#which is a sin both miniseries and new films commit

[impercre]

There's also like obviously things all the adaptions too I do not like but that's a much longer more unhinged list

[unlocked-bl-s1-full-blog]

Unlocked BL Season 1 Episode 7 : Full_Episodes

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SYNOPSIS Overview: Luke lost his father to CoVid. Matt, his father's lover, brings his remains and the two try to reconnect. The visit brings back memories and pains the two experienced in the past. Will they be able to finally forgive each other and move on from the sins of the past?

Stars:

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⚜LIKE AND SHARE✬ About Netflix Netflix has been at the forefront of digital content since 167 Netflix is ​​the world’s leading entertainment service provider with 193 million paid memberships in more than 190 countries, serving TV series, documentaries and feature films in various genres and languages. Members can watch as much as they want, anytime, anywhere, via any screen connected to the Internet. Members can play, pause and resume impressions without advertising or commitment. A television show (often simply TV show) is any content produced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set, excluding breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might also be called a television program (British English: programme), especially if it lacks a narrative structure. A television series is usually released in episodes that follow a narrative, and are usually divided into seasons (US and Canada) or series (UK) — yearly or semiannual sets of close/friend5s. A show with a limited number of episodes may be called a miniseries, serial, or limited series. A one-time show may be called a “special”. A television film (“made-for-TV movie” or “television movie”) is a film that is initially broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time (live), be recorded on home video or a digital video recorder for later viewing, or be viewed on demand via a set-top box or streamed over the internet.

TV SERIES The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 121s. Televised events such as the 121 Summer Olympics in Germany, the 12115 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 12115 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 12115 World Series inspired many Americans to buy their first television set and then in 121, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 15, 121 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 121 Tournament of Roses Parade) in the US occurred on July 19, 121. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 121, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 12115, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.

Formats and Genres See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows. A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1930s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1930s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,[15][better source needed] while the later series Babylon 15 further exemplifies such structure in that it had a predetermined story running over its intended five-season run. In 121, it was reported that television was growing into a larger component of major media companies’ revenues than film. Some also noted the increase in quality of some television programs. In 12115, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.

Thank’s For All The Support And Have a Good Time! Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Sci-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy with the information that We share here. Thank you!

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Saab’s Mini-Series Review: I Know This Much Is True (2020)

Through intricate storytelling and marvellous acting, this latest HBO miniseries is an emotionally devastating portrait of complicated family bonds, and the process of accepting these connections, no matter how much pain we must endure to finally heal.

A review by Saab Sehmi

Directed by Derek Cianfrance Based on the Novel by Wally Lamb Available on: Sky Atlantic, Now TV, HBO

Derek Cianfrance‘s films have cemented himself as one of my favourite directors, but as he has no immediately recognisable trademarks, I have always questioned why. Ultimately, I realised that it was his devotion to conveying complete emotional honesty in every moment of his films. He is not concerned with giving the audience reasons to like his characters, but reasons to believe they are real. They have flaws and make mistakes that often hurt those around them, despite their best intentions, which in turn makes them far more relatable. 

We only see such truth frequently among our own families, so it’s only natural that his cinema is always about family. Blue Valentine is a showcase of love blossoming and deteriorating between a married couple, and The Place Beyond the Pines depicts a father desperate to relieve his newborn son of his own past sins.

