates--Psycho (1960). Sometimes you've gotta love the classics. Also, Anthony Perkins's performance is such a blueprint when you watch so many actors today. I am a sucker for a villain with an Oedipal complex because of this movie.

Jason Voorhees--Friday the 13th (1980-beyond, I mean is he the villain in the original idk but whatever). I think what's horrifying here is the child mind? Right? Like that's horrifying? Anyway I like his mask a lot.

Damien Thorn--The Omen (1976). Do I quote "it's all for you, Damien? It's alllll for yooooou" on a regular basis? Yes. Dude, is Damien even a villain? Is he a child who knows not what he does? We love the ambiguity.

Annie Wilkes--Misery (1990). Girl. GIRRRRRL. The acting Kathy gave us!!! Honestly, still mad that they tried to prequel her in Castle Rock because it just wasn't hitting the same for me.

[viewax]

Scary Horror Movie Quotes

If you are a fan of horror movies you may recognize a few of these classic lines. And, it doesn’t only have to be Halloween when you read them - you can enjoy them anytime.

“When there’s no more room in Hell, the dead will walk the Earth.” – Dawn of the Dead (1978)

“I met this 6-year-old child, with this blank, pale, emotionless face and the blackest eyes… the devil’s eyes. I spent eight years trying to reach him, and then another seven trying to keep him locked up because I realized what was living behind that boy’s eyes was purely and simply… evil.” — Dr. Sam Loomis (Donald Pleasance) in Halloween (1978)

“I am the devil, and I am here to do the devil’s work.” – The Devil’s Rejects (2005)

“They’re Heee-re.” – Poltergeist (1982)

“You start to play it and it’s like somebody’s nightmare. And then this woman comes on, smiling at you, right? Seeing you through the screen. Then when it’s over, your phone rings, someone knows you watched the tape and what they say is, ‘You will die in seven days.'” – The Ring (2002)

“You don’t need eyes for where we’re going.” – Event Horizon (1997)

“You can’t kill the Boogeyman.” – Halloween (1978)

“Where you gonna go, where you gonna run, where you gonna hide? Nowhere… ‘Cause there’s no one like you left.” – Body Snatchers (1993)

“Heeeeeeeeere’s Johnny!” The Shining (1980)

“I am your number one fan. There is nothing to worry about. You are going to be just fine. I am your number one fan.” — Annie Wilkes (Kathy Bates) Misery

“Whatever you do, don’t fall asleep.” — Nancy (Heather Langenkamp) A Nightmare on Elm Street (1984)

“A boy’s best friend is his mother.” — Norman Bates (Anthony Perkins) Psycho (1960)

“Be afraid… Be very afraid.” – The Fly (1986)

“The symbol is associated with a Pagan deity named Bagul. He consumes the souls of human children. The ancient church believed that Bagul actually lived in the images themselves and that they were gateways into his realm. Children exposed to these images were especially vulnerable to Bagul’s abductions.” – Sinister (2012)

“Meat’s meat, and a man’s gotta eat.” – Motel Hell (1980)

“I’m here to kick ass and chew gum, and I’m all out of bubblegum.” – Roddy Piper in They Live (1988)

“I see dead people” – The Sixth Sense (1999)

“1 – 2 – Freddy’s coming for you, 3 – 4 – Better lock your door, 5 – 6 – Grab your crucifix, 7 – 8 – Better stay up late, 9 – 10 – Never sleep again…” – A Nightmare on Elm Street (1984)

“Dr. Gordon, this is your wake-up call. Everyday of your working life you have given people the news that they’re gonna die soon. Now you will be the cause of death. Your aim in this game is to kill Adam. You have until six on the clock to do it. There’s a man in the room with you. When there’s that much poison in your blood, the only thing left to do is shoot yourself. There are ways to win this, hidden all around you. Just remember, X marks the spot for the treasure. If you do not kill Adam by six, then Alison and Diana will die, Dr. Gordon…and I’ll leave you in this room to rot. Let the game begin.” – Saw (2004)

“They’re coming to get you, Barbara.” – Night of the Living Dead (1968)

“You’re going to need a bigger boat.” – Jaws (1975)

“We all go a little mad sometimes.” – Psycho (1960) (Norman Bates)

For more great horror, check out www.viewax.com.

