#tiff stoll

[delilah-briarwood]

pink kryptonite moodboard!! (witchcraft au if you want? :D)

This is So Late but a Pink Kryptonite Witch AU moodboard!!

[gug-social-media]

[htmlerror]

‘Winced’ for Tiff (maybe with Bruce?)

Raspberry and Strawberry enjoyed their outside time. Ignoring the rest of the shithole her life came close to becoming, she could be thankful the rabbits were happy. Strawberry hopped over and Tiff pet her silky coal black ears as Raspberry zoomed over with a mouthful of flowers Tiff would have gotten chewed out by Alfred any other day for letting her get at. But not today. With the way everyone was walking on eggshells around her, she doubted even a tirade against the evils of the one percent could garner much beyond a sympathetic frown.

She pretended to ignore the sound of the kitchen door opening behind her, instead facing north towards the goldening treeline. Strawberry flopped into her lap and she listened hard. It was hard to be here, sometimes. Back at home she knew the sounds of everyone’s footsteps. She knew her mom's and dad’s by heart and by their creaking floorboards the exact moment when she had to put on the mask of the daughter they wanted her to be. It wasn’t like that with the Waynes (with her new family, but she wasn’t ready to take on the name in earnest. Maybe she never would be). Their footfalls were as soundless as the fog over her campus football field. But today was different. She heard the thump of two feet and a walking cane on the sun-soaked grass and knew who was joining her.

“Hello, Tiff,” Bruce said to her in a voice that rode away in the breeze as he spoke. “I’ve hardly seen you today.” Slowly, not bothering to hide the grunt he normally would, he lowered himself to the ground and looked off in the same direction as her. The message couldn’t have been more obvious slapped across her face. He was letting himself hurt in front of her to say it was alright for her to do the same.

“I’m not in the mood for company,” she pointedly did not snap back, fingers occupying themselves with the skirt of her watermelon sundress. He just hummed in response and let his eyes shut against the north wind. She shot him a scowl she didn’t doubt he would somehow see and turned her attention back to the bunny she held. Raspberry sniffed at her for the attention his sister was getting. “That means you can leave.”

He opened his eyes and looked at her. There was some hint of something she thought she might recognize from the mirror. Some sort of fire that burned with passion and anger at the injustice of the world and drove them to seek change. A part of her wanted to shrink back from his gaze, the same one her mother had always had when she decided Tiff was being untruthful. Her nerves steeled no matter how loud she screamed internally that Bruce wasn’t her mother, her father, or anyone else she had grown to detest. He hummed again and looked back towards the horizon. “I won’t try to force you, but I am here for you if you want to talk about it. I know how badly anniversaries can make you feel.”

“You don’t,” went unspoken between them. There was no point when he already knew that. Bruce had his demons and she had hers. But some selfish part of her begged to believe him, even if he couldn’t fix things with a wave of his hand the way she’d always seen the extravagantly rich do in movies. Maybe, the frightened little girl in need of a father told her, listening is what you need someone to do.

She could feel the turmoil, the months of hurt and fear of rejection, the long nights spent awake crying for parents who no longer wanted her, who swore to love her forever and broke their promise the moment she dared be something they didn’t want, all bubbling up inside her. It was like a stone resting in her throat, too large an obstruction to swallow but too cumbersome to let spill out in words. “Thank you,” she rhasped, not sure when her voice had gone hoarse or her vision cloudy with tears. She felt him looking over and likely yearning to give her one of those bear hugs her siblings swore made everything better. But she wasn’t ready, and he respected that. He respected her, and shit, he loved her too much to leave her wanting to scream and crawl out of her skin. Tiff almost felt ready to be loved again, but not to be held like the child she longed to still be.

As the light of the evening star twinkled to life, he sat there with her, even vigilant of whatever she may need. One day, she supposed, he would find a reason to leave, too, but for now she could almost let herself feel safe.

[growingupgotham]

So if I manage to sneak into the manor I'll be adopted and Bruce Wayne will cover my student loans? See you at breakfast, new brother!

I mean we already have one student living at the manor??? But Tiff isn’t one of B’s kids. But I’ll let Bruce know a random child is looking to be adopted!

[thishadoscarbuzz]

208 - This Is Where I Leave You

It’s time to sit shiva with a slew of stars and 2014′s This Is Where I Leave You. Adapted from Jonathan Tropper from his own novel and directed by Night at the Museum’s Shawn Levy, the film casts Jason Bateman as a man whose life falls apart at the hour of his father’s death. His mother, played by Jane Fonda, then tasks the entire family to sit shiva in his honor and seriocomic hijinks ensue. Levy would cast a feast of famous and noteworthy names to fill out the friends and family (including Tina Fey, Adam Driver, Rose Byrne, Kathryn Hahn, Corey Stoll, and more), but their combined skills were not enough to lift the film’s dated humor and stuck-in-neutral emotions off the ground.

The film debuted as a TIFF gala and was critically dismissed, with audiences feeling similarly underwhelmed upon release a few weeks later. This week, we talk about how the film sidesteps around a quite non-Jewish cast and where it places in the Fonda’s late-career era. We also discuss Fey’s limitations with her many crying scenes, our favorite performances from the Girls, and the 2014 TIFF lineup.

Topics also include Fonda’s most recent Oscar nomination for The Morning After, Tonys being awarded to movie stars, and the Wine Country Film Festival.

Links:

The 2014 Oscar nominations

Subscribe:

Spotify

Apple Podcasts

Google Play

Stitcher

[tiff-the-tumbler]

Tiff Constance Stoll. You really thought you’d get away with this? That we wouldn’t find your vile blog? You’re a disgrace to the family! Your father and I will be having words with you when we get home!

Fuck. No. No. This doesn’t happen. This can’t be happening. This has to be a joke.

[mayadile]

Hello! I love your concept on your new oc Hendrick you said he hangs at the lounge? does he know anyone there? why does he hang out there?

AWW THANK YOU!!! Yeah he hangs there, he would be standing by a stoll on the side of the bar on the right next to the bathroom ( where drunk Parsley would be! but he’ll move from that spot when you make him happy and be on the other side of bar closer to Jimothan ) Yeah I thought it would be a funny idea that Hendrick and Jimothan are pals so Jim doesn’t mind Hendrick there babbling away drunk about his shows and singing bathroom karaoke with Jerafina LOL uhh yeah he knows Jerafina too and he knows Tiff,pretty much everyone in there!!! He pretty much hangs there moping about his use to be fame with his game shows and drinks there

[thegloober]

10 Shows to Watch This Fall

by Brian Tallerico

September 24, 2018   |  

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For almost two decades now, I’ve used this time of year to pick out the best of the new offerings from the broadcast networks, adhering to the tradition of the standard “Fall Preview” that one would find in magazines like Entertainment Weekly and TV Guide. Part of it was being old-fashioned, but another part was that the broadcasts still adhere to a September/October launch schedule for a great deal of their returning and new programming, making a look at their entire slates easier than a company like FX or AMC, who sprinkle debuts throughout the year. Well, we all know that the broadcast nets don’t mean what they used to—the fact that no regular primetime show on them won an Emmy last week may be the final nail in this particular coffin—and the 2018-19 new shows just aren’t worth writing about at length. Trust me. So we’re mixing it up this year. With so much to watch across all the cable and streaming services, what should you pay attention to? What do you want to pick out from the crowd?

