#lauren cohan for president

[asliceofbeeflasagna]

Lauren Cohan for President #laurencohanforpresident

[wausaupilot]

Today in History: Today is Tuesday, Oct. 31, the 304th day of 2023. There are 61 days left in the year. This is Halloween.

On this date: In 2010, Post-apocalyptic zombie TV series "The Walking Dead" premieres, starring Andrew Lincoln, Jon Bernthal and Lauren Cohan on AMC.

By The Associated Press Today’s Highlight in History: On Oct. 31, 1984, Indian Prime Minister Indira Gandhi was assassinated by two Sikh security guards. On this date: In 1864, Nevada became the 36th state as President Abraham Lincoln signed a proclamation. In 1941, work was completed on the Mount Rushmore National Memorial in South Dakota, begun in 1927. In 1961, the body of Josef Stalin…

[giveamadeuschohisownmovie]

How would you pitch the upcoming Captain America: New World Order movie?

This is a direct follow-up to my Thunderbolts write-up (link to the post)

MAIN PLOT:

It's the 2024 U.S. Presidential elections and the current president has chosen not to run for re-election, leading to competitive primaries for both the Democratic and Republican parties. Since Sam Wilson is the new Captain America, candidates from both parties are reaching out to him in hopes of getting his endorsement.

Sam, dismayed by the persisting dysfunction in politics and not wanting to add to further polarization in the country, refuses to get involved and adopts a neutral (moderate/centrist) position as Captain America. This leads to discontent from all sides, with many deeming him as a spineless coward who stands for nothing.

One of Sam's biggest critics is Luke Cage, who has since become a community activist working out of Harlem. Due to Luke's hard-hitting criticisms of his actions, Sam is forced to reflect on his role as Captain America. He wants to be a unifier, but he has no idea how since the country is so torn apart by political divisions. Sam reaches out to Luke for help and, despite Luke's criticisms, the two form an unlikely friendship.

One night, while attending one of Luke's community meetings, Sam is contacted by Rikki Ashcroft, a White House employee-turned-whistleblower. Rikki says that the 2024 election is rigged since the leading candidates from the Democratic and Republican parties are both part of the same, secret organization. Before Sam can dismiss Rikki's warning, the two are attacked by mercenaries.

The rest of the movie is centered on Sam, Rikki, and Luke trying to figure out what the hell is going on in the 2024 election. Definitely "Captain America - The Winter Soldier" vibes is the intention here.

The big reveal is that the leading candidates are part of the National Force, a far-right extremist group that formed from the remnants of HYDRA. In contrast to HYDRA's connection to the Nazis, National Force is solely focused on American exceptionalism aka they want to "make American great again".

The movie ends with Sam giving his endorsement to William Burnside, a leftist/progressive candidate who was seen as the most morally righteous of the candidates (he's basically a younger Bernie Sanders/Alexandria Ocasio-Cortez). But, PLOT TWIST! In the post-credits scene, it's revealed that Burnside is also a member of the National Force. His image as a progressive candidate was just a ruse to get people to vote for him.

Movie ends with Burnside being elected as president, leading into "Thunderbolts".

CAST:

Anthony Mackie as Sam Wilson/Captain America

Mike Colter as Luke Cage

Lauren Cohan as Rikki Ashcroft (based on Rikki Barnes, Bucky Barnes' granddaughter / Rikki being revealed as Bucky's granddaughter is supposed to be a twist in the second half of the movie)

Joel Kinnaman as William Burnside

Adam Driver as Josh Glenn/The Hate-Monger, leader of the National Force and the main antagonist of the movie

Sebastian Stan as Bucky Barnes (only a minor appearance near the end when he meets his granddaughter for the first time)

[demifiendrsa]

AMC has announced a six-episode series order for the fifth spinoff in The Walking Dead universe, Isle of the Dead, starring Lauren Cohan and Jeffrey Dean Morgan as they reprise their respective roles as Maggie and Negan. The new spinoff is set to premiere in 2023.

Longtime TWD writer Eli Jorné will serve as showrunner on the drama via his overall deal with AMC Studios. The series will be overseen by TWD Universe content chief Scott M. Gimple. Isle of the Dead will be set in Manhattan and follow Negan and Maggie exploring a post-apocalyptic New York City. Cohan and Morgan will also serve as exec producers.

“This is a very big day for the expanding universe we are building around The Walking Dead,” said Dan McDermott, president of entertainment and AMC Studios for AMC Networks. “It not only adds another compelling series to this collection, it extends our storytelling around two unforgettable characters fans have grown to love, hate or hate and then love in Maggie and Negan, brilliantly inhabited by Lauren and Jeffrey.  It also lets us explore a corner of this universe located on the island of Manhattan, with an iconic skyline that takes on a very different meaning when viewed through the lens of a zombie apocalypse.”

“Eli has created a chaotic, beautiful, grimy madhouse of the dead for Negan, Maggie, and fans of the show eager to discover an unseen and insane world of the TWD Universe,” said Gimple. “Lauren and Jeffrey have always been fantastic collaborators and now, we bring that collaboration to the next level with a series that will take these characters to their limits with the world — and each other.  All of us are thrilled to take you on an all new, all different TWD epic for the ages.”

Said Cohan: “I’m thrilled to partner with Dan McDermott and the team at AMC on the next chapter in The Walking Dead Universe.  Maggie is very close to my heart and I’m excited to continue her journey against the iconic backdrop of New York City, alongside my friend and collaborator, Jeffrey Dean Morgan.  Eli Jorné has created something incredibly special and I cannot wait for the fans to see what we have in store for Maggie and Negan.”

Said Morgan: “I’m delighted that Negan and Maggie’s journey continues.  It’s been such a ride walking in Negan’s shoes, I’m beyond excited to continue his journey in New York City with Lauren.  Walkers in an urban setting has always been such a cool image, but 5th Avenue, Empire State Building, Statue of Liberty?  The greatest city in the world??  The backdrop is amazing, but it’s the story that Eli Jorné cooked up that is even better.  Buckle up folks, Isle of the Dead is going to reinvent the TWD Universe.  Huge thank you to Dan McDermott, Scott Gimple and AMC for having us back for more… we simply can’t wait.” 

[my-mt-heart]

Lauren Co is only "so excited" to do this spinoff because her character is starring. She wasn't even supposed to come back when she left in season 9, and she didn't want to. And beside that, sometimes I wish AMC never even touched the walking dead and another network picked it up instead. They clearly only care about money and profiting as much as possible while cutting down on overall costs. This is exactly what Darabont was upset over when he was showrunner.

