#roma maffia

[haveyouseenthisseries-poll]

[thishadoscarbuzz]

306 - Things You Can Tell Just By Looking At Her

A film with strong festival reviews that gets dumped to cable television because its commercial prospects appear slim? Sounds like something ripped from today's cinema headlines, but it's the case for this week's film, Rodrigo Garcia's Things You Can Tell Just By Looking At Her. Led by a prestigious cast of awards show mainstays, the film is a tapestry of loosely interconnected stories that detail the inner lives of women living in the San Fernando valley. After successful trips to both Sundance and Cannes, the film's distributor sold the film to Showtime when even its good reviews weren't considered enough to merit a theatrical release.

This episode, we talk about the understated work of writer/director Garcia and the critical community's reaction at the time to the film's punting to cable. We also talk about Calista Flockhart's run on Ally McBeal, Kathy Baker and Valeria Golino's absence from the film's marketing, and how Glenn Close and Holly Hunter went from Oscar beloveds to Emmy perennials.

Topics also include the Emmys, MGM's then-looming bankruptcy, and the Tyra Banks game.

The 2000 Academy Awards

The 2001 Academy Awards

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[lecameleontv]

La série Profiler (1996) qui a 3 épisodes-Incursions (Crossover) avec la série Le Caméléon (V.O. : The Pretender) et était diffusée en France le même soir sur M6, et aux USA sur NBC.

Statut : terminée Nb Saisons : 4 Nb Episodes : 64

Réalisation : - Ian Toynton (6 épisodes) - James Whitmore Jr (2 épisodes) - Chuck Bowman (1 épisode), ...

Distribution principale : - Ally Walker, qui recroisera Leland Orser dans l'Ep. 12.13 de la série Urgences; - Robert Davi, qui avait déjà croisé Richard Marcus dans l'Ep. 1.07 de la série Hôpital St. Elsewhere (1982) et qui croisera Jason Brooks dans Alerte Astéroïde (2014); - Julian McMahon, vu dans la série Charmed; - Roma Maffia, vue dans la série Pretty Little Liars; - Jamie Luner, de la série Melrose Place; ...

Distribution secondaire : - A Martinez, vu dans les feuilletons Des jours et des Vies et Hôpital Central; - Gregory Itzin, vu dans l'Ep. 1.15 de la série Le Caméléon (V.O. : The Pretender), puis dans la série 24 heures chrono et Mentalist ; ...

De nombreux lieux de tournage et de participations exceptionnelles sont similaires avec la série Le Caméléon (V.O. : The Pretender) .

Ep. 3.19 : ...

Ep. 4.10 : > avec Max Martini, qui croisera Jeffrey Donovan dans l'Ep. 2.07 de la série Burn Notice; et qui participe également à l'incursion 4.10 de la série Le Caméléon (V.O. : The Pretender)

En 2020, Claire Cornillon, Maîtresse de Conférence à l’Université de Nïmes, a donné une conférence virtuelle “Héros et héroïnes de la Trilogie du samedi “ au GeekFest avec cette série au sommaire.

source : imdb

[yadivagirl]

All my life I thought these were the same person.

Roma Maffia

Alex Kingston

[badmovieihave]

Bad movie I have Nick of Time 1995

[lorenzospurio]

Ragunanza di poesia, narrativa e pittura: il verbale di giuria

L’ A.P. S. Le Ragunanze con i patrocini morali del Consiglio Regionale del Lazio, Roma Capitale XII Municipio, Ambasciata di Svezia a Roma, Accademia Nazionale D’Arte Drammatica “Silvio D’Amico”, Vivere D’Arte, Leggere Tutti, LATIUM di Madrid, ACTAS Tuscania, WikiPoesia, Coordinamento Difendiamo i pini di Roma Comitato Villa Glori, comunica i nominativi di tutti gli autori e artisti premiati ai…

[federicodimarco]

Lautaro Martinez of FC Internazionale celebrates after scoring first goal during the Serie A Enilive match between AS Roma and FC Internazionale at Stadio Olimpico on October 20, 2024 in Rome, Italy. (Photo by Giuseppe Maffia/NurPhoto via Getty Images)

[georgegraphys]

Mats Hummels after AS Roma's victory (AS Roma v. US Lecce)

© Giuseppe Maffia

[ncisfranchise-source]

Mark Harmon created one of network TV’s most beloved characters on NCIS back in 2003: Leroy Jethro Gibbs. How did he and fellow producers of new prequel series NCIS: Origins cast a younger version of the iconic special agent? 