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10. Something on Network TV?

Odds are there will be at least one hit in the crop from CBS, NBC, ABC, FOX, and The CW. Last year it was “The Good Doctor”; the year before it was “This is Us.” People will probably watch “Magnum P.I.” but not feel good about it. On CBS, “FBI” has the chance to breakout as it’s very much in the model of the “NCIS” procedural that has done so well for the network. The CBS sitcoms (“The Neighborhood,” “Happy Together”) are atrocious, but so are the FOX ones (“The Cool Kids,” “REL”). For a sitcom hit you might like, ABC offers “The Kids Are Alright” and “Single Parents” both ensemble comedies in the ABC Family Sitcom mold—and I don’t mean that as an insult as shows like “The Goldbergs,” “The Middle,” and “Black-ish” have found fresh material within it. Having only seen one episode of each, they’re impossible to judge as a whole but are two of the few shows on the nets I want to watch again. NBC’s “I Feel Bad” is halfway decent, but again, too soon to tell. “Manifest” is not the “LOST” clone you’re hoping for and “New Amsterdam” is smug nonsense. Speaking of smug, “A Million Little Things” really wants to be your new “This is Us” and the cast is strong enough to possibly make it so, but this is a daytime soap masquerading as something more profound. So, to recap, maybe ABC’s “Single Parents” & “The Kids Are Alright” and CBS’s “FBI.” That’s all I got.

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9. Big Mouth (Netflix, 10/5)

Netflix has suddenly become an adult animation powerhouse with hits like “Bojack Horseman” and “Disenchantment,” but my favorite is this Nick Kroll and John Mulaney odyssey into teen hormones. The first season was ridiculously raunchy and hysterical, featuring a fantastic voice cast that includes Kroll, Mulaney, Jenny Slate, Fred Armisen, Jason Mantzoukas, and a show-stealing Maya Rudolph. It’s incredibly for adults only but also truthful about adolescence in ways that most shows aren’t.

[embedded content]

8. Into the Dark (Hulu, 10/5)

Shows like “Black Mirror” and “Sherlock” have stretched the definition of a limited series, actually winning the “TV Movie” Emmys in recent years, but this feels like what could more honestly be called a series of films for television than anything else. Jason Blum produces a series of horror flicks for Hulu, premiering one a month, and each offering is a horror tale inspired by the holiday of the month in which it premieres. So the October premiere, “The Body,” has a Halloween feel; November’s “Flesh & Blood” will be set at Thanksgiving. Could be fascinating. Could be just a bad straight-to-video horror a month under a neat banner. We’ll see.

Advertisement

[embedded content]

7. The Chilling Adventures of Sabrina (Netflix, 10/26)

Kiernan Shipka seems born to play the title role in this adaptation of the hit comic series of the same name, a dark reimagining of “Sabrina the Teenage Witch.” I may have been more skeptical before “Riverdale,” which shares a creator with this series and remains one of the most consistently interesting shows on network TV. (Yes, I’m serious. It’s much better than you think it is.) There are also rumors that this is going to be honestly dark—not just CW Dark—as the series was reportedly inspired by ‘70s horror, including “The Exorcist” and “Rosemary’s Baby.” Sign us up.

[embedded content]

6. Forever (Amazon Prime, on now)

There aren’t enough people talking about this excellent streaming dramedy, probably because Amazon made it so hard for critics to do so before it airs. I’ll avoid complete spoilers, but the cuffs are off a little bit now that it’s on the air, and I think it would actually draw people to know that this is more “The Good Place” than a standard relationship drama. It’s smart, funny, and insightful about modern marriage. And it contains Maya Rudolph’s career-best work to date. Our Allison Shoemaker has already reviewed this excellent show.

[embedded content]

5. Camping (HBO, 10/14)

We can all forgive Jennifer Garner for that “Peppermint” nonsense if this new HBO comedy ends up being half as good as it could be. Surprisingly low on buzz given it premieres in a couple weeks, this Garner vehicle was created by Lena Dunham and Jenni Konner and co-stars David Tennant, Janicza Bravo, Brett Gelman, Juliette Lewis, and Ione Skye. Garner plays a perfectionist who takes her husband, played by Tennant, on a camping trip for his 45th birthday. Chaos ensues. Plus, bears.

Advertisement

[embedded content]

4. Homecoming (Amazon Prime, 11/2)

This thriller from the creator of “Mr. Robot” got a lot of buzz after premiering a few episodes at TIFF this year and it’s easy to see why. Look at that cast—Julia Roberts, Stephan James, Bobby Cannavale, Shea Wigham, Alex Karpovsky, Dermot Mulroney, Hong Chau, Jeremy Allen White, Sydney Poitier, and Sissy Spacek star in a show about “a caseworker at a secret government facility, and a soldier eager to rejoin civilian life.” Amazon took another step this year with its first series Emmy win for “The Marvelous Mrs. Maisel.” Could this be its second?

[embedded content]

3. The Romanoffs (Amazon Prime, 10/12)

Matthew Weiner’s first show since “Mad Men” sounds like a fascinating experiment, billed as an anthology series that will follow multiple characters who may have a shared ancestry in the Russian royal family. Of course, everyone wanted to work with Weiner, which means another ludicrously stacked TV cast. This one includes Aaron Eckhart, Corey Stoll, Noah Wyle, Christina Hendricks, Isabelle Huppert, Jack Huston, Amanda Peet, John Slattery, Diane Lane, Ron Livingston, Radha Mitchell, Griffin Dunne, and Kathryn Hahn.

[embedded content]

2. The Haunting of Hill House (Netflix, 10/12)

Mike Flanagan has become one of the hottest young horror directors with films like “Hush” and “Gerald’s Game,” and he’s going back to a holy text in Shirley Jackson’s The Haunting of Hill House, already adapted twice as feature films called simply “The Haunting” (the first one rules, the second one not so much). With the room to expand on his style and storytelling skill in a series, this could easily be one of the best shows of the Fall.

[embedded content]

1. Maniac (Netflix, on now)

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I’ve already made it clear how strongly I feel about Cary Joji Fukunaga’s daring mind f**k of a TV series, and it’s been fascinating to see how people are responding to it now that it’s available. As I suspected, there are people who think it’s just about the best thing on television, and just as many who think it’s just about the worst. And I love it. The most memorable shows are often the ones that create the most conversation and people are talking about “Maniac.” And I suspect they will be all season long.