[lvaartebella]

Feature: The Value of Being Knocked Off Your Axis

Complacency is the enemy of creativity. The very real and honest expression that authentic artists require of themselves demands challenge and occasionally it is important to upset the apple cart a little bit in order to rediscover the muse.

A 2013 exhibit at The Patio Gallery in the Jewish Community Center illustrated the idea in pointed fashion. As curated by Stacey Reason, the show, which was titled Pairallels, was described as a “collaborative exchange” in its prospectus materials, a sharing of work in the form of a hand-off from one artist to another, with virtually no restriction on what the second artist would bring to the effort. The prospectus used the word “subtract” to suggest what might be allowable for one artist to do with another artist’s unfinished work, and what resulted in some instances was a complete deconstruction of the original piece, as well as a sharp lesson in how two different generations of artists tend to define the word collaboration.

Artists who contributed to Pairallels were Brandon Bass, Andy Cozzens, Sarah Duncan, Mallorie Embry, Linda Erzinger, Meghan Greenwell, Brandon Harder, Phillip High, Mary Dennis Kannapell, Shohei Katayama, Keith Kleespies, Sally Labaugh, Kathy Loomis, Kacie Miller, Karisssa Moll, Jacque Parsley, CJ Pressma, Kelly Rains, Lelia Rechtin, Alli Wiles, Jenny Zeller and Suzi Zimmerer.

Ms. Reason is a founding member of The Louisville Artist’s Syndicate, an ad hoc group of young and primarily visual artists whose mission is to inspire and promote networking between what they felt was a disparate collection of painters, sculptors, filmmakers, musicians and writers, all working in the Louisville area but lacking the connectivity necessary to accomplish greater things. The group, active at the time, has become dormant in the years since.

By contrast, an older generation of Louisville artists, many of them members of the informal “Artists’ Breakfast Group”, had for many years enjoyed a camaradarie and interconnectivity that might be a model of what the Syndicate hoped to foster among its core constituency: a flow of energy and understanding that makes it easier for creative individuals to support each other. The Patio Gallery’s director at the time, Bette Levy, had been a long-standing member of this group and invited Reason to mount her exhibit there.

In today’s creative culture, it is more difficult than ever to characterize any group of artists collectively as having a shared sensibility, but the more prominent members of the Syndicate were preoccupied with art that is of the moment: ephemeral, fluid, and at times limited in its concern for archival survival. Another exhibit that year at Spalding University’s Huff Gallery featured two Syndicate members, Andrew Cozzens and Brandon Harder, whose bold sculptural forms relied on the effect of the elements and the passage of time for their full impact. Some of the pieces, for all intensive purposes, existed only during the duration of the opening reception. A delicate assemblage of wires frozen in pieces of ice and suspended on string, for example, were allowed to slowly descend off of the string while they melted. What remained for the subsequent run of the exhibit were the underwhelming remnants of wire and string that lighted onto the gallery shelf beneath. What interests these artists is the specific process of change and deterioration, not a final, marketable, objet d' art. The approach is fascinating but it risks occupying the same place in the cultural memory as a good joke badly-retold: I guess you had to be there.

Whereas the breakfast group, for the most part, makes art in a more traditional context, paintings, prints, and sculptures created, at least in part, with an eye on the marketplace. Most have been doing this for many years, and their body of work can often define them in very specific terms, a signature style that might be immediately recognizable when you enter a gallery. Jacque Parsley's assemblages and C.J. Pressma’s photographic quilts are but two examples of art that is sought after by collectors and marketed at premium prices, reflecting the quality of the work and the esteem in which these artists are held.

Both are valid perspectives, but once artists from both pools were drawn into the Pairallels project, perhaps it was inevitable that some level of disagreement would follow. "My idea was to let the art speak for itself," explains Reason. "It was supposed to be about the object, but it wound up being entirely about the artist."  By design, there was no input between the individuals sharing the work, and apparently none of the artists saw the final results before the opening reception in June.