“I felt the room jump a little when Austin came in, before he said anything,” Harmon tells PEOPLE of Austin Stowell, the actor playing a 1991-era Gibbs in the new spin-off (premiering Monday, Oct. 14). 

After his audition, recalls Harmon, “He walked out and someone said, ‘I'll just say it, that's a movie star.’”

The 73-year-old former Sexiest Man Alive is involved in Origins as well, as both executive producer and narrator — and appears in the premiere episode. It marks Harmon's first reappearance as Gibbs since his departure from NCIS in 2021. 

But the new drama is ultimately led by Stowell, 39, who admits to PEOPLE he’s “never been on a show like this.” It’s what made his casting so crucial. 

“There was heavy competition there,” recalls Harmon of the other actors in contention for the role. “There were a lot of good people. I would say that there were really few who drew the attention Austin did.”

In fact, he adds, “I can say that about any role that was cast in this show, because they all came in one after another. We got everybody we wanted.”

NCIS: Origins follows the beginnings of Gibbs’ career as a special agent at the fledgling NCIS Camp Pendleton office, led by NCIS legend Mike Franks (Kyle Schmid, inheriting a role played in the flagship series by Muse Watson). Costarring are Diany Rodriguez as the no-nonsense Vera Strickland (played on NCIS by Roma Maffia), plus Mariel Molino, Tyla Abercrumbie, Bobby Moynihan and more. 

Harmon says casting was just one example of the new series becoming what he and writers Gina Lucita Monreal and David J. North envisioned. “So often when you pitch something or talk about something or dream about something, the format by the time you get on air changes a lot,” he says. “Very rarely at the other end of it, does it come out the way you thought. This has come out the way we thought — so far.”

Stowell has nothing but praise for Harmon and his Origins costars and crew. “I like that responsibility,” he says, of leading a show that keeps a team employed in Hollywood. “It gives me great purpose. I don't just go to work for me, I go to work with everyone. It's the opportunity of a lifetime. I love it.”

Plus, he adds, “The fact that I know that there's 300 million [NCIS fans] out there who are waiting to see what this is only makes me fight harder and make me want to fulfill their expectations.”

[julianalvarez9]

PAULO DYBALA - AS Roma vs US Cremonese - February 1, 2023. (Photo by Giuseppe Maffia)

[seph7]

If They Look Familiar, It's Because They Are

By Jill Gerston - Oct. 27, 1996

YOU KNOW THEM. The minute they show up on screen you recognize their faces, those wonderfully expressive yet Everyman faces that make such an indelible imprint on the celluloid landscape. You can't recall their names, but you're positive you've seen them before -- and you probably have.

The actor who played the bullying Marine sergeant in ''Full Metal Jacket'' -- wasn't he the same one who played the outraged father in ''Dead Man Walking'' and the married conventioneer who rebuffs Elisabeth Shue in ''Leaving Las Vegas''?

And didn't the actor who depicted Alicia Silverstone's gruff but doting dad in ''Clueless'' also turn up as a harried detective in ''The Usual Suspects'' and as Bette Midler's bimbo-besotted ex-husband in ''The First Wives Club''?

Along with colleagues like J. T. Walsh, M. Emmet Walsh, Joe Pantoliano, Glenn Plummer, Roma Maffia, Max Perlich, William Forsythe, Lois Smith and Will Patton, they constitute a pantheon of gloriously idiosyncratic characters whom fans remember even while the actors' names elude them.

Now that summer's mass-market blockbusters have given way to more dramatic fare, where actors, not special effects, are the focus, these hard-working scene stealers are popping up in a spate of new and forthcoming movies.

J. T. Walsh, who recently played an opportunistic senator on a hijacked plane in ''Executive Decision,'' appears as an asylum inmate in the offbeat independent film ''Slingblade'' and as a truck driver in ''Breakdown'' with Kurt Russell.

Ubiquitous though they may be, these actors are not stars. Fans don't stampede to a movie because Mr. Ermey is in it. And in an industry that worships youth and beauty, they tend to look more like the rumpled masses strolling the aisles at Sears than Mel Gibson and Michelle Pfeiffer.

''If the entire population of a film were glamorous and beautiful, it wouldn't be reflective of life,'' said Mr. Rubin. ''The sort of Everyman looks of a character actor are a tremendous asset because they create a specific reality on screen.''

Even the term ''character actor'' can be perceived as a slight.