And I like Maggie. Definitely not so much this season at all, but I do like her. And I also don't know Cohan personally so I am not attacking her. Just saying it's crazy. I don't see how her character deserves a spin-off. She should just be the President of CW and be done with it.

To be fair, I think it's the nature of any studio to always consider financial gain first. But thank you for raising a point I forgot to mention, which is that Lauren and JDM have put their sweat, blood, and tears into their respective characters and if they want to continue their stories, then they absolutely deserve to. Good for them. Seriously. The only thing I'm struggling with is the concept. Two character who resent each other and have made it quite clear they're always going to resent each other just feels very stale to me. But also, it just makes me sad that neither character can find closure for Glenn's death because they're constantly being forced to work together. I'm assuming they're on an important mission of some kind.

[retiredkat]

From Deadline: New AMC CEO Christina Spade, Replaces Interim CEO Matt Blank

AMC Networks Ups Christina Spade To CEO Post; Patrick O’Connell To Take On CFO Role

AMC Networks has appointed COO and CFO Christina Spade as its new CEO, succeeding Matt Blank, who has held the role in an interim capacity since last September.

Patrick O’Connell, previously a senior executive at CBS Corp and Goldman Sachs, has in turn been named Executive Vice President, Chief Financial Officer, reporting to Spade.

Blank will remain with AMC Networks until the end of the year in a consultancy role, a spokeswoman confirmed.

AMC Networks operates cable channels such as AMC, plus streaming services AMC+, Sundance Now and Acorn TV. Spade will lead them all from September 9 when she steps into the new role.

Today’s development, which comes as the business reports its second quarter results, marks a fast rise for Spade at AMC Networks. She has been with the New York-headquartered operations since January 2021, where she joined as Executive Vice President, Chief Financial Officer, and took on a dual role as CFO and COO in November last year.

During that time, she has worked under Blank, who was named interim CEO last September as previous Chief Exec and President Josh Sapan moved to an Executive Vice Chairman position. While the network is known for launching influential cable hits such as Better Call Saul, The Walking Dead and Mad Men, Showtime veteran Blank has focused heavily on building out the streaming business, which currently has an aggregate of 10.8 million subscribers and is expecting to hit 20-25 million in 2025.

The hire comes at a time of change for AMC Networks. The Walking Dead franchise is moving into a new era, with the original series set to end after its next tranche of episodes and several spin-off series launching. Anthology series Tales of the Walking Dead is due to land on August 14, while series featuring fan favorites Rick Grimes (Andrew Lincoln) and Michonne (Danai Gurira), Negan (Jeffrey Dean Morgan) and Maggie Green (Lauren Cohan), and Daryl (Norman Reedus) are forthcoming. Newer series include Moonhaven, Dark Winds and This is Going to Hurt and upcoming titles include Anne Rice’s Interview with the Vampire.

Blank said: “It’s been a pleasure to lead AMC Networks in this interim role, in particular working alongside Chris and the talented team to help develop the company’s direct-to-consumer businesses and strong pipeline of high-quality content. Chris is a strong, versatile leader whom I’ve known and worked closely with for more than 20 years, and I know she’ll bring her strong business and leadership skills, and passion for this company, to her new role.”

AMC Networks Chairman James Dolan said: “I want to thank Matt for his leadership over the past year and for the changes he’s brought about in the company and best positioning us for our further pivot into streaming. I’m delighted that Chris is taking over as our new CEO. She is a proven leader with a long track record driving transformative change in media and entertainment and I am confident she has the expertise and vision to guide AMC Networks to greater success.”

Spade said: “I am honored to assume the role of CEO. I’m a fan of this company in every respect, its content, brands, and most importantly, its people and dynamic and inclusive culture. I’m grateful for the support of Jim, our Board of Directors and Matt, and I look forward to working with the strong team here to unlock the rich opportunities that lie ahead.”

Before AMC Networks, Spade was Executive Vice President, Chief Financial Officer of ViacomCBS and before that held the same role CBS Corp. She also performed similar duties for Showtime Networks, spending a total of 21 years in the business overall.

[thebestbookrecommendations]

Blackout - Mira Grant

(Newsflesh #3)

The year was 2014. The year we cured cancer. The year we cured the common cold. And the year the dead started to walk. The year of the Rising. The year was 2039. The world didn't end when the zombies came, it just got worse. Georgia and Shaun Mason set out on the biggest story of their generation. They uncovered the biggest conspiracy since the Rising and realized that to tell the truth, sacrifices have to be made. Now, the year is 2041, and the investigation that began with the election of President Ryman is much bigger than anyone had assumed. With too much left to do and not much time left to do it in, the surviving staff of After the End Times must face mad scientists, zombie bears, rogue government agencies-and if there's one thing they know is true in post-zombie America, it's this: Things can always get worse. Blackout is the conclusion to the epic trilogy that began in the Hugo-nominated Feed and the sequel, Deadline.

Read if You Like:

Horror

Zombies

Science Fiction

Apocalyptic/Post Apocalyptic

Thriller

Fantasy

Strong Female Characters

Conspiracies

Recommended if You Enjoy:

Mira Grant (Into the Drowning Deep)

Max Brooks (World War Z)

M. R. Carey (The Girl with All the Gifts)

Daryl Gregory (Raising Stony Mayhall)

The Walking Dead (T.V. Series, 2010)

Shaun of the Dead (Movie, 2004)

3.5/5

First Book in the Series:

Previous Book in the Series:

[samisadeangirl]

Why are you anti misha?

Not that it’s anyone else’s business (especially someone hiding behind Anon) why I like or dislike someone or something, but here are some reasons why I’ve decided I’m done with Misha Collins (in no particular order):

1.  He queerbaits his fans on a regular basis.  Everyone else associated with the show has repeatedly said that Destiew is not and never will be canon.  But because Misha needs his fans’ attention, he stirs them up with comments like at his panel this past weekend at SeaCon.  What’s worse is he often tries to drag Jensen into his fans’ crazy, knowing that they’ll harass Jensen over their damn ship as a result.

2. He often makes very inappropriate “jokes” (roofie comment, slave comment, sexual innuendos towards J2′s wives, sexual comments about underage fans, etc.) and expects his fans to laugh them off, yet makes no attempt to control the same fans when they attack others, particularly Jared, for the slightest supposed infraction.

3. He’s frequently rude to his co-workers, especially J2.  He knows that Jensen doesn’t like Destiew and its crazy fans and yet constantly makes Destiew-related comments at Jensen’s expense (see point 1).  There’s when he tried to forcibly shove Jensen’s face into his crotch despite Jensen’s protests on the S8 gag reel, posted a suggestive photo manip of a young Jensen, grabbed the crotch of a Dean cutout at a con, or made other suggestive comments about him.  Then there’s his frequent rude comments to Jared, including about his genitalia, and stealing his credit card to send him a sex toy.  A lot of this is behavior that easily would’ve earned him sexual harassment charges if J2 were women.