[embedded content]

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Source: https://bloghyped.com/10-shows-to-watch-this-fall/

[mrmichaelchadler]

10 Shows to Watch This Fall

For almost two decades now, I’ve used this time of year to pick out the best of the new offerings from the broadcast networks, adhering to the tradition of the standard “Fall Preview” that one would find in magazines like Entertainment Weekly and TV Guide. Part of it was being old-fashioned, but another part was that the broadcasts still adhere to a September/October launch schedule for a great deal of their returning and new programming, making a look at their entire slates easier than a company like FX or AMC, who sprinkle debuts throughout the year. Well, we all know that the broadcast nets don’t mean what they used to—the fact that no regular primetime show on them won an Emmy last week may be the final nail in this particular coffin—and the 2018-19 new shows just aren’t worth writing about at length. Trust me. So we’re mixing it up this year. With so much to watch across all the cable and streaming services, what should you pay attention to? What do you want to pick out from the crowd?

10. Something on Network TV?

Odds are there will be at least one hit in the crop from CBS, NBC, ABC, FOX, and The CW. Last year it was “The Good Doctor”; the year before it was “This is Us.” People will probably watch “Magnum P.I.” but not feel good about it. On CBS, “FBI” has the chance to breakout as it’s very much in the model of the “NCIS” procedural that has done so well for the network. The CBS sitcoms (“The Neighborhood,” “Happy Together”) are atrocious, but so are the FOX ones (“The Cool Kids,” “REL”). For a sitcom hit you might like, ABC offers “The Kids Are Alright” and “Single Parents” both ensemble comedies in the ABC Family Sitcom mold—and I don’t mean that as an insult as shows like “The Goldbergs,” “The Middle,” and “Black-ish” have found fresh material within it. Having only seen one episode of each, they’re impossible to judge as a whole but are two of the few shows on the nets I want to watch again. NBC’s “I Feel Bad” is halfway decent, but again, too soon to tell. “Manifest” is not the “LOST” clone you’re hoping for and “New Amsterdam” is smug nonsense. Speaking of smug, “A Million Little Things” really wants to be your new “This is Us” and the cast is strong enough to possibly make it so, but this is a daytime soap masquerading as something more profound. So, to recap, maybe ABC’s “Single Parents” & “The Kids Are Alright” and CBS’s “FBI.” That’s all I got.

9. Big Mouth (Netflix, 10/5)

Netflix has suddenly become an adult animation powerhouse with hits like “Bojack Horseman” and “Disenchantment,” but my favorite is this Nick Kroll and John Mulaney odyssey into teen hormones. The first season was ridiculously raunchy and hysterical, featuring a fantastic voice cast that includes Kroll, Mulaney, Jenny Slate, Fred Armisen, Jason Mantzoukas, and a show-stealing Maya Rudolph. It’s incredibly for adults only but also truthful about adolescence in ways that most shows aren’t.

8. Into the Dark (Hulu, 10/5)

Shows like “Black Mirror” and “Sherlock” have stretched the definition of a limited series, actually winning the “TV Movie” Emmys in recent years, but this feels like what could more honestly be called a series of films for television than anything else. Jason Blum produces a series of horror flicks for Hulu, premiering one a month, and each offering is a horror tale inspired by the holiday of the month in which it premieres. So the October premiere, “The Body,” has a Halloween feel; November’s “Flesh & Blood” will be set at Thanksgiving. Could be fascinating. Could be just a bad straight-to-video horror a month under a neat banner. We’ll see.

7. The Chilling Adventures of Sabrina (Netflix, 10/26)

Kiernan Shipka seems born to play the title role in this adaptation of the hit comic series of the same name, a dark reimagining of “Sabrina the Teenage Witch.” I may have been more skeptical before “Riverdale,” which shares a creator with this series and remains one of the most consistently interesting shows on network TV. (Yes, I’m serious. It’s much better than you think it is.) There are also rumors that this is going to be honestly dark—not just CW Dark—as the series was reportedly inspired by ‘70s horror, including “The Exorcist” and “Rosemary’s Baby.” Sign us up.

6. Forever (Amazon Prime, on now)

There aren’t enough people talking about this excellent streaming dramedy, probably because Amazon made it so hard for critics to do so before it airs. I’ll avoid complete spoilers, but the cuffs are off a little bit now that it’s on the air, and I think it would actually draw people to know that this is more “The Good Place” than a standard relationship drama. It’s smart, funny, and insightful about modern marriage. And it contains Maya Rudolph’s career-best work to date. Our Allison Shoemaker has already reviewed this excellent show.

5. Camping (HBO, 10/14)

We can all forgive Jennifer Garner for that “Peppermint” nonsense if this new HBO comedy ends up being half as good as it could be. Surprisingly low on buzz given it premieres in a couple weeks, this Garner vehicle was created by Lena Dunham and Jenni Konner and co-stars David Tennant, Janicza Bravo, Brett Gelman, Juliette Lewis, and Ione Skye. Garner plays a perfectionist who takes her husband, played by Tennant, on a camping trip for his 45th birthday. Chaos ensues. Plus, bears.

4. Homecoming (Amazon Prime, 11/2)

This thriller from the creator of “Mr. Robot” got a lot of buzz after premiering a few episodes at TIFF this year and it’s easy to see why. Look at that cast—Julia Roberts, Stephan James, Bobby Cannavale, Shea Wigham, Alex Karpovsky, Dermot Mulroney, Hong Chau, Jeremy Allen White, Sydney Poitier, and Sissy Spacek star in a show about “a caseworker at a secret government facility, and a soldier eager to rejoin civilian life.” Amazon took another step this year with its first series Emmy win for “The Marvelous Mrs. Maisel.” Could this be its second?

3. The Romanoffs (Amazon Prime, 10/12)

Matthew Weiner’s first show since “Mad Men” sounds like a fascinating experiment, billed as an anthology series that will follow multiple characters who may have a shared ancestry in the Russian royal family. Of course, everyone wanted to work with Weiner, which means another ludicrously stacked TV cast. This one includes Aaron Eckhart, Corey Stoll, Noah Wyle, Christina Hendricks, Isabelle Huppert, Jack Huston, Amanda Peet, John Slattery, Diane Lane, Ron Livingston, Radha Mitchell, Griffin Dunne, and Kathryn Hahn.

2. The Haunting of Hill House (Netflix, 10/12)

Mike Flanagan has become one of the hottest young horror directors with films like “Hush” and “Gerald’s Game,” and he’s going back to a holy text in Shirley Jackson’s The Haunting of Hill House, already adapted twice as feature films called simply “The Haunting” (the first one rules, the second one not so much). With the room to expand on his style and storytelling skill in a series, this could easily be one of the best shows of the Fall.

1. Maniac (Netflix, on now)

I’ve already made it clear how strongly I feel about Cary Joji Fukunaga’s daring mind f**k of a TV series, and it’s been fascinating to see how people are responding to it now that it’s available. As I suspected, there are people who think it’s just about the best thing on television, and just as many who think it’s just about the worst. And I love it. The most memorable shows are often the ones that create the most conversation and people are talking about “Maniac.” And I suspect they will be all season long.

from All Content https://ift.tt/2PZ1CZq

[delilah-briarwood]

Tiff, Never Tiffany

Tiff was a lot of things. A law student. A cheerleader. A friend. But now?Now she was just alone.

[theconservativebrief]

Midway through First Man, American astronaut Neil Armstrong (Ryan Gosling) is asked by a reporter at a press conference how he feels about the fact that, should the Apollo 11 mission be successful and he lands on the moon, he’ll go down in history.