I NEVER RESENTED BEING called a character actor in New York, but with the caste system they have in Hollywood, you feel the little sting of it,'' said J. T. Walsh. ''There is a distinction made between the person who is getting $20 million and everyone else.''

On the other hand, character actors will never suffer the ignominy of being the subject of ''Whatever Happened to . . . ?'' articles. They don't need bodyguards to accompany them to the corner deli, and they don't shoulder the blame if a movie bombs. Sought-after character actors can earn a comfortable living -- in the low-to-mid six figures and higher -- and usually have longer careers than stars whose shelf life expires when their looks fade.

Even if they are anxiety-ridden egomaniacs, supporting players don't dare throw their weight around on a movie set. Maybe a star can be difficult, but a character actor with an attitude problem has very limited employment prospects.

''You don't go in and ask for rewrites, that's for sure,'' said J. T. Walsh, 52, chuckling at the idea. ''You're the one directors know they don't have to worry about, so they can turn their attention to more pressing problems, like finding the star a bigger trailer.''

''I feel blessed,'' Mr. Hedaya said.

Really? Isn't it frustrating to be always the supporting player, never the star? Doesn't he hunger for recognition and celebrity?

''I'm not frustrated,'' he insisted. ''I know actors who are truly gifted, and the business has not been as kind to them. I feel very thankful for what is going on.''

Indeed, for many character actors who have spent years scrounging for bit parts, it is reward enough to be constantly employed, playing bigger, more pivotal roles. ''I can't complain,'' said J. T. Walsh, whose words were echoed by others.

FIFTY OR SO YEARS AGO, during the heyday of the studio system, when studios churned out more than 50 films apiece annually, there was less urgency about snaring that one breakthrough part because there were gemlike roles galore for character actors.

Sydney Greenstreet, Peter Lorre, George Sanders, Una Merkel and Edward Everett Horton became stars in their own right. They turned up in film after film (albeit often in the same generic role), thanks to long-term contracts that guaranteed them steady work.

Today's supporting players don't have such job security. What's more, as stars' salaries skyrocket, character actors are often asked to take pay cuts. And their roles, as J. T. Walsh put it, ''don't have much meat on the bone.''

Increasingly, character actors are turning to television series for both steady employment and highly visible, well-written roles.

J. T. Walsh readily admits that ''job security'' induced him to take a role as a naval officer on NBC's sci-fi drama ''Dark Skies.''

For most character actors, however, developing their own movies with their own tailor-made leading roles is the stuff that dreams are made on. More realistically, most character actors' goal is just to keep working, whether it's in bread-and-butter parts or in that sparks-flying role that will change their careers.

(The text posted here is edited to feature mostly J.T. Feel free to click on the linked article to read the whole thing!)

[micro961]

Giulio Cesare - Rolling Stones

L’esordio discografico del poeta e visual artist Giulio Marchetti

Un pop elettronico dal sapore retro che, nel videoclip, ha come protagonista Anastasia Kuzmina di Ballando con le stelle

“Rolling Stones” è un brano con tutte le velleità del primo singolo, già a partire dal titolo rock e graffiante, ma ancor prima dal nome del nuovo progetto musicale che cita un personaggio storico imponente come Giulio Cesare. «È un’affermazione di identità e di intenti, in un certo senso» Giulio Cesare.

Dopo aver incontrato, da poeta, Riccardo Sinigallia (sua la nota del libro Specchi ciechi) ed aver collaborato, come visual artist, anche con Achille Lauro (Sanremo ed Eurovision 2022), nasce il primo tiratissimo singolo “Rolling Stones”, prodotto da Leo Pari, uno dei massimi esponenti della scena indie in Italia.

Per quanto concerne l’aspetto sonoro, si tratta di un pop elettronico dalle vibes retro, un sapore anni ‘80, con un testo ricercato e personale che deriva, quasi per osmosi, dall’esperienza poetica ultradecennale di Giulio Cesare, autore di sette raccolte pubblicate.

«È stato proprio conversando con Leo Pari, un giorno in studio di registrazione, che uscì una definizione “quasi dance” per questo singolo. Si voleva cioè intendere che “Rolling Stones” fosse anche un pezzo ballabile. A quel punto non restava che ingaggiare la migliore ballerina su piazza. La protagonista del videoclip, infatti, arriva direttamente dalla prima serata di Rai 1; è Anastasia Kuzmina di Ballando con le stelle, storico programma del sabato sera» Giulio Cesare.