3.  He insults the show that pays him and without which he wouldn’t be anything.  He’s accused the writers of misogyny, given one of the showrunners the finger, and blames his lack of other roles on the show (despite other actors on the show having no problem moving on to good roles, like JDM, Lauren Cohan, Sterling K. Brown, etc.).

4. He tries to act like he’s a lead on the show–asking for more money at cons, dinners, etc., complaining when he’s not included in articles, magazine covers, etc., expecting to not have to audition for roles, acting like he’s responsible for the show’s popularity–and encourages his fans to think he is.  But the truth is that he has never been a lead and doesn’t deserve the same level of recognition as J2–he appears on half or less of the episodes in every season, he has little to no effect on the show’s ratings, his convention merchandise (calendars, photo ops, etc.) doesn’t sell anymore, and his Q Rating, which is used to determine how well-known or popular an actor, show, product, etc. is, dropped so low that it hasn’t been measured since S8 (the scores aren’t measured once they drop below a certain threshold).  Given all that, his behavior is either arrogant and entitled or desperate and jealous.

5. He takes advantage of his friendship with Robert Singer to stay on the show.  His character should’ve been written off years ago–Castiel is no longer interesting, shows no growth, keeps making the same stupid mistakes, and hasn’t had a decent storyline in ages (despite TPTB’s attempts to keep him relevant by doing things like bringing Lucifer back in S11).  On top of that, Misha’s acting has deteriorated to the point that he’s just dialing it in now.  Factor in all the inappropriate behavior mentioned before, and he should’ve been fired long ago.

6. His behavior at conventions is questionable.  He curses and makes sexual comments despite knowing that there are many underage fans in the audience.  He’s often dismissive and/or rude to fans, which I can attest to from my own convention experience.  Also from my own experience, he often wastes more time during his panel talking to his friend Darius (who is not associated with SPN at all and shouldn’t be on stage) than answering fan questions.  Given how much these conventions cost to attend, this is beyond rude and frustrating.

7.  He’s lied about his past to gain attention and sympathy.  He’s claimed that he was homeless at one point as a young child, yet his family could afford to send him to expensive private schools from elementary through college.  He lied about being mugged and then backpedaled when he couldn’t produce a police report or other proof.

8.  His “political” presence on social media is disingenuous at best.  He seems to only post about issues when they’re trendy, like his anti-NRA tweets after the recent school shooting.  And he only criticizes without offering solutions.  Yet his fans act like he deserves to run for President.

9.  Even some of his charitable work is suspect.  YANA is basically a copycat of AKF to try to draw attention away from Jared, had to bribe people to get them involved, and only 10% of the net profit goes to charity (and he apparently tried to blame Jensen for inappropriate videos made for it).  For GISHWHES, he harasses celebrities to try to get them to participate and encourages his fans to do the same, tells fans things like it’s more important than school, and includes things like getting pornographic pictures of his fans (many of whom are minors)–that are worth more than the charitable items–on the list of activities.

I hope this is a long and thorough enough list to “justify” my distaste for the man (I don’t hate him because he’s not worth that much effort).  And please don’t try to excuse his comments as “just a joke.”  This level of inappropriate behavior on such a regular basis is no longer simply humor, any more than a bully repeatedly picking on someone is “just having fun.”

[cvrnewsdirectindia]

Which Fan-Favorite Will Return in Season 11?

Many exciting announcements were made about AMC’s apocalyptic-horror drama, The Walking Dead, at New York Comic Con this past Saturday, revealing that after nearly a decade of airtime, the show still has a bright future ahead of it. The series is currently on its 10th season, has just been renewed for its 11th season, and released the first trailer for its upcoming untitled spinoff series. The Walking Dead will also be receiving three feature film adaptations, each with a theatrical release. One particular tidbit of news absolutely stole the show at New York Comic Con.

For the past few years, The Walking Dead has said its goodbyes to many of the show’s most popular, beloved characters, whether they met a gruesome end at the jaws of a hungry walker or simply wanted to change directions in their career. At New York Comic Con, one fan-favorite announced that they would be returning as a regular, recurring cast member starting with Season 11.

Lauren Cohan | AMC

Actress Lauren Cohan will return in ‘The Walking Dead’ Season 11

In the middle of The Walking Dead’s cast panel at New York Comic Con, a masked figure silently walked on stage, shocking everyone. After what seemed like an eternity of buildup and suspense, the figure removed their mask and revealed herself to be Lauren Cohan, surprising the cast and audience alike by officially announcing her return to The Walking Dead. The crowd erupted into cheers and applause as actors Norman Reedus, who plays Daryl Dixon, and Danai Gurira, who plays Michonne, eagerly embraced Cohan.

Lauren Cohan has been absent from The Walking Dead since Season 9 and her lack of presence was deeply felt by fans and cast members alike. She had been an integral part of the series since Season 2.

AMC President Sarah Barnett released an official statement saying, “We’re delighted to welcome back Lauren Cohan, she has meant so much to this show and its passionate, global fanbase, who are in for a fantastic ride over the coming months.”

Barnett and the rest of The Walking Dead cast weren’t the only ones to be overjoyed and choked up over the news of Cohan’s surprise return.

“It feels just like home. It feels so emotional,” Cohan admitted during the New York Comic Con panel, “It feels really, really emotional… I’m really happy to be here.”

Why did Lauren Cohan leave ‘The Walking Dead’?

Rumors began to circulate regarding Cohan’s departure from The Walking Dead back in 2018. At the time, The Walking Dead was in its eighth season. Cohan’s contract with the series had ended and fans speculated that she would leave the show due to disagreements with AMC regarding her salary.

Lauren Cohan quickly shut down these rumors after speaking to reporters at a Television Critics Association event, stating that she simply thought it was her time to move on to different things. Cohan had starred in The Walking Dead for roughly six years.

“It was like, I’ve done the show for a long time,” Cohan said, “It was a long time to be in any character, and sometimes you just get quiet and listen to your inner guidance and it’s time to multi-task.”

During her hiatus from The Walking Dead, Cohan starred in ABC’s Whiskey Cavalier, a comedy-drama about the missions of an FBI agent and his new partner. Despite receiving positive reviews on IMDb and Rotten Tomatoes, the show was ultimately canceled after its first season.

What’s in the future for Maggie Rhee?

After an indefinite leave of absence from The Walking Dead, many fans are wondering what’s in the cards for Maggie’s character. The last time we saw Maggie, she abandoned her leadership position at Hilltop, leaving the community under the command of Jesus. She left the group with her son, Herschel, to create a brand new community, which many fans speculate could be The Commonwealth community from the comic book series.