Among the breakfast group there were mixed reactions, including shock and outrage from a small number at what must have seemed a violation of their personal artistic integrity. In a few instances the piece from the first stage was physically deconstructed and enough parts discarded to render the source nearly unrecognizable. Elements were identifiable but the hand of the receiving artist might be said to have obliterated the original creative intent. Some tempers flared and some heads were scratched, mostly from within the breakfast group.

When, a few weeks later, there was an opportunity to sit down and talk it out, what was interesting was how much the conflict had turned into an opportunity for most of the participants. Creative types often like to indulge in a certain amount of denial that there is any gap between artists owing to generational differences, yet the reality of two distinct mind-sets about how visual artists approach their careers was obvious. During a meeting at one of the artist’s studios, the outrage was absent, replaced by an admission of recalcitrance from some, an expansion of perspective from others, and, arguably, enlightment all around. Some of the younger members spoke of the lack of attachment to the objects that they had fashioned and how they were sometimes excited to see the drastic alterations that had been employed once they passed off their work, while some in the breakfast group emphasized how they had chosen to dive into the project because, “...doing the same thing I had been doing”, wasn't good enough.

Coming away from the experience, the lessons may be as varied as the individual sensibilities that populate both groups of artists. Breakfast members had come together out of an attraction to build a social context for like-minded artists who were rarely critical but always supportive of each other, while the Syndicate reinforced an aesthetic that embraces the notion that being knocked a little bit off your axis is sometimes a healthy thing.

Four years later, Reason reflects back on Pairallels: “The project was a great learning experience for everyone involved, myself included. I had no idea what kinds of outcomes to expect, and what happened was far more than what I could have anticipated. The dialog that was created surrounding the project was very productive - it gave a fresh look at individual studio practices, reminded us all of our potentials, and pushed everyone out of their comfort zone, which invariably made us all more comfortable in our individual practices. It was very rewarding to serve as the catalyst of this conversation that I think is still being carried out today in some form or another. If nothing else, it brought together two important groups/generations of artists in Louisville that hadn't intersected before.”

Pairallels was on display June 16 through July 16, 2013, in The Patio Gallery at the Jewish Community Center, Louisville, KY.

Stacey Reason is now the Director of the Yeiser Art Center in Paducah, Kentucky.

This Feature article was written by Keith Waits. In addition to his work at the LVA, Keith is also the Managing Editor of a website, www.Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

Entire contents are copyright © 2017 Keith Waits. All rights reserved. Used with permission.

[harley-quinns-riddler]

#BookRecommendations 2019 in Review

#BookRecommendations 2019 in Review

2019 In Review

Welcome! Welcome! What a time! 2019 is coming to an end and that also brings the 2010s into retirement! With such an amazing year (and decade!) coming to a close, I figured I might as well do a recap of 2019s best books and some of my best books of the decade! So. Here. We. Go.

Best 19 of 2019: 1. Kevin Miller’s Water War & The Great Grain Elevator Incident In 2018 I was introduced…

[goldeagleprice]

Scholarships Available For ANA Summer Seminar 2020 Military Numismatics Class

There are scholarships available for the Military Numismatics Class being held the second week of ANA’s Summer Seminar, July 5-8, 2020. Below is a summary of the class.

“Allied Military 2 franc notes were secretly printed in the United States for the D-Day invasion of France. The notes were shipped to England and paid to the troops mere hours before the assault.

Collectors a thousand years from now will appreciate the importance of these notes. To hold one of them is to touch another time and to hold history in your hands. The number of military and emergency issues created as a result of World War II is vast and fascinating. Additionally, the issues are remarkably diverse in purpose, use, design, and production.

Because of the emergency circumstances that were common, most of the issues were paper, but coin issues were also created. Both are included in the course. Because of the vastness of the material a case study approach is used. Many different issues are covered at varying depths to represent the greater universe of issues. United States Military Payment Certificates, Allied military currency, and Japanese Invasion Money are covered in depth.