Armstrong can’t answer the question. He impatiently snaps that NASA and the ship’s crew plan to be successful. Buzz Aldrin (Corey Stoll), seated by his side, eventually has to step in to talk about the crew’s great responsibility and excitement, while Armstrong stares intently into the middle distance.

The stoicism that might have prevented a man like Armstrong, who was facing either death or a kind of immortality, from being able to articulate an answer in that moment is the heart and soul of First Man. The film is less concerned with delivering a triumphalist portrayal of the 1969 moon landing — which has been done before, we’ve all seen it — and more with probing what kind of person is able to white-knuckle through the physical, emotional, and psychological toll of this sort of mission and successfully pull it off.

The answer is gratifyingly, understatedly intricate. Like last year’s Dunkirk, First Man funnels a historical moment through an intimate experience, reminding us that events that appear triumphant in history’s rearview mirror often come at the expense of pain and great personal sacrifice shouldered by real people. But the movie, first and foremost, tells Neil Armstrong’s story. We’re allowed to see it through his eyes, but in return, it asks us to respect what he went through — and that is not always easy.

At the distance of a half-century, the facts of the moon landing are well-known to most Americans: Neil Armstrong and Buzz Aldrin became the first humans to set foot on the moon on July 20, 1969, the culmination of a “space race” between the US and the USSR. They collected samples to bring back to Earth for scientific research. They left behind their footprints and an American flag.

All these elements are present in First Man, but the challenge with any movie based on epochal historical events is to find a fresh story in familiar facts. In this case, screenwriter Josh Singer (The Post, Spotlight) adapted James R. Hansen’s authorized biography of Armstrong. (Armstrong was famously private, but he granted more than 50 hours of interviews to Hansen and gave him access to private documents and family sources.)

The resulting film, directed by Damien Chazelle (who won the Best Director Oscar for La La Land in 2017) is laser-focused on Armstrong’s life, beginning with the tragic cancer-related death of his 2-year-old daughter Karen in 1962, prior to him being chosen for Project Gemini. Like the book on which it’s based, First Man paints a portrait of Armstrong as someone for whom heroism was never a motivator, and who viewed notoriety with deep reluctance.

Armstrong — whom Gosling plays with constraint — moves with his wife Janet (Claire Foy) and young son Mark to Houston, where he begins training alongside the other astronauts selected for the mission. The Armstrongs soon add another son, Eric, to their family, as they find themselves welcomed into the community of astronaut families.

Ryan Gosling and Claire Foy play Neil and Janet Armstrong in First Man. Courtesy of TIFF

First Man moves methodically but swiftly through each stage over the next six years, with the astronauts training, testing, running simulations, and making progress toward actually putting men on the moon. The film can flag a bit in these sequences (which is probably not wholly unlike the experience of living through them), but the shadow of danger is always present, even the mundane scratchings of diagrams and equations on a notepad. The men — and their families — are well aware of the risks they’re taking. And that realization only heightens over time, as a handful of their colleagues, their friends, are killed in the process.

What First Man makes clear is just how easy it is for something to go wrong. Janet remains thoroughly supportive of her husband’s work even as she ruefully confides in a friend that she married him because she wanted a stable life. Later, in one tension-fraught moment, she explodes at flight crew operations director Deke Slayton (Kyle Chandler), angrily calling the project “a bunch of boys making models out of balsa wood.” Any small error or unavoidable mistake could result in death, and the astronauts and their families live with that knowledge for years in a way that politicians at briefings or civilians watching the evening news will never understand.

We’re seeing all of this through Armstrong’s eyes — there are dozens of close-ups of Gosling’s eyes throughout the film — so even though we know what happens, there’s a feeling of considerable relief when the Apollo 11 crew manages to successfully launch out of Earth’s atmosphere and then, in a beautiful wide-shot sequence, actually land on the moon. (First Man’s score is pensive even when it’s majestic, as written by Justin Hurwitz, the Oscar-winning composer with whom Chazelle has collaborated on all of his films.)

First Man is the story of the moon landing told through one man’s eyes. Courtesy of TIFF

That the movie never really reaches a state of full-blown exhilaration is likely to frustrate viewers who are looking to have their sense of ownership in its historical events reinforced. But rather than focus on American achievement, First Man pays its deepest respects to Armstrong and to the men and women who risked and sacrificed their lives to get to the moon. The movie sees Armstrong’s reserve as both a blessing and a curse, a gift and a problem, but it’s unequivocal in its admiration of his humility. And in this way, it feels less like it’s forcing a myth onto the man who made it clear to his biographer that he wasn’t seeking renown — and more like a statement of gratitude.

One question that First Man poses frequently, in the midst of Armstrong’s story, is unavoidable: Why bother? Is the risk of trying to land on the moon really worth the reward? Wouldn’t the money being funneled into space be better spent fixing problems on Earth?

To its credit, First Man doesn’t try to answer that question, opting instead to simply remind us of how others have answered it in the past. The clip of John F. Kennedy’s 1962 “we choose to go to the moon” speech plays late in the film, giving one answer: that it’s a challenge America can rise to and overcome, so it is worth doing — and, implicitly, it means victory over the Soviets too.

Another answer it offers is the more pragmatic one that NASA researchers and some politicians seemed to prefer: Going to the moon facilitates scientific discovery and research, so it is worth doing.

But Armstrong gives a third, deeply personal answer early in the film, explaining that leaving the planet, and seeing how thin the atmosphere is that keeps us alive — seeing, with one’s own eyes, just how fragile human life is — gives a different perspective.

Gosling’s portrayal of the stoic Armstrong is so understated that it’s hard to tell how much Armstrong realizes the weight of what he’s saying. But it seems that, having encountered his child’s death, he needs to keep skirting and seeing the curtain that flutters between death and life, in order to make some sense of his own deeply buried grief.

Ryan Gosling in First Man. Courtesy of TIFF

The moon landing, for him, is a kind of culmination. Chazelle treats the sequence with a light hand, as a series of vignettes seen mostly in silence through Armstrong’s eyes. Armstrong watches as Aldrin bounds across the lunar landscape. He looks back at the lunar landing module and the American flag planted in the dust next to it, down at the vast crater near his feet, and back at the module. He thinks, in glimpses, of his family, and of Karen. He sees the blue marble of Earth off in the distance.

And by the end of First Man, as the film shows crowds around the world cheering the Apollo 11’s accomplishments and waving flags, the spectacle and success are less significant than the shifts that take place inside of Armstrong himself. Yes, he’s taken one giant leap for mankind. But in First Man, it’s the one man’s small step that’s most significant in the end.

First Man premiered at the Venice Film Festival and screened at the Toronto International Film Festival, and will open in theaters on October 12.

Original Source -> First Man stars Ryan Gosling as Neil Armstrong, a man struggling to deal with his grief

via The Conservative Brief

[lindyhunt]

TIFF 2018: We Went to the First Man Premiere Party

So I attended a TIFF Party! To help those who couldn’t make it feel like they were there, I completed this comprehensive post-party questionnaire.