Etichetta: Matilde Dischi - MAIONESE project Radio date: 7 aprile 2023

Giulio Marchetti è nato a Roma nel 1982. Ha esordito in poesia con “Il sogno della vita” (Novi Ligure, 2008), finalista al “Premio Carver” e segnalato con menzione speciale della giuria al Premio “Laurentum”. Nel 2010 ha pubblicato, con prefazione di Paolo Ruffilli, “Energia del vuoto” (puntoacapo), seguita nel 2012 da “La notte oscura” (ibidem). Con “Cieli immensi”, tratta da quella raccolta, ha vinto il Premio “Laurentum” 2011, sezione sms.   “La notte oscura” ha ottenuto il 3° posto al Premio Nazionale di Arti Letterarie “Città di Torino” e al Premio Internazionale “Tulliola” ed è stato finalista al Premio “Città di Sassari”. Nel 2014 ha riunito le precedenti pubblicazioni e la sezione inedita Disastri nella raccolta Apologia del sublime (puntoacapo), segnalata al Premio “Città di Sassari”. Nel 2015 ha pubblicato “Ghiaccio nero” (Ladolfi), premiato con menzione speciale di merito e medaglia d’onore al Premio Internazionale di poesia “Don Luigi Di Liegro”. Con la poesia “A metà”, è stato inoltre selezionato per “Il fiore della poesia italiana” (tomo II – i contemporanei), un grande progetto antologico che raccoglie il meglio della poesia italiana (puntoacapo, 2016). Nel 2020 ha pubblicato “Specchi ciechi” (puntoacapo), 1° posto al Premio “Città di Sassari” ed al Premio “Nabokov”, 3° posto al Premio “Tra Secchia e Panaro” e segnalato ai premi “Di Liegro”, “Lorenzo Montano” e Arti Letterarie “Città di Torino”. Nel 2023 è prevista inoltre la pubblicazione della settima raccolta di poesie, “Varco cielo” (puntoacapo). Tra i suoi prefatori, figurano: Maria Grazia Calandrone e Dante Maffia. Della sua poesia si è occupato, altresì, il Prof. Gabriele La Porta, storico conduttore e direttore Rai.

Per quanto concerne l’arte visuale, la sua variegata produzione rivela un’ispirazione comune che, sospesa tra ironia e critica, denuncia le contraddizioni e i paradossi del nostro tempo. Ha fondato il “Gruppo Mira”, selezionato per la mostra “Paesaggi inimmaginabili. Cartoline dal nostro pianeta” promossa da BienNolo e ArtCityLab. Il 23 dicembre 2020 è uscita su la Repubblica la sua opera “Dramazon”, di cui l’autore ha avuto modo di parlare all’interno di un’intervista rilasciata alla redazione del noto quotidiano, proprio nello stesso giorno. Le sue opere sono state pubblicate dalle maggiori riviste di settore tra cui Artribune ed Exibart. Tra le collaborazioni artistiche, si segnala la partnership con il cantante e performer Achille Lauro (Sanremo ed Eurovision 2022). Nell’autunno 2022 lancia la sua prima mostra nel Metaverso TIME e partecipa alla mostra collettiva Retina (galleria InQuadro), in occasione della RAW Art Night promossa dalla Rome Art Week. Il felice incontro con il critico Gianluca Marziani, curatore in Italia di Banksy (tra i maggiori artisti viventi), mette in cantiere ulteriori autorevoli iniziative, tra cui Logos Infinito (progetto di arte diffusa sulla parola – nuovo spazio d’arte contemporanea Recanati) e la mostra personale “Giulio Marchetti. Arcipelago esistenziale”, a cui peraltro collabora anche Davide Gavioli, già Social Media Manager per Arte Fiera.

Per il 7 aprile 2023, con il singolo Rolling Stones, è previsto il lancio del suo nuovo progetto musicale Giulio Cesare, il risultato della sua consapevolezza artistica  pluriennale e multidisciplinare, nonché il frutto di lunghe amicizie con cantautori e produttori speciali, tra cui Riccardo Sinigallia e Leo Pari. SOCIAL

WWW: https://www.giuliomarchettiart.it/ Instagram: @giuliomarchetti_artist

[antoniorichardsonblog]

Watch "Roma Maffia in Disclosure #8" on YouTube

[peacekindnesspossibility]

nip/tuck 5x02 - joyce and sharon monroe

Julia’s arrival

[everymovie2020]

Disclosure (1994)

Date watched:  7 October 2019

Disclaimer: I only watched this because they did a How Did This Get Made podcast about it, and I like to have context for those podcasts.