In the comics, Maggie becomes the leader of both The Commonwealth and Alexandria. Whether or not the show will follow in the footsteps of the graphic novel series remains to be seen. Just like Rick Grimes, Maggie may even receive her own spinoff solo film.

“We have a lot of story for her that we want to tackle and we’ve talked about different ways we can do it,” Scott Gimple, The Walking Dead’s chief content officer and former showrunner, mentioned in an interview with Entertainment Weekly.

The future of Maggie Rhee is still unwritten and it’s unknown if Cohan will make an appearance in Season 10. Fans of The Walking Dead will simply have to wait another year to see how Maggie’s story continues.

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from CVR News Direct https://cvrnewsdirect.com/which-fan-favorite-will-return-in-season-11/

[changerayon4-blog]

One ‘The Walking Dead’ Voice Has Been Curiously Silent This Week

Getty Image

It’s been perhaps the most significant week in the history of The Walking Dead television series. The show lost Andrew Lincoln’s Rick Grimes, who will now lead a series of three The Walking Dead movies. Lauren Cohan’s Maggie Rhee also left the show (for now); Jadis/Anne has left the series; Heath’s absence was explained; the show introduced Magna and a series of new characters (including an older Judith Grimes); and it also teased the introduction of a new set of villains, The Whisperers.

With a huge week like it has been, we fully expected that those involved with the show would be out in full force to discuss and defend their choices, and that’s been true for the most part. Chief Content Officer Scott Gimple and showrunner Angela Kang have given numerous interviews over the last week; Andrew Lincoln promoted his exit for weeks and gave interviews after the show; and AMC’s President David Madden has even become a recognizable name in The Walking Dead fan world this week.

There is, however, one voice we haven’t head from at all this week — or much at all this season — which is interesting given how involved he’s been with the show in the past, and the voice is that of the creator of The Walking Dead, Robert Kirkman. Kirkman gave an interview last month to Variety celebrating 15 years of The Walking Dead comics, but best I can tell he hasn’t really given an interview about the television series since he spoke with Kevin Smith last July. A frequent guest on The Talking Dead during the early years, Kirkman also hasn’t appeared on that since the Fear the Walking Dead, The Walking Dead crossover episode last April. As for the episode itself? He tweeted that people should watch the it, but he hasn’t weighed in on the substance of it.

Source: https://uproxx.com/tv/robert-kirkman-walking-dead-changes/

[zainapbaraketcaryl]

The Walking Dead season 8: cast, filming, premiere date, spoilers and everything you need to know

There's no end in sight for the bloody mayhem.

Things look pretty grim for Rick Grimes and his party right now... but there's no end in sight for their suffering (or our enjoyment) with The Walking Dead set to power on for at least another year.

AMC officially ordered an eighth season of its monster hit in October 2016, before the seventh season had even launched.

"What a joy to partner with Robert Kirkman, Scott M Gimple and some of the hardest-working people in television to bring The Walking Dead to the fans," said network president Charlie Collier.

"And, most important, thanks to those fans for breathing life into this remarkable series right along with us."

So what's in store, besides the gore? Strap yourself in... spoilers lie ahead:

The Walking Dead season 8 filming + premiere date

Each season of The Walking Dead shoots from late spring through to autumn each year, with season eight expected to shoot from May - beginning the first week of the month, rumour has it - to November 2017.

Norman Reedus posted an old shot of himself and Andrew Lincoln to Instagram on April 8, hinting he was "ready to get back at it" - a sign that filming will commence shortly?

You can then expect the next season to air for eight weeks from October 2017, followed by a three-month hiatus, with the concluding eight episodes following in February 2018.

The Walking Dead season 8 cast: Who'll survive till next year?

Maria Bello – Golden Globe nominee and self-confessed Walking Dead obsessive – has hinted that she might be joining the show as a new character next year.

"I have a friend who's a producer on it and I've asked them to write me a part, which apparently they are for next season," she revealed in October.

As for established characters? In its seventh season, The Walking Dead has a larger regular cast than at any previous point in its history – even following the departure of Sonequa Martin-Green as Sasha, there are still 17 actors signed up to regular contracts.

The full list is as follows:

- Andrew Lincoln (Rick)

- Norman Reedus (Daryl)

- Lauren Cohan (Maggie)

- Chandler Riggs (Carl)

- Danai Gurira (Michonne)

- Melissa McBride (Carol)

- Lennie James (Morgan)

- Sonequa Martin-Green (Sasha)

- Alanna Masterson (Tara)

- Christian Serratos (Rosita)

- Josh McDermitt (Eugene)

- Seth Gilliam (Father Gabriel)

- Ross Marquand (Aaron)

- Austin Nichols (Spencer)

- Jeffrey Dean Morgan (Negan)

- Tom Payne (Jesus)

- Austin Amelio (Dwight)

- Xander Berkeley (Gregory)

- Pollyanna McIntosh (Jadis)

It's also possible that Steven Yeun could guest next season as the late, lamented Glenn - appearing via flashbacks or fantasy sequences, à la Abraham (Michael Cudlitz) in season seven's finale.

[jonjost]

Back in the US after a trip to Europe where La Lunga Ombra was made, my attentions again turned to America and the on-going war-of-choice in Iraq, and its domestic “collateral damages”.  Despite the political cold shoulder which Homecoming had – no American festivals would show it, hardly any screenings could be found, despite its being one  of my better films – I thought the matter warranted more.   So I asked Ryan Harper Gray to come out to Portland to shoot another film, and likewise asked Stephen Taylor to come down from nearby Washington State to join in.  And gathered a handful of local people – mostly acquaintances and friends – to round out the cast. Shooting was casually done, over a week or two, utterly improvised.  I knew more or less what I wished to express, and working with the actors and environment we found the way to do it.   As with Homecoming, it was blanked out of American festivals and had but a handful of screenings.  One felt the oppressive hand of an unstated censorship: both films have closing crawls advocating the impeachment of George Bush and his administration and that he and his administration be tried for war crimes.  I have little doubt that this, along with the content of the films, had a bearing on this absence of acceptance of the films in America’s little cultural puddle for such work.  After all, most festivals are sponsored by big corporations, and one must not offend them.

Over Here

2007 | Digital Video | Color | Sound | 76 minutes

Producer, Director, Camera:  Jon Jost

Editing and Sound Recording:  Jon Jost and Marcella Di Palo Jost

Music: Jost

With:  Ryan Harper Gray, Stephen Taylor, Greg Tozian, Bibi Walton, Jerry Carlton, Karen Stockert, Jean Luc Boucherot, Matt Kayser, Marcella Di Palo Jost, Lauren Sands

Premiered:  Rotterdam Film Festival 2008, Buenos Aires Indipendent Film Festival 2008, JIFF 2008

Portland Oregon, 2006.