What was the party for?

First Man, a Damien Chazelle film written by Josh Singer, based on the book First Man: The Life of Neil A. Armstrong by James R. Hansen. The movie, which first premiered at the Venice Film Festival last week to rave reviews, stars Ryan Gosling as Neil Armstrong, and follows the young astronaut’s life leading up to the Apollo 11 mission to the Moon in 1969.

Where was it held?

Patria, a Spanish restaurant at 478 King St W.

What brands were present as partners?

Nespresso and Audi.

Which celebrities were supposed to be in attendance?

Ryan Gosling, Claire Foy and Damien Chazelle.

Which celebs did you actually spot?

Well, the Prime Minister made a surprise appearance. Following his speaking engagement at Tina Brown’s Women in the World Summit earlier in the day, The Right Honourable Justin Trudeau stopped by the festival circuit to support the North American premiere of First Man.

Trudeau didn’t pose for photos, but graciously shook party attendees hands on the patio. Shortly after, Gosling and Foy were whisked away in separate cars. So we had our head of government, our most cherished hometown hottie, and the Queen (Claire Foy) all in one room. Oh Canada! What a night for the commonwealth.

Food? Cocktails? 

Spanish tapas and coffee cocktails pair better than you probably expected.

Describe the general vibe.

Grown up sophistication. The kind of party that an astronaut, an Oscar-winning director and a government official all swing by.

Please repeat one conversation you overheard.

“So are the Prime Minister and Ryan Gosling, like, friends?”

If you had to title the party as if it were a film, what would it be called?

Canada’s Internet Boyfriends

The picture I painted wasn’t clear enough? Well, here are some photos from inside the party.

Photography by Owen Hoffmann/Getty Images for Audi

Photography by Owen Hoffmann/Getty Images

Photo by Sonia Recchia/Getty Images for Nespresso

Photo by Sonia Recchia/Getty Images for Nespresso

Photography by Owen Hoffmann/Getty Images for Audi

Photo by Owen Hoffmann/Getty Images for Audi

Photo by Owen Hoffmann/Getty Images for Audi

Photo by Owen Hoffmann/Getty Images for Audi

Photo by Owen Hoffmann/Getty Images for Audi

Photo by Owen Hoffmann/Getty Images for Audi

1/10

First Man Premiere Party

Claire Foy

2/10

First Man Premiere Party

Ryan Gosling and family

3/10

First Man Premiere Party

4/10

First Man Premiere Party

Damien Chazelle and Olivia Hamilton

5/10

First Man Premiere Party

Ryan Gosling and Donna Gosling

6/10

First Man Premiere Party

Corey Stoll and Nadia Bowers

7/10

First Man Premiere Party

Brian d’Arcy James

8/10

First Man Premiere Party

Patrick Fugit

9/10

First Man Premiere Party

Guest and Mark Armstrong

10/10

First Man Premiere Party

Guest and Eric Armstrong

[spotlightsaga]

Kevin Cage of @spotlightsaga reviews… iZombie (S03E01) Heaven Just Got a Little Bit Smoother Airdate: April 4, 2017 @cwnetwork @izombiecw Ratings: 0.946 Million :: 0.39 18-49 Demo Share Score: 6/10 @izombie @cwizombie

**********SPOILERS BELOW**********

THREE. Three is the amount of times I had to watch this episode to really put myself back into the world of the ‘out of the box’ atmosphere of the Seattle based zombie series that literally picks up right where S2 ended. And Rob Thomas, both the man who is the 'iZombie’ showrunner and the singer (who was portrayed with the tongue in-cheek confusion that Adam Goldberg would refer to as 'brand confusion’ as he’s had he’s own personal tiff with 'The Goldbergs’ creator Adam F. Goldberg) are not to blame. As a matter of fact, when you get down to it, this is actually a pretty good episode of iZombie, setting up a whole new season with possibilities in store for the show that it never before had. The problem isn’t the show, because if you caught up on Netflix recently than this really wasn’t a huge jump for you… The problem is the decision (and whoever signed off on it) of The CW to move iZombie to a mid-season slot, forcing those of us faithful fans who watch it between that coveted Live/L+3/L+7 timeframe, as it’s been just THREE days shy of a full year since the S2 finale first aired on The CW.

This isn’t the first time that The CW has made a bad call like this, just recently Netflix sensation 'The 100’ got the same treatment. See, the head honchos over at The CW think that by doing this they are allowing the show to build up a new fanbase through streaming methods and that the show will somehow duplicate the success of AMC’s series and have what’s now referred to as a 'Breaking Bad’ moment. Unfortunately, The CW is quickly learning that in 2017, and with the type of show’s that they produce, that this is NOT the case… And if anything, the show’s audience, in terms of Live audience and the L+3/L+7, sees a shrinking effect, giving the network the exact opposite reaction that they were originally hoping for. It’s either that or they’re just all idiots. At this point, it’s a toss up.

It made it especially difficult with this S3 premiere because they made the decision to literally start the season at the very moment that S2 ended… Which is all fine and dandy, but after a year of watching countless amounts of series, most of us don’t exactly remember all the details. Sure, they can throw us a 'Previously On’, which they did, but iZombie is more than just the sum of its arcs and subplots… It’s a feeling that is particularly unique to only this show. I suppose I’ve gone on enough and should start talking about the actual episode, but if you can’t tell… I’m a little pissed I had to watch the show THREE times (plus a few rewind recaps) to really soak it all in.

Three for S3, and iZombie is FINALLY back… And SOOO much has changed. For one, Clive is finally in on the zombie epidemic that is sweeping Seattle. He takes it surprisingly well, quelling a lot of Liv’s fears. Enter Vivian Stoll, the HBIC of Fillmore Graves (get it?) Enterprises, gotta love the cheekiness that iZombie so naturally embodies and passes off in the most understated of ways. Vivian is a huge question mark… But she’s rich and we get her backstory that her husband was turned into a Zombie and to get him to stay she scratched herself with his hands in the middle of the night without consent. If he was gonna go through this, so was she. Admirable, but just days later he goes missing… And it seems everything else she is doing is both admirable and because of the very instance (that I’m sure the memory handicapped Blaine unknowingly had something to do with)… And it all comes down to preparing for ’D-Day’ (A literal code term for Zombie Discovery Day). She has an island close by and a massive compound ready to move her Zombie faithfuls to if ever shit gets too deep. She has schools for Zombie children, one that Clive recognizes, a great way to demonstrate his fast acceptance and growing empathy for the situation at hand. But what is Vivian really up to? Certainly everything is not as peachy as it seems, their fucking brain eating zombies for Christ’s Sake.. And not all of them are Liv’s, there are quite a few that are 'Pre-Memory Loss’ Blaine’s!