Remarkably, most of these issues pose many questions and mysteries making for fascinating studies that range from introductory discussions to cutting edge research.”

Costs Covered: The award of a scholarship carries a maximum value of $1120 (USD.) Applicants must register by April third or they will pay an additional $50.

This scholarship covers tuition which includes the class, a room in Loomis Dormitory (double occupancy) for five nights (Saturday to Wednesday), all meals, and free airport shuttles picking up and returning Seminar students to the Colorado Springs Airport.

The scholarship does not cover transportation to and from Colorado Springs or airport shuttles to and from Denver. Anyone awarded a scholarship will be required to join the ANA at the individual expense if not already a member. A one-year basic membership is $28 with an online magazine.    

To apply for a scholarship, submit the following information to Military Numismatists Scholarship, c/o Dan or Kathy Freeland, PO Box 195, Mayville, MI 48744, U.S.A. or ksfdaf@sbcglobal.net.

Name Address Phone Number E-mail address

Numismatic clubs in which you participate (include leadership positions held)

Significant numismatic exhibits (and awards)

Significant numismatic publications (and awards)

Explain your interest in military numismatics.

What do you hope to gain from attending this seminar?

Describe contributions you can make to the success of the class.

The post Scholarships Available For ANA Summer Seminar 2020 Military Numismatics Class appeared first on Numismatic News.

[lularoebriellekruger-blog]

You guys! I have be best people in my life! We have been working all day in the yard, & the UPS guy stopped by, but I didn't open it until we were done working (my reward)😁 Kathy saw this and thought of me! I LOVE ❤️ it!!! Thank you so much!! Xoxo- Brielle (at Loomis, California)

[hollywoodages-blog]

Katherine Waterston Height Weight Measurements

New Post has been published on http://hollywoodages.com/katherine-waterston-height-weight-measurements/

Katherine Waterston Height Weight Measurements

Katherine Waterston Biography

Katherine Boyer Waterston born March 3, 1980 is an American performing artist. She influenced her element to film make a big appearance in Michael Clayton (2007). She at that point had supporting parts in films including Robot and Frank, Being Flynn (both 2012) and The Disappearance of Eleanor Rigby: Her (2013) preceding her leap forward execution as Shasta Fay Hepworth in Paul Thomas Anderson’s Inherent Vice (2014). In 2015, she depicted Chrisann Brennan in Steve Jobs. She had featuring parts in the Harry Potter turn off, Fantastic Beasts and Where to Find Them (2016), and Alien: Covenant (2017). Katherine Boyer Waterston was conceived March 3, 1980 in Westminster, London, the little girl of American guardians, Lynn Louisa, a previous model, and Sam Waterston, an Oscar-named performer. Her sister is performing artist Elisabeth Waterston and her sibling is executive Graham Waterston. She additionally has a relative, James Waterston, likewise an on-screen character. She moved on from the Loomis Chaffee School in 1998. She earned her BFA in Acting from Tisch School of the Arts at New York University. In 2007, Waterston performed in the play Los Angeles by Julian Sheppard and in 2008, she performed in the play Kindness by Adam Rapp. In 2010, Waterston assumed the part of Gena in the first Off-Broadway generation of Bachelorette, played in the 2011 film form by Lizzy Caplan. In 2011, she played Anya in the Classic Stage Company restoration of The Cherry Orchard. Likewise in 2011, she performed in Dreams of Flying, Dreams of Falling, additionally by Adam Rapp at the Classic Stage Company. See Katherine Waterston Height Weight & Filmography List Below.

Katherine Waterston Personal Info.

Full Name: Katherine Boyer Waterston

Nick Name: Kathy

Family: Sam Waterston (Father) Lynn Louisa Woodruff (Mother) Elisabeth Waterston (Older Sister) James Waterston (Older Half Brother) Graham Waterston (Older Brother) Alice Tucker Atkinson (Paternal Grandmother) George Chychele Waterston (Paternal Grandfather) Elizabeth Bispham Page (Paternal Great Grandmother) Robert Whitman Atkinson (Paternal Great Grandfather) George Waterston (Paternal Uncle) Roberta Waterston (Paternal Aunt) Ellen Waterston (Paternal Aunt)

Education: She completed a Bachelor’s degree in Fine Arts from Tisch School of the Arts at the New York University.