A long shot with a kind of grunge music hovering over it of a distraught man’s face.

A young man sits in a coffee house observing.  A few people talk with a French man about politics.  A businessman gets a call and must go away on urgent business.  A woman closes her notebook and takes her coffee cup to the counter.  The young man deftly moves and steals her computer.

On a Saturday morning a business executive sits listening to sports and gets a call canceling a game; his associate sits in a cubicle typing distractedly.  The two have a conversation about the webpage, and about a young man the worker has picked up “to help.”  The boss is revealed to be a Vietnam vet, and tells his associate he’s a copy-writer, not a social worker and to get the young man out of his house.

The young man lounges around in a nice house, drinking whiskey and watching to TV.  His host makes coffee and frets in the kitchen.  He then comes to ask the young man to look harder for a job, to help keep the house clean, and he asks where his telephone card and I-pod are.  The young man is angered.  Later while the young man is on a massage lounger the copy-writer comes to tell him a long family story and then says he’s missing an heirloom and he can no longer trust the man.  The young man attacks, strangling him on the floor while cursing “fucking hadji” and leaves the man, perhaps dead.

The young man visits his home, sitting silently with his inarticulate parents.  In a triptych reminiscent of a religious altar piece, the young man breaks down while his parents look incomprehendingly on, offering a mute love, but the young man leaves.

The young man is seen under an overpass, homeless, with a young woman sleeping in his lap; he looks guardedly around, and then directly to the viewer.

Like its companion piece, Homecoming, this is not a “plot” film, but rather a work of tonalities, its effects rise from more elemental qualities, akin to music or poetry, and while oblique in its methods the end effect is powerfully emotional.

  Dennis Grunes, 2008

Jon Jost, who has said he is “independently poor,” is thus able, as he tells it, to make without interference or compromise the films he wants to. For a decade now he has been working in digital video. Last year’s Passages is, for me, bar none, the best film of 2006; this year’s Over Here is “a kind of companion-piece,” according to Jost, to Homecoming, which for me is the best American film of 2004. Both films were shot in Oregon, Homecoming in Newport, Over Here in Portland. Both revolve around George W. Bush’s self- and crony-serving war in Iraq, but from the vantage of the homefront. In the ironically titled Homecoming (the title refers also to Jost’s own return from Europe to the U.S.), a soldier has been sent home for burial from Iraq following his absurd drowning death; the returning veteran is alive in “Over Here,” but, shattered, he is lost both to himself and the parents who love him. Jason is as lost to America as America is to him. He ends up homeless, living with a companion under a bridge. His silent tenderness towards her—he caresses her head, gently awakening her to a new day—suggests the waste of his humanity that a mendacious, oil-mad administration has wrought. It also suggests Jason’s adaptability, the humanity he is able to bring to an alternative world apart from the America that Bush’s poisonous presidency has befouled. The title reverses the jingoistic geographical reference of the George M. Cohan song from World War I, “Over There.” Following film’s end, there appears Jost’s statement about the war, including his call for domestic impeachments and trials in the World Court for war crimes and crimes against humanity. It is unlikely that there will be any more powerful movie than this one this year.

The pre-credit opening is poetic and poignant. It is the long-held tight closeup of a boy in his twenties. The image is in black and white except (perhaps!) for an elusive tinge of orange-pink in the boy’s “white” face. It is a degenerative image, a blowup appearing as a dark sea of dots, and its aural accompaniment is electronic discordance, science-fiction chords. The image itself—the boy—is mute. He speaks (to whom, we later find out, although a prefaratory snip suggests an answer); but his ordeal “over there,” which has rearranged his psyche, dissolving into dots his connections to reality, he finds himself at a loss to communicate. He covers his face with his hands. This pre-credit passage is subtitled Over There, as though that were the film’s title. Jason, the boy, has brought “over there” back home with him. It has taken over him as might an alien-something in a sci-fi horror film.

Post-opening credits, the first sequence takes place in a Portland café. There is a glossy shot of the clean interior. Jason is at the counter, and even when he is out of the shot or in the background, no matter what Jost’s camera sets in the foreground, we cannot take our mind off the boy. In effect, we have followed him from the pre-credit sequence and we want to learn more about him. Sometimes we see in closeup, in the foreground, some man doing business on the phone; for as long as the mise-en-scène allows, however, our eye is drawn to Jason in the background. At another time, a chessboard fills the front of the shot: chess—a board game based on a medieval battlefield. Finally, Jason leaves, and the brief stroboscopic shot of him outside in overcast weather conveys his agitation, which is further underscored by an unexpected cut back to the café, where all is calm and ordinary. Three brief static shots follow, the first two of which establish locale in the Ozuvian manner, and the third of which is similar except that Jason, in long-shot, walks into the frame, away from the camera, and leans against a parked car. This transforms the first two shots in the sequence, which now tell us that Jason has been walking a long way. A subsequent sequence of shots finds Jason walking into the frame, away from the camera, down a street. A subsequent traveling shot across a bridge suggests one of two things: Jason has hitched a ride to where he is staying; a merciful Jost has found a way to get us to Jason’s immediate destination more quickly than Jason has been able to manage. Somehow Jost succeeds in giving the combat veteran’s focused walking—Jason is proceeding to a definite place—a condition of aimlessness and passivity, as though Jason’s war experience has rendered him a will-o’-the-wisp.

In between the two passages of Jason walking is an interlude in an advertising agency. It is Saturday, and only the head of the agency and one of his minions are in the otherwise abandoned place, the head in his private office, the employee, Chris, in his cubicle, and this arrangement, besides relieving Jost of the necessity to come up with a bunch of extras, intensifies the exchange between the two men. The claustrophobic nature of the shots that Jost devises also assists in this, as does the contrast between the office space and the outdoor scenes where Jason proceeds under an immense, darkening sky.