The clincher? There’s always a clincher isn’t there? As Liv and company leave the massive structure that seems to be all kosher… She’s gets a glimpse of a few of the zombie army boys taking a run around the grounds of the facility… And who should she see? Ah, hell, its Major! Guess that makes the whole 'I just had to shoot my boyfriend in the head’ deal a tad bit easier, right? D-Day may be closer than they think… There were witnesses to everything that went down at the end of S2 and they are blabbing to anyone who will listen, including right wing nut radio talk shows… But hey, you never know who’s listening! Welcome back, iZombie… No more full years off! I’m not watching the S4 premiere 4 times for good measure!

[redcarpetview]

32nd ANNUAL STELLAR GOSPEL MUSIC AWARDS: A COMPLETE LIST OF NOMINATIONS

Anthony Brown & Erica Campbell set to host the 2017 Stellar Awards in Las Vegas, Nevada.

       Central City Productions announced the nominees in 26 categories for the 2017 Stellar Awards. Hailed as an "epic night in gospel music," this year's Stellar Awards will return to the Las Vegas Orleans Arena on Saturday, March 25, 2017. The telecast will premiere on TV One Sunday, April 9 at 7 p.m. ET with encores at 9 p.m. and 11 p.m. ET. In addition, the Stellar Awards will air in national broadcast syndication on 170 stations in over 150 markets around the country from April 14 - May 7, 2017.

       Find a complete list of all 2017 Stellar Award Nominees below.

         Category #1 ARTIST OF THE YEAR

JEKALYN CARR, THE LIFE PROJECT, LUNJEAL MUSIC GROUP/eONE MUSIC

KIRK FRANKLIN, LOSING MY RELIGION, FO YO SOUL/RCA RECORDS

TAMELA MANN, ONE WAY, TILLY MANN

WILLIAM MCDOWELL, SOUNDS OF REVIVAL, DELIVERY ROOM MUSIC/ eONE MUSIC

      Category #2 SONG OF THE YEAR

ALLUNDRIA CARR & ALLEN CARR, YOU’RE BIGGER – THE LIFE PROJECT (JEKALYN CARR), LUNJEAL MUSIC GROUP/eONE MUSIC

KIRK FRANKLIN, GOD PROVIDES – ONE WAY (TAMELA MANN), TILLY MANN

TRAVIS GREENE, MADE A WAY – THE HILL (TRAVIS GREENE), RCA     INSPIRATION

DAVID BLOOM –  DAVID BLOOM PUBLISHING BMI, CORTEZ VAUGHN – VAUJOH RECORDS ASCAP, PHONTANE     DEMOND REED – DEMOND REED MUSIC BMI & JJ HAIRSTON – YELLOWBOY MUSIC     ASCAP, YOU DESERVE IT – YOU DESERVE IT - SINGLE (JJ HAIRSTON & YOUTHFUL PRAISE), JAMESTOWN MUSIC/ eONE MUSIC

          Category #3 MALE VOCALIST OF THE YEAR

TODD DULANEY,  A WORSHIPPER’S HEART, eONE MUSIC

TRAVIS GREENE, THE HILL, RCA INSPIRATION

DONNIE MCCLURKIN, THE JOURNEY (LIVE), RCA INSPIRATION

HEZEKIAH WALKER, AZUSA THE NEXT GENERATION 2: BETTER, AZUSA INC./ eONE MUSIC

         CATEGORY #4 ALBERTINA WALKER FEMALE VOCALIST OF THE YEAR

BRI (BRIANA BABINEAUX), KEYS TO MY HEART, MARQUIS BOONE/TYSCOT RECORDS

SHIRLEY CAESAR, FILL THIS HOUSE, LIGHT RECORDS/ eONE MUSIC

JEKALYN CARR, THE LIFE PROJECT, LUNJEAL MUSIC GROUP/ eONE MUSIC

TAMELA MANN, ONE WAY, TILLY MANN

              CATEGORY #5 GROUP/DUO OF THE YEAR

MYRON BUTLER & LEVI, ON PURPOSE, MOTOWN GOSPEL

LIVRE’, TRIBE OF JOSHUA, GLORY 2 GLORY/RAL A SONY COMPANY

VIRTUE, FEARLESS, MIXED BAG ENTERTAINMENT

BRYAN ANDREW WILSON FT. RODERICK GILES & GRACE, OVERFLOW, BRYAN’S SONGS/CE MUSIC/MRI/SONY RED

      CATEGORY #6 NEW ARTIST OF THE YEAR

BRI (BRIANA BABINEAUX), KEYS TO MY HEART, MARQUIS BOONE/TYSCOT RECORDS

ENON TABERNACLE, DR. ALYN E. WALLER PRESENTS ENON TABERNACLE – THE EXPERIENCE, ENON MUSIC GROUP

LIVRE’, TRIBE OF JOSHUA, GLORY 2 GLORY/RAL A SONY COMPANY

DEBORAH JOY WINANS, GREENLEAF SOUNDTRACK, MALACO RECORDS

       CATEGORY #7 CD OF THE YEAR

A WORSHIPPER’S HEART, TODD DULANEY, eONE MUSIC

LOSING MY RELIGION, KIRK FRANKLIN, FO YO SOUL/RCA RECORDS

THE HILL, TRAVIS GREENE, RCA INSPIRATION

ONE WAY, TAMELA MANN, TILLY MANN

    Sherri Shephard on 2016 Stellar Awards’ red carpet arrivals. Photo by Naomi Richard.

             CATEGORY #8 CHOIR OF THE YEAR

CHARLES BUTLER & TRINITY, MAKE IT, ANOINTED SOUNDS/ eONE MUSIC

CHICAGO MASS CHOIR, WE GIVE YOU PRAISE, NEW HAVEN RECORDS

ENON TABERNACLE, DR. ALYN E. WALLER PRESENTS ENON TABERNACLE – THE EXPERIENCE, ENON MUSIC GROUP

HEZEKIAH WALKER, AZUSA THE NEXT GENERATION 2: BETTER, AZUSA INC./ eONE MUSIC    

        CATEGORY #9 PRODUCER OF THE YEAR

KIRK     FRANKLIN, RON HILL, MONICA COATES, SHAUN MARTIN & MAX STARK, LOSING MY RELIGION (KIRK FRANKLIN), FO YO SOUL/RCA RECORDS

GEO BIVINS, TRAVIS GREENE & VICTOR NAVEJAR, THE HILL (TRAVIS GREENE), RCA INSPIRATION

MYRON BUTLER, TAMELA MANN, KIRK FRANKLIN, TIMBERLAND, ERIC DAWKINS, KING LOGAN, SHAUN MARTIN & DAVID MANN, ONE WAY (TAMELA MANN), TILLY MANN

DONALD LAWRENCE FOR QUIET WATER ENTERTAINMENT & HEZEKIAH WALKER FOR HEZHOUSE ENTERTAINMENT, AZUSA THE NEXT GENERATION 2: BETTER (HEZEKIAH WALKER), AZUSA INC./ eONE MUSIC

                CATEGORY #10 CONTEMPORARY GROUP/DUO OF THE YEAR

MYRON BUTLER     & LEVI, ON PURPOSE, MOTOWN GOSPEL

GI, PRAY AND DON’T WORRY EP, BGA MUSIC GROUP

LIVRE’, TRIBE OF JOSHUA, GLORY 2 GLORY/RAL A SONY COMPANY

VIRTUE, FEARLESS, MIXED BAG ENTERTAINMENT

       CATEGORY #11 TRADITIONAL GROUP/DUO OF THE YEAR OMITTED

        CATEGORY #12 CONTEMPORARY MALE VOCALIST OF THE YEAR

TRAVIS GREENE, THE HILL, RCA INSPIRATION

CHARLES JENKINS, THINK ABOUT THESE THINGS, INSPIRED PEOPLE

JONATHAN MCREYNOLDS, SESSIONS, eONE MUSIC

HEZEKIAH WALKER, AZUSA THE NEXT GENERATION 2: BETTER, AZUSA INC./ eONE MUSIC

         Chrystal Rucker on 2016 Stellar Awards’ red carpet arrivals.  Photo by Naomi Richard.