Date of Birth: 3rd March, 1980

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Birthplace: Westminster, London, England, United Kingdom

Zodiac Sign: Pisces

Religion: Religious beliefs are not known.

Ethnicity: White

Nationality: American

Profession: Actress

Measurements: 34-24-33 in or 86-61-84 cm

Bra Size: 32B

Height: 5′ 11½” (182 cm)

Weight: 128lbs (58 kg)

Eye Color: Brown – Light

Hair Color: Brown – Dark

Dress Size: 2

Shoe Size: 7.5

Boyfriend/Dating History: Not Know

Known For: The Babysitters, Michael Clayton, Inherent Vice, Fantastic Beasts and Where to Find Them, Sam Waterston’s daughter

Active Year: 2004 (present)

Film

Year Title 2007 Michael Clayton The Babysitters 2008 Good Dick 2009 Taking Woodstock 2011 Almost in Love Enter Nowhere 2012 Robot & Frank Being Flynn The Letter The Factory 2013 Night Moves The Disappearance of Eleanor Rigby: Her 2014 Are You Joking? Inherent Vice Glass Chin 2015 Sleeping with Other People Queen of Earth Steve Jobs Manhattan Romance 2016 Fantastic Beasts and Where to Find Them 2017 Alien: Covenant Logan Lucky The Current War 2018 State Like Sleep Fluidic Mid-90s Fantastic Beasts: The Crimes of Grindelwald

Television

Year Title 2012–2013 Boardwalk Empire

 See Also : Allison Williams Body Measurements

Katherine Waterston Height Weight Search Terms:

Katherine Waterston Age. Katherine Waterston Actress. Katherine Waterston Height Weight. Katherine Waterston All Movies. Katherine Waterston Bio. Katherine Waterston Dad. Katherine Waterston Height Weight. Katherine Waterston Date Of Birth. Katherine Waterston Films. Katherine Waterston Father. Katherine Waterston Facebook. Katherine Waterston Height. Katherine Waterston Height Weight. Katherine Waterston Relationship. Katherine Waterston Sister. Katherine Waterston Twitter. Katherine Waterston Tv Shows. Katherine Waterston Tv. Katherine Waterston Height Weight. Katherine Waterston Wiki.

[ulkaralakbarova]