But I mean, honestly, I would've watched it anyway. A 90s erotic thriller starring Michael Douglas and Demi Moore?  That sounds like exactly the kind of thing I'm into.

Plot:

So now I'm going to try to explain the plot of the movie, which… I still don't fully understand.  But I'm going to try to lay it out as best as possible.

Michael Douglas is happily married, he works at a tech company developing virtual reality software (don't even get me started on that), and he's in the running to be promoted to VP.

Demi Moore also works for the same company, is a smoking hot babe with the greatest boobs I have ever seen, and they used to be in a relationship.  She is named VP instead of him.

Donald Sutherland is the boss of the company. There's some merger about to happen, and he stands to make $100 million.  It's the 90s, I guess that was a lot of money in tech.

Now I don't fully understand what was going on, but here is my interpretation:

Donald Sutherland, for some reason, wants Michael Douglas out.  There's some problem with the virtual reality software and he believes MD to be the reason for the problem (I think?).  He has promoted Demi Moore over other more worthy candidates because she is ruthless.

Either as part of the plan or just pure happenstance, Demi Moore calls MD up to her office.  She makes him give her a backrub, she then starts to sexually assault him (while he's saying "no, no, no" over and over), she tries to give him head, and basically goads him into almost having sex with her until he finally pulls away from her.  

He then says this fantastic line:

"You take those two champagne bottles in the fridge and go fuck yourself!"

Which, I think we can all agree, is excellent.

She chases him out, threatening his job, etc etc, he goes home, doesn't tell his wife, has a big scratch on his chest and he's like okay dodged a bullet there.

But then she reports him for sexual harassment. And so he goes to a lawyer to report HER for sexual harassment, and they arrange mediation.

Here's the thing – I had no idea this movie was going to go down this path.  I thought it was kind of like a sexy thriller but it's a movie about a sexual harassment case where a man has been sexually assaulted by a woman, but she's reported him for sexually assaulting her.

Honestly, it's like an incel's wet dream.

And then tied into all of this is the fact that Donald Sutherland wants him fired and that someone has fucked with the software prototype and they're trying to blame it on him.

So they go through this mediation and basically drag him through the mud, and then he finds out that the whole interaction was recorded because he'd rung someone and left his phone on right before it took place.  So her case is done, and he is "reinstated".  But then he overhears her and some other guy talking about how they're going to make a fool of him the next day at the big merger presentation.

But all's well that ends well, because he's able to prove that Demi Moore is the one who fucked with the prototype and she gets fired.

Honestly, I'm like… I still don't get it.  It seems like an awfully convoluted way to try to fire someone.  And he was doing a good job?  So I guess they were trying to fire him because they thought he was responsible for the stuff up, but it was actually Demi?

This movie is not worth your time.

Also, quick end note - this is the poster I vividly remember from my childhood (I’m guessing not even my super relaxed parents let me watch this one):

You know, I wrote this review a week ago and I’m now just posting it, but I’VE been thinking about this movie.  I kinda get the flip on sexual harassment they’re doing but I also feel like it’s done in a really sloppy way.

What I thought this movie was going to be was so different to what it actually is.  It’s like a mismash of two ideas - on one hand there’s this corporate bullshit going on with virtual reality and someone fucking up the prototype, and on the other hand there’s the sexual harassment thing.

And because of that it doesn’t work, because it was never really about the sexual harassment - they were just trying to fire Michael Douglas and anything would’ve stuck.

There’s a bit of a trope I’ve noticed in movies where the woman is the sexual aggressor and the guy doesn’t want it and it’s often played for laughs, but like, in this movie the sex scene is disturbing because he’s clearly saying no, no, no, no for most of the encounter.  And I was sitting there going, “Am I about to watch Michael Douglas get raped?”

So I feel like you could’ve had this movie be about Demi Moore, sexual aggressor, and go from there, but it doesn’t do that.  Michael Douglas is not particularly traumatised by what happened.  He wants to cover it up because he’s scared of what his wife will say; he’s not really scared of Demi Moore.  I feel like there’s a movie where the woman is the sexual aggressor and there’s a pattern of it, rather than this one incident that was actually part of a longer thing, and honestly doesn’t matter much in the long run.

I don’t know and I’m going to stop thinking about this now because really who fucking cares about this 25-year-old movie.

Also just want to say that I’ve watched a few Demi Moore movies recently and holy shit I FUCKING LOVE HER AND WAS NOT EXPECTING THIS TO HAPPEN.