            CATEGORY #13 TRADITIONAL MALE VOCALIST OF THE YEAR

REV. LUTHER BARNES, THE FAVOR OF GOD, SHANACHIE ENTERTAINMENT

FRED HAMMOND, WORSHIP JOURNAL LIVE, RCA INSPIRATION

DONNIE MCCLURKIN, THE JOURNEY (LIVE), RCA INSPIRATION

BRYAN ANDREW WILSON, OVERFLOW, BRYAN’S SONGS/CE MUSIC/MRI/SONY RED

                         CATEGORY #14 CONTEMPORARY FEMALE VOCALIST OF THE YEAR

BRI (BRIANA BABINEAUX), KEYS TO MY HEART, MARQUIS BOONE/TYSCOT RECORDS

LATICE CRAWFORD, DIARY OF A CHURCH GIRL, LATICE CRAWFORD MUSIC

JANICE GAINES, GREATEST LIFE EVER, MOTOWN GOSPEL

TIFF JOY, TIFF JOY, WALWAY ENTERTAINMENT/TYSCOT RECORDS

             CATEGORY #15 TRADITIONAL FEMALE VOCALIST OF THE YEAR

LEMMIE BATTLES, WE GIVE YOU PRAISE, NEW HAVEN RECORDS

SHIRLEY CAESAR, FILL THIS HOUSE, LIGHT RECORDS/ eONE MUSIC

JEKALYN CARR, THE LIFE PROJECT, LUNJEAL MUSIC GROUP/ eONE MUSIC

TAMELA MANN, ONE WAY, TILLY MANN

            CATEGORY #16 CONTEMPORARY CD OF THE YEAR

A WORSHIPPER’S HEART, TODD DULANEY, eONE MUSIC

LOSING MY RELIGION, KIRK FRANKLIN, FO YO SOUL/RCA RECORDS

THE HILL, TRAVIS GREENE, RCA INSPIRATION

MASTERPIECE, DEITRICK HADDON, eONE MUSIC

      CATEGORY #17 TRADITIONAL CD OF THE YEAR

FILL THIS HOUSE, SHIRLEY CAESAR, LIGHT RECORDS/ eONE MUSIC

WE GIVE YOU PRAISE, CHICAGO MASS CHOIR, NEW HAVEN RECORDS

WORSHIP JOURNAL LIVE, FRED HAMMOND, RCA INSPIRATION

ONE WAY, TAMELA MANN, TILLY MANN

          CATEGORY #18 URBAN/INSPIRATIONAL SINGLE OR PERFORMANCE OF THE YEAR

THE ANTHEM –A WORSHIPPER’S HEART, TODD DULANEY, eONE MUSIC

YOU DESERVE IT (SINGLE), JJ HAIRSTON & YOUTHFUL PRAISE, JAMESTOWN MUSIC/ eONE MUSIC

GOD PROVIDES – ONE WAY, TAMELA MANN, TILLY MANN

BETTER – AZUSA THE NEXT GENERATION 2: BETTER, HEZEKIAH     WALKER, AZUSA INC./ eONE MUSIC

       CATEGORY #19 MUSIC VIDEO OF THE YEAR

ROCK JACOBS, WANNA BE HAPPY – LOSING MY RELIGION (KIRK FRANKLIN), FO YO SOUL/RCA RECORDS

WILL THOMAS OF SPACE CHERRY FILMS, INTENTIONAL – THE HILL (TRAVIS GREENE), RCA NSPIRATION

DEREK BLANKS, THE WAY THAT YOU LOVE ME– SESSIONS (JONATHAN MCREYNOLDS), eONE MUSIC

MARK CLEMENT, BETTER – AZUSA THE NEXT GENERATION 2: BETTER (HEZEKIAH WALKER), AZUSA INC./ eONE MUSIC

     CATEGORY #20 TRADITIONAL CHOIR OF THE YEAR

REV. LUTHER BARNES & THE RESTORATION WORSHIP CENTER CHOIR, THE FAVOR OF GOD, SHANACHIE ENTERTAINMENT CORP

CHICAGO MASS CHOIR, WE GIVE YOU PRAISE, NEW HAVEN RECORDS

ENON TABERNACLE, DR. ALYN E. WALLER PRESENTS ENON TABERNACLE – THE EXPERIENCE, ENON MUSIC GROUP

HOWARD GOSPEL CHOIR OF HOWARD UNIVERSITY, GLORIOUS GOD, HOWARD GOSPEL CHOIR

             Jekalyn Carr on 2016 Stellar Awards’ red carpet arrivals. Photo by Red Carpet View. Photo by Naomi Richard.    

    CATEGORY #21 CONTEMPORARY CHOIR OF THE YEAR

CHARLES BUTLER & TRINITY, MAKE IT, ANOINTED SOUNDS/eONE MUSIC

BISHOP ANDREW MERRITT & STARLIGHT GATE MASS CHOIR, SATURATE US, BAJADA RECORDS

SOUNDS OF BLACKNESS FEATURING HSRA, ROYALTY, SOUNDS OF BLACKNESS/ATOMIC K RECORDS

HEZEKIAH WALKER, AZUSA THE NEXT GENERATION 2: BETTER, AZUSA INC./eONE MUSIC

        CATEGORY #22 INSTRUMENTAL CD OF THE YEAR OMITTED

        CATEGORY #23 SPECIAL EVENT CD OF THE YEAR

GLORIOUS GOD, HOWARD GOSPEL CHOIR OF HOWARD UNIVERSITY, HOWARD GOSPEL CHOIR

ROYALTY, SOUNDS OF BLACKNESS FEATURING HSRA, SOUNDS OF BLACKNESS/ATOMIC K RECORDS

GREENLEAF SOUNDTRACK, VARIOUS ARTISTS, MALACO RECORDS

WOW GOSPEL 2016, VARIOUS ARTISTS, RCA INSPIRATION

        CATEGORY #24 RAP HIP HOP GOSPEL CD OF THE YEAR

SURRENDER, BIZZLE, GOD OVER MONEY RECORDS

IT’S COMPLICATED, DA’ TRUTH, NEXT MUSIC/MIXED BAG

THE GLORY ALBUM, CHRISTON GRAY, FO YO SOUL RECORDS/RCA RECORDS

I AM JUSTICE,  CANTON JONES, CAJO INTERNATIONAL

        CATEGORY #25 YOUTH PROJECT OF THE YEAR

CHOIRBOI CAM, THE DESTINY PROJECT, INDEPENDENT

JOSHUA’S TROOP, IT’S MY TIME, NEW HAVEN RECORDS

KINGDOM KIDS WORLDWIDE, AFTERSCHOOL PARTY REMIX, HEADSTRATE ENTERTAINMENT

PURE-N-HEART, ALPHAEUS ANDERSON PRESENTS PURE-N-HEART YOUTH PSALMS HYMNS & SPIRITUAL SONGS, MUSIC2CHANGEU

      CATEGORY #26 QUARTET OF THE YEAR

DA CHOZEN BROTHAZ, THE BLUEPRINT OF D.C.B., D.C.B. INC.