Clearly the agency head is distracted in his private office, which not coincidentally posits him up against a brick wall. Restless, he ventures out of his official space to needle Chris for his being distracted. (It is Saturday, after all, and Portland is famous for being a city where “people work to live rather than live to work.”) Chris is devising the front page of a Web site for a client, which the boss finds too busy, the implication being that Chris’s head is too full of irrelevant clutter that he is (as is his wont) projecting onto his work. “Boy trouble?” the agency head asks, reminding Chris that he is obligated to leave all that at home and concentrate at work to meet the looming deadline for the agency client. The “boy” in question is Jason, whom Chris has picked up off the street, in front of the county’s main library, and taken into his home. “He’s not like the others,” Chris remarks. Chris, it turns out, has successfully rationalized his exploitation of Jason as pure compassion, and he is attempting to enlarge the reference of his positive self-image by putting his boss into the picture. A Vietnam veteran, surely this man might talk to the house-guest. The boss won’t have any of Chris’s plan; he has spent a lifetime suppressing his identity as warrior and the after-effects of his tour(s) of duty. It may even be the case that his own level of distraction is part of these distant after-effects. Instead, he warns Chris not to play social worker and to turn Jason over to those who might really be able to help him. In effect, he is telling his employee to stop playing with fire. The two men are alike, each dressing his inclination to exploit in the garb of concern. Workplace politics prevail, and the agency head, standing, looms over Chris, who is seated in front of his computer.

The passage is fairly clunkish; indeed, the entire film lacks fluidity, is structured instead as a series of set-pieces with fadeouts and deep blackouts, which in concert with other techniques suggests Jason’s mental and moral fragmentation and the disintegration of his ego. Form expresses content.

Chris fails to take his boss’s advice; he cannot bring himself to give up the boy. But fueled by his boss’s derision and his own consequent humiliation, he compensates by confronting Jason. Have you really been looking for work? Why is your jacket on the floor? Where is my iPod, Jason? (Jason, we know, does steal.) Home politics prevail, and Chris, standing, looms over Jason, who is on the living room couch as a radio or television program proceeds. We hear the program, and hear it clearly, but the verbal exchange between the two men fluctuates in clarity and volume as Jost, as he does throughout the film, plays with sound levels in an effort to express Jason’s interiority—just how, that is, that Jason feels. This is one of the film’s most brilliant aspects. In any case, Chris keeps at Jason relentlessly, verbally spanking him again and again, and in a subsequent scene Jason explodes. He had been in agitated sleep in a living room chair, his mind back in Iraq, and an inaudible Chris, standing, looms over him pontificating about something or other. Jost cuts from the sleeping Jason, one of whose hands grips an arm of the chair, to Chris, whose annoying intimidation is captured by a low camera tilted upwards. At first we aren’t certain whether Chris at that moment is a part of Jason’s dream; but all of a sudden, accompanied by a rocketing into normal sound, Jason is on the floor attempting to break Chris’s neck. His nightmare flashback—what occupied his mind until Chris broke his slumber—has him, now that he is nominally awake, back in Iraq still. We know this because Jason shouts “fucking Hadji!” as he assaults Chris. Or does he kill Chris? A shot holds on Chris’s lifeless face as though to decide the matter; but what we see may be a Chris playing possum whom Jason leaves on the living room floor.

This in-effect flashback to war is followed by an actual flashback that indeed may disclose the content of Jason’s in-chair dream of Iraq. It is a social scene whose centerpiece, out of focus and stroboscopic (and hence a projection of Jason’s own agitation), is someone singing the song “Hadji Girl” whose lyrics got their author, Marine Cpl. Joshua Belile, into such hot water. In the song, a U.S. Marine in Iraq foils an attempt to assassinate him by grabbing a girl’s “little sister” and having her take the lethal bullets meant for him from the girls’ father and brothers. In addition to making monstrous fun out of murder, the lyrics ridicule Islam. The song is also, of course, racist. We hear the soldiers in attendance laughing. Jost edits into this scene a montage of scenes, some of them snippets of Iraqi humanity that contest the song’s dehumanizing cruelty. The song, we understand, boosts the morale of the troops, like an old-time Bob Hope Christmastime show; its viciousness allows us to gauge the unhinged humanity of the U.S. warriors given the perilous situation into which they have been plunged. The song, then, encapsulates the horror of Bush’s war from which returning soldiers like Jason may never be able to escape.

This is the song’s refrain: “Durka Durka Mohammed Jihad/ Sherpa Sherpa Bak Allah.” But another line is thematically relevant to Over Here: “I can’t understand what you’re saying.” The lyric refers to U.S. ignorance of Arabic; but it becomes meaningful in another way as well. Throughout the film Jost stresses Jason’s feeling that he no longer belongs at home, that he cannot connect with others at the very moment that he most needs to, because his war experience has discombobulated him, leaving him incapable of communicating what he has undergone and what his needs are. Ryan Harper Gray, who plays Jason, is deeply affecting disclosing enormous pain and sadness, a broken soul. This is a great performance.

After leaving his adoptive/adopted home, Chris’s house, Jason visits his parents, apparently for the first time since returning to Portland. This passage is massively moving, nearly intolerably so. Despite parental pleas, Jason cannot stay. He must move on, accepting his condition of homelessness much as Ethan Edwards at the close of John Ford’s The Searchers (1956) chooses to wander between the winds.

The “conversation” among parents and son before Jason’s sad though perhaps necessary departure constitutes the part of the film I love most. (The entire film, incidentally, is 1¼ hours in length.) With darkness at the top and bottom of the screen, the face of each of the three characters occupies his or her own square in a row across the screen. Mother and Father flank Jason. (Bibi Walton and Jerry Carlton are excellent as the parents.) There is much silence and pain as Jason dissolves into sadness; what talk is there is inaudible. It is impossible for Jason to unburden himself. Each one is helpless. In the middle, Jason disappears entirely, leaving behind a black square—this, a projection of how he feels, and the loss to them of their son that his parents dread. When he reappears, his face now fills a square larger than the ones occupied by his parents, ironically indicating the attempts by his parents to hold onto him, but finding this impossible, and his own attempt to hold onto himself. The parents’ faces disappear into the darkness; when they reappear, Jason is out-of-frame, and their squares are adjacent. “Please don’t go,” we manage to hear the mother say. We hear the door close behind Jason. Now only the mother is visible; adjacent to her is darkness—a visual projection of the loss of her son.

We next see Jason underneath the bridge some morning. We know that time has passed from the presence of his companion. Amidst normal sound, his hearing goes into silence and comes back out. His haunted face visually frays. The girl with him makes no demands because she isn’t connected to his past. In his own way, Jason also may be wandering between the winds.

https://vimeo.com/ondemand/125257

Over Here Back in the US after a trip to Europe where La Lunga Ombra was made, my attentions again turned to America and the on-going war-of-choice in Iraq, and its domestic "collateral damages". 

[giveamadeuschohisownmovie]

Pitch for Captain America 4 / the SamCap movie:

MAIN STORYLINE:

It’s 2025. After the 2024 presidential election, Tom Kimball is elected as the next president of the United States (his political party is intentionally left ambiguous). Sam Wilson, who was pressured into endorsing Kimball due to his status as the new Captain America, is currently facing heavy backlash from progressive groups all across the country due to Kimball being considered a “bland centrist”. 