Strange things begin to occurs as a tiny California coastal town prepares to commemorate its centenary. Inanimate objects spring eerily to life; Rev. Malone stumbles upon a dark secret about the town’s founding; radio announcer Stevie witnesses a mystical fire; and hitchhiker Elizabeth discovers the mutilated corpse of a fisherman. Then a mysterious iridescent fog descends upon the village, and more people start to die. Credits: TheMovieDb. Film Cast: Stevie Wayne: Adrienne Barbeau Father Malone: Hal Holbrook Kathy Williams: Janet Leigh Nick Castle: Tom Atkins Elizabeth Solley: Jamie Lee Curtis Sandy Fadel: Nancy Kyes Andy: Ty Mitchell Mr. Machen: John Houseman Dick Baxter: James Canning Dan O’Bannon: Charles Cyphers Al Williams: John F. Goff Tommy Wallace: George Buck Flower Mrs. Kobritz: Regina Waldon Dockmaster: Jim Haynie Mel: Darrow Igus Bennett: John Carpenter Dr. Phibes: Darwin Joston Ashcroft: Fred Franklyn Grocery Clerk: John Strobel Ghost: Tommy Lee Wallace Ghost: Lee Socks Ghost: Ric Moreno Blake: Rob Bottin Blake (voice): Charles Nicklin Blonde Girl on Bleachers (uncredited): Debra Hill Film Crew: First Assistant Director: Larry J. Franco Director of Photography: Dean Cundey Producer: Debra Hill Original Music Composer: John Carpenter Producer: Barry Bernardi Executive Producer: Charles B. Bloch Producer: Pegi Brotman Editor: Charles Bornstein Production Design: Tommy Lee Wallace Art Direction: Craig Stearns Costume Design: Stephen Loomis Costume Design: Bill Whitten Sound Designer: William L. Stevenson Stunt Driver: James Winburn Production Accountant: Donald P. Borchers Assistant Art Director: Randy Moore Second Assistant Director: Jim Van Wyck Camera Operator: Raymond Stella Script Supervisor: Jeanne Rosenberg Sound Re-Recording Mixer: Richard Tyler Assistant Editor: Joe Woo Jr. Boom Operator: Joseph F. Brennan Makeup Effects: Rob Bottin Supervising Sound Editor: Gregg Barbanell Sound Effects Editor: Frank Serafine Makeup Artist: Erica Ueland Hairstylist: Tina Cassady Makeup Artist: Dante Palmiere Makeup Artist: Edward Ternes Sound Re-Recording Mixer: Bob Minkler Sound Re-Recording Mixer: Ray West Supervising Sound Editor: Ron Horwitz Special Effects: Richard Albain Jr. Gaffer: Mark Walthour Unit Publicist: Ed Pine Unit Publicist: Katy Sweet Sound Mixer: Craig Felburg Grip: David Michels Title Designer: Burke Mattsson Key Grip: Ben Haller Stunts: Mags Kavanaugh Movie Reviews: John Chard: 00:00: 21st April, 1980. The Fog is directed by John Carpenter who also co-writes the screenplay with Debra Hill. It stars Adrienne Barbeau, Tom Atkins, Janet Leigh, Hal Holbrook, Jamie Lee Curtis and Nancy Loomis. Carpenter also scores the music and cinematography is by Dean Cundey. The Californian fishing town of Antonio Bay is preparing to celebrate its 100 year anniversary. As the clock ticks past midnight strange events start to occur around the town, it seems that the town has a secret and that secret is back to make a point… Not as praised as Halloween and The Thing from John Carpenter’s early horror output, The Fog sees the director tackle the ghost story premise. For many who lapped it up back when the 80s began, it still enthrals and holds in its eerie vice like grip, for others in this desensitised age of gore and cgi overkill, it proves to be a film unable to justify the love poured on it by the fans. Which is a shame. Being able to appreciate the craft of John Carpenter back in 1980 certainly helps to avert some harsh criticisms thrown its way, because Carpenter has achieved, pound for pound, a better ghost story on a fraction of the budget afforded big Hollywood genre productions that have been made since. That’s not to say it’s perfect, for it’s not, Carpenter himself has never been wholly satisfied with the final film, this even after re-shooting a third of the film after originally making a picture reliant on suggestion over presence, but with some smoke machines, a synthesiser, a game cast and a spooky revenge story on the page, he’s made a sub-genre classic. Carpenter has so...

[mrlongkgraves]

Violence against nurses remains a big problem

Violence against nurses and other healthcare professionals continues to be an ongoing problem, with assault cases and legislation to address the matter making headlines in recent months.

For instance, Massachusetts state lawmakers were scheduled to hold a hearing at the State House on July 11 on legislation that will strengthen the penalties for assaulting a healthcare worker while also streamlining how victims of healthcare workplace violence are able to use the justice system, according to an article by PR Newswire.

The bill – S.765/H.795 – will increase the penalty for assaulting RNs, emergency medical technicians and other healthcare providers from a misdemeanor to a felony, punishable by either up to two-and-a-half years in jail or not more than five years in state prison, according to the article.

“Healthcare professionals are being assaulted at a rate four times greater than those working in other industries,” said Donna Kelly-Williams, RN, president of the Massachusetts Nurses Association, according to the PR Newswire article. “Fear of violence and actual violence is rampant in Massachusetts healthcare facilities. An assault on a nurse is a serious action and should be taken seriously by our judicial system.”

Violence against nurses results in lawsuit

And last month, news media outlets reported that four nurses are suing an Illinois corrections officer after a prison inmate gained control of his gun and used it to escape and then rape a nurse, according to a Medscape article published online June 8.