KEITH “WONDERBOY” JOHNSON, TIMELESS MUSIC MOVEMENT, VOLUME 1, WONDERSPIRIT PRODUCTIONS RECORDS

SHAWN JONES AND THE BELIEVERS, VICTORY, HUMILITY MUSIC

LIL’ JAY AND THE SPIRITUAL BOYS, RATED R*, T.S.B. MUSIC GROUP

       CATEGORY #27 RECORDED MUSIC PACKAGING OF THE YEAR

JEFF GILLIGAN, LOSING MY RELIGION (KIRK FRANKLIN), FO YO SOUL/RCA RECORDS

PAUL GROSSO, FILL THIS HOUSE (SHIRLEY CAESAR), LIGHT RECORDS/eONE MUSIC

D LACEY MAYSON MINOR & KESTON MCKINNON, ONE WAY (TAMELA MANN), TILLY MANN

ANNIE STOLL, THE HILL (TRAVIS GREENE), RCA INSPIRATION

       CATEGORY #28 PRAISE AND WORSHIP CD OF THE YEAR

THE LIFE PROJECT, JEKALYN CARR, LUNJEAL MUSIC GROUP/eONE MUSIC

A WORSHIPPER’S HEART, TODD DULANEY, eONE MUSIC

THE HILL, TRAVIS GREENE, RCA INSPIRATION

SOUNDS OF REVIVAL, WILLIAM MCDOWELL, DELIVERY ROOM MUSIC/ eONE MUSIC

      Erica Campbell and Donnie McClurkin on 2016 Stellar Awards’ red carpet arrivals. Photo by Naomi Richard. 

             GOSPEL RADIO OF THE YEAR NOMINEES

   MAJOR MARKET OF THE YEAR

WNAP GOSPEL HIGHWAY ELEVEN 110 AM, PHILADELPHIA, FRED BLAIN

WGRB AM INSPIRATION 1390, CHICAGO, SONYA BLAKEY

WIGO AM 1570, ATLANTA, LARRY YOUNG

WPZE Praise 102.5 FM, ATLANTA, LORI FLOWERS & DEREK HARPER

        LARGE MARKET OF THE YEAR

95.7 HALLELUJAH FM – WHAL-FM, MEMPHIS, TRACY BETHEA

WBBP 1480, MEMPHIS, TRACY MORGAN

WFMI 100.9 FM, VIRGINIA BEACH, MIKE CHANDLER

WOKB 1680 AM,  ORLANDO, SHANTI PERSAUD

      MEDIUM MARKET OF THE YEAR

PRAISE 104.7 FM WPZZ, RICHMOND, REGINALD D. BAKER

THE LIGHT WNNL 103.9 FM, RALEIGH, JERRY SMITH

WLOU 104.7  FM/1350 AM, LOUISVILLE, BRODRIC PURVIS

WYLD AM 940,  NEW ORLEANS, DR. LORETTA PETIT

        SMALL MARKET OF THE YEAR

WBCP RADIO 1580 AM, CHAMPAIGN, LADY LYNN LIVE

WEHA GOSPEL 88.7 & 100.3 FM, ATLANTIC CITY, WILLIAM & ELAINE HAWKES

WGOK, MOBILE,  FELICIA ALLBRITTON

WIMG 1300 AM, TRENTON, NJ, ED LONG

      INTERNET STATION OF THE YEAR

AWESOME GOD     RADIO (AGRADIO), AWESOMEGODRADIO.COM, ANTOINE “AJ” JEFFERSON

GOSPEL CENTRAL RADIO, THEGOSPELCENTRAL.COM, MICHAEL STEWART

SOAR RADIO,  SOARRADIO.COM, JUSTIN FRANCIS

SPIRITCO 1, SPIRITCO1.COM, HENRY HARRIS

        GOSPEL ANNOUNCER OF THE YEAR

CARMINA BARNETT, KHVN, DALLAS, TX

LIZ BLACK, WBLS, NEW YORK, NY

MIKE CHANDLER, REJOICE MUSICAL SOULFOOD, VIRGINIA BEACH, VA

META WASHINGTON, SIRIUS XM SATELLITE, NEW YORK, NY

[thegloober]

Great New Trailer for ‘First Man’ Uses JFK Speech to Chilling Effect

Universal Pictures has released a third trailer for First Man, and it’s the best one yet. This is the new film from Best Director Oscar winner Damien Chazelle, but it’s markedly different than his breakout features Whiplash and La La Land. This film tells the story of the journey to go to the moon through the eyes of Neil Armstrong (Ryan Gosling), but Chazelle and screenwriter Josh Singer (The Post) frame the tale as one of great courage and loss. Indeed, the space program was incredibly dangerous, and Armstrong in particular was surrounded by death all the way up through his groundbreaking achievement. The film puts the viewers in the cockpit right alongside Armstrong and his fellow astronauts, and the sense of danger is palpable.

This trailer doesn’t showcase any dialogue from the film, and instead is a montage of scenes set to President John F. Kennedy’s famous “We choose to go to the moon…” speech. It’s chilling, as Kennedy notes the difficulties that America will face in its mission while we see Chazelle’s gorgeous, haunting images flash across the screen.

I caught First Man at TIFF and it’s very good, although for me it never hit the highs that La La Land did. Cinematographer Linus Sandren (La La Land) opts for a naturalistic, handheld, very intimate take on the visuals, and the result is something incredibly visceral—as you can see in this trailer. It’s kind of like if Terrence Malick directed a space epic. And yes, the American flag is seen throughout the film, including on the moon.

Check out the new First Man trailer below, click here to read Matt’s review from TIFF, and click here to watch Steve’s interview with Chazelle and Sandgren from TIFF. The film also stars Claire Foy, Jason Clarke, Patrick Fugit, Corey Stoll, and Kyle Chandler. First Man opens in traditional theaters and in IMAX on October 12th.

[embedded content]

The post Great New Trailer for ‘First Man’ Uses JFK Speech to Chilling Effect was shared from BlogHyped.com.

Source: https://bloghyped.com/great-new-trailer-for-first-man-uses-jfk-speech-to-chilling-effect/

[delilah-briarwood]

flying in pink skies

When her girlfriend seems lost, Kara is able to help put things into perspective. 

A (very late) Saturnalia present for @abittersweetthing