One of the more notable critics is Luke Cage, who has since become a political grassroots activist since we last saw him (this is a continuation of his reputation as Harlem’s hero). 

Less than a week after the election, Tom Kimball is assassinated. To make matters worse, the assassin was disguised as Captain America at the time, thus framing Sam. Suddenly the most wanted man in the United States, Sam goes on the run, hoping to find a way to clear his name. 

While on the run, Sam, with the help of Luke Cage, thwarts an assassination attempt targeting Vice President Rebecca “Rikki” Liefeld while she was at a town hall meeting in Harlem. Realizing that there’s a bigger conspiracy going on, Sam, Luke, and Rikki join forces to figure out who is behind these assassinations and what their motivation is. 

As the movie goes on, we learn that the figure behind these assassinations is Josh Glenn, a U.S. Senator who is secretly the terrorist “Hate-Monger” and the head of the National Force, a neo-fascist organization that is deeply rooted in HYDRA’s ideology. Despite putting on a friendly face for the public, Josh is a fascist who thinks the “liberals” have destroyed America. Josh also despises the fact that the new Captain America is a black man. 

SIDE NOTES:

1) I want to emphasize that the National Force is NOT HYDRA. If HYDRA represents the Nazis, the National Force represents Neo-Nazis and modern day right-wing paramilitary groups. Think Oath Keepers or Proud Boys.

2) Vice President Rebecca “Rikki” Liefeld is the MCU adaptation of Rikki Barnes, Bucky’s granddaughter. That’s one of the plot twists of the movie, that Rikki learns her long-lost grandfather is Bucky. The last name was changed to preserve the twist, with Liefeld being a reference to Rob Liefeld, who helped create Rikki.

3) The main trio of the movie is Sam Wilson, Luke Cage, and Rikki Barnes. Sam and Luke don’t get along at first, which reflects their differing political values (Sam is a moderate while Luke is more progressive). The two men eventually grow to respect one another, with Rikki acting as a sort of mediator for the two of them.

4) For those who don’t know, Tom Kimball is a reference to the 1990 Captain America movie.

5) Due to the focus on the Sam-Luke-Rikki trio, Bucky Barnes isn’t really a major character for this movie. He mainly appears during the final battle and meeting his granddaughter Rikki for the first time.

CASTING THE NEW CHARACTERS:

1) Mike Colter reprises his role as Luke Cage

2) Lauren Cohan as Vice President Rebecca “Rikki” Liefeld (later, the President) 

3) Alan Ruck as President Tom Kimball 

4) Billy Magnussen as Senator Josh Glenn (the Hate-Monger), the main antagonist 

[glovenose82-blog]

One ‘The Walking Dead’ Voice Has Been Curiously Silent This Week

Getty Image

It’s been perhaps the most significant week in the history of The Walking Dead television series. The show lost Andrew Lincoln’s Rick Grimes, who will now lead a series of three The Walking Dead movies. Lauren Cohan’s Maggie Rhee also left the show (for now); Jadis/Anne has left the series; Heath’s absence was explained; the show introduced Magna and a series of new characters (including an older Judith Grimes); and it also teased the introduction of a new set of villains, The Whisperers.

With a huge week like it has been, we fully expected that those involved with the show would be out in full force to discuss and defend their choices, and that’s been true for the most part. Chief Content Officer Scott Gimple and showrunner Angela Kang have given numerous interviews over the last week; Andrew Lincoln promoted his exit for weeks and gave interviews after the show; and AMC’s President David Madden has even become a recognizable name in The Walking Dead fan world this week.

There is, however, one voice we haven’t head from at all this week — or much at all this season — which is interesting given how involved he’s been with the show in the past, and the voice is that of the creator of The Walking Dead, Robert Kirkman. Kirkman gave an interview last month to Variety celebrating 15 years of The Walking Dead comics, but best I can tell he hasn’t really given an interview about the television series since he spoke with Kevin Smith last July. A frequent guest on The Talking Dead during the early years, Kirkman also hasn’t appeared on that since the Fear the Walking Dead, The Walking Dead crossover episode last April. As for the episode itself? He tweeted that people should watch the it, but he hasn’t weighed in on the substance of it.

Source: https://uproxx.com/tv/robert-kirkman-walking-dead-changes/

[nofomoartworld]

Hyperallergic: Art Movements

A detail from Marian Kołodziej’s “The Labyrinth” (started in 1993) (via Flickr/mik Krakow)

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

Activists from the Chinatown Art Brigade (CAB) and other local art and anti-gentrification groups protested against Omer Fast’s exhibition at James Cohan Gallery’s Chinatown space. CAB described August, which requires visitors to walk through a constructed caricature of a derelict, run-down Chinatown business, as a “racist aggression towards the community.”

Pyotr Pavlensky was arrested and charged with destruction of property after setting fire to a Bank of France branch in Paris. The dissident artist and his partner, Oksana Shalygina, were granted political asylum in France earlier this year. The pair fled Russia following accusations of sexual assault, a charge they maintain is politically motivated. Pavlensky, who is best known for nailing his scrotum to the ground in Moscow’s Red Square, was detained by Russian authorities in November 2015 after setting fire to the entrance of the FSB’s (Russian Federal Security Service) Moscow headquarters.

A crowdfunding campaign was launched for the conservation and protection of Marian Kołodziej’s “The Labyrinth,” an installation of work documenting the artist’s experiences at Auschwitz. The display, which is housed and cared for at a Franciscan monastery in the Polish village of Harmęże, is under threat from a woodworm infestation.

Walter Isaacson expressed doubts over the authenticity of Salvator Mundi (c. 1490–1519), specifically his disbelief that Leonardo da Vinci would fail to render visual distortions within the crystal orb depicted in the painting. The work is estimated to fetch $100 million at Christie’s on November 15. Isaacson is the author of a new work on Leonardo entitled Leonardo da Vinci: the Biography.

Over 25,000 people have signed a petition opposing the appointment of Siegbert Droese, a member of the far right Alternative for Germany (AfD) party, as chairman of the German parliament’s Committee on Cultural and Media Affairs.

The Hubei Provincial Museum in Wuhan, China, removed a series of racist photographs by Yu Huiping, which juxtaposed images of black people with wild animals.

Alex Gardega, the artist who placed a sculpture of a urinating dog next to Kristen Visbal’s “Fearless Girl,” was struck and killed by a subway train in Manhattan.

Members of Norman Rockwell‘s family met with representatives from the office of the Massachusetts attorney general in a bid to halt the sale of two works by the artist at Sotheby’s. The family is opposed to the Berkshire Museum’s controversial decision to deaccession “Shaftsbury Blacksmith Shop” (1940) and “Shuffleton’s Barbershop” (1950), paintings the artist directly donated to the museum.