Delnor Hospital in Geneva, Ill., was the location of the altercation where on May 13, 2017, Tywon Salters, a 21-year-old prison inmate was being treated. The Kane County officer, Shawn Loomis unshackled Salters so he could use the restroom at which point he took the officer’s gun and two nurses hostage. The article stated that Officer Loomis allegedly ran away and hid in another room.

According to the article, during a May 25 press briefing, Sean Murray, the nurses’ attorney, “What we’re largely concerned with is this never should have happened. There never should have been that opportunity. ….I’d like to know why the officer went in the other room and closed the door, and didn’t take any further action to subdue the gunman, and I think all of those questions need to be answered before we get to anything else.”

Initially, only two nurses were part of the lawsuit, but an amended complaint adds two others, “…one who had been taking care of Salters that morning and saw him unshackled, then was later near the room where the standoff culminated, and another who had been in the third-floor room where the officer allegedly fled,” an Aurora Beacon News article from June 1 stated. http://ift.tt/2tjxL6W

The unlawful act comes on the heels of a national concern over the safety of healthcare workers and a West Coast push last fall to develop hospital rules against violence.

California has developed violence against healthcare workers protocols, including the Workplace Violence Prevention in Healthcare standard, which took effect April 1. The rules could become a model for other states, the article suggests.

According to an NPR article, Kathy Hughes, RN, spokesperson for the SEIU Nurse Alliance of California, ssaid hundreds of healthcare professionals her organization contacted had accepted the idea that assaults happen at work. But “violence shouldn’t be part of the job,” Hughes said.

A Hospitals and Health Networks article published June 9 talks about how attitudes on violence in the workplace are changing at the 15-hospital, Milwaukee-based Aurora Health Care system. The attitude shift was spearheaded by Jessica Rosing, RN. “To address the problem, Aurora Health Care put together a system-wide steering committee about a year ago, on which Rosing participated,” the article stated. “Leaders found violence to be grossly underreported at Aurora and elsewhere in the field, says Mary Beth Kingston, R.N., executive vice president and chief nursing officer of the Wisconsin system.”

To understand the scope of the issue, they set up a call center to report verbal or physical incidents with patients, according to the article. “In just the first three weeks of the pilot, Aurora saw more reported incidents than in all of 2015, which Kingston believes is a sign of progress,” the article stated.

  Courses Related to ‘Nurse Safety’

CE130-60: Preventing Violence in the Healthcare Setting (1 contact hrs) Violence in healthcare reflects the chaos of a broader work environment. Experts not only agree on the extent of violence in the healthcare setting, but they also concur on its best treatment — education and prevention. Nurses heighten their awareness and expertise in dealing with violence in their professional settings by learning to identify risk factors and warning signs and by applying interventions that could shield their patients and themselves from harm.

WEB307: Nurse, Take Care of Thy Self (1 contact hr) Nurses are known for taking care of others at the cost of their own well-being. Lack of self-care can lead to compassion fatigue, personal health issues and a lack of work life balance. When a nurse takes the time to care for themselves, both their colleagues and patients will reap the benefit. As easy as it sounds, it can be hard to create a work life balance, exercise, and be a nurse role model. When pursuing continuing education or a new professional role, self-care and time management are key to helping yourself be successful.

CE430: Safer Patient Handling Saves Nurses’ Backs (1 contact hr) According to the Bureau of Labor Statistics, nursing assistants had an incidence rate of injury of 372.5 in 2014, a decrease from 392.8 in 2013. Nurses ranked fifth among all occupations for highest incidence rates of musculoskeletal disorders resulting in days away from work, with 11,610 total cases. “Injuries and illnesses resulting from overexertion and bodily reaction accounted for 55% of the cases occurring to nursing assistants and decreased to 21,430 cases in 2014. The incidence rate for overexertion and bodily reaction for nursing assistants was 204.6 — more than five times greater than for all workers.”

The post Violence against nurses remains a big problem appeared first on Nursing News, Stories & Articles.

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