Atelier Van Lieshout’s “Domestikator” (2015), an architectural structure resembling two mid-coital figures, was displayed at the Centre Pompidou after the Louvre decided to withdraw it from its outdoor sculpture program.

Reporter Tim O’Brien, the author of TrumpNation: The Art of Being the Donald, recounted an exchange with Donald Trump in which he disputed the authenticity of a Renoir displayed on his private jet. According to O’Brien, Trump insisted that his version of Renoir’s “Two Sisters (On the Terrace)” was authentic, despite the fact the original painting is held in the Art Institute of Chicago’s collection.

Hank Willis Thomas’s “All Power to All People,” an eight-foot-tall sculpture of an afro pick punctuated by a clenched fist, was installed at Town Center Apartments in Opa-locka, Florida.

Hank Willis Thomas, “All Power to All People” (via Instagram/@adriennechadwick)

Transactions

Sotheby’s Art for Grenfell auction raised a total of £1,946,875 (~$2,569,000).

Transitions

Beatrix Ruf stepped down as director of the Stedelijk Museum following intense criticism by Dutch media. Ruf continued to operate her private art-advisory firm, Currentmatters, during her first year as the Stedelijk’s director, netting $513,961. Ruf did not disclose the operation of her advisory business in the museum’s annual report. The former director was also criticized for a lack of transparency and accountability regarding museum acquisitions. According to NRC, the museum contractually agreed to acquire further works by Michael Krebber and Matt Mullican in order to secure a donation by German collector Thomas Borgmann, a deal that will reportedly cost the museum $1.76 million.

Eli Broad announced his retirement from philanthropic ventures.

Audrey Azoulay was appointed director general of UNESCO.

Alyson Baker will step down as the executive director of the Aldrich Contemporary Art Museum at the end of the year.

Lauren A. Meserve was appointed senior vice president and chief investment officer of the Metropolitan Museum of Art.

James H. DeGraffenreidt, Jr. was appointed president of the Walters Art Museum’s board of trustees.

El Museo del Barrio appointed six new members to its board of trustees: Juan Domingo Beckmann, Moisés Cosio, Veronica G. Powell, Clarice Oliveira Tavares, Renata Paula, and Monica Vidal.

Suzanne Cotter was appointed director of MUDAM Luxembourg.

Diana Baldon was appointed director of the Fondazione Modena Arti Visive.

Vincent Honoré and Cliff Lauson were appointed senior curators at the Hayward Gallery in London.

Virginia Commonwealth University announced that it will open its new Institute for Contemporary Art (ICA) in April 2018.

The New York Public Library unveiled its two-year renovation of the Schomburg Center for Research in Black Culture.

Galerie Templon is planning to open a second space in Paris.

Fernando Mignoni, the former head of Christie’s postwar and contemporary art department in London, will open his own gallery on the Upper East Side on October 31.

Two of Philadelphia’s modernist buildings — District Health Center One and the Shipley White Residence — were added to the city’s Register of Historic Places.

The University of Bergen unveiled its new faculty of Fine Art, Music and Design. The facility was designed by Norwegian architects, Snøhetta.

Snøhetta, Bergen University, Faculty of Fine Art, Music and Design (© Hufton + Crow)

Accolades

Kehinde Wiley and Amy Sherald were commissioned to paint portraits of Barack and Michelle Obama for the Smithsonian’s National Portrait Gallery.

Doug Aitken received the inaugural Frontier Art Prize.

Hikaru Fujii was awarded the Nissan Art Award’s 2017 Grand Prix.

Tim Storrier was awarded the 2017 Doug Moran National Portrait Prize.

George Saunders was awarded the 2017 Man Booker Prize for his novel Lincoln in the Bardo.

Obituaries

Lawrence Argent, “I See What You Mean” (2005), blue polymer concrete, 40ft x 24ft x 22ft, Denver Convention Center, Denver, Colorado (via Wikipedia)

Lawrence Argent (1957–2017), sculptor.

Cornelia Bailey (1945–2017), activist. Co-founder and vice-president of the  Sapelo Island Cultural and Revitalization Society.

Mary Cochran (1963–2017), dancer.

Courtney Donnell (1945–2017), curator of 20th-century painting and sculpture at the Art Institute of Chicago.

Gord Downie (1964–2017), lead singer and lyricist of the Tragically Hip.

Linda Fredericks (1941–2017), art teacher and activist. Founder and president of ArtSway.

Vincent La Selva (1929–2017), founder of the New York Grand Opera.

Charles Osborne (1927–2017), author, poet, and biographer. Former literature director of the Arts Council of Great Britain.

Marian Cannon Schlesinger (1912–2017), artist and author.

Grady Tate (1932–2017), jazz drummer and vocalist.

Ralph Turner (1936–2017), curator and exhibition organizer. Director of exhibitions at the Crafts Council.

Richard Wilbur (1921–2017), poet and translator.

The post Art Movements appeared first on Hyperallergic.

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[tune-collective]

Tupac Biopic 'All Eyez on Me' to Close 2017 American Black Film Festival

Tupac Biopic 'All Eyez on Me' to Close 2017 American Black Film Festival

All Eyez on Me, the Tupac Shakur biopic directed by Benny Boom, will close the 2017 American Black Film Festival (ABFF) on June 17. Opening theatrically the day before on June 16 — Shakur’s 46th birthday — the film will be presented at ABFF by Lionsgate, Codeblack Films and Morgan Creek Productions.

Demetrius Shipp Jr. (#unlock’d) stars as the late rapper/poet, joined by a cast that includes Kat Graham (Vampire Diaries), Hill Harper (CSI: NY), Lauren Cohan (Batman vs. Superman: Dawn of Justice), Cory Hardrict (America Sniper), Jamal Woolard (Notorious), Danai Gurira (Black Panther) and Jamie Hector (The Wire). The film’s producers are LT Hutton, Wayne Morris, David Robinson and James G. Robinson.

“Jeff Clanagan, president of Codeblack Films, has been a longtime supporter of the festival,” said ABFF Ventures CEO Jeff Friday in a statement. “It’s an honor to screen the highly anticipated story of iconic rapper Tupac Shakur and to support its director and ABFF alum Benny Boom.”

For more information about screenings, panels and tickets for the 2017 American Black Film Festival, visit ABFF.com/festival-passes/.

Watch the All Eyez on Me trailer here:

https://www.youtube.com/watch?v=8s1pxGg61wM

  This article originally appeared on Billboard.

http://tunecollective.com/2017/04/04/tupac-biopic-eyez-close-2017-american-black-film-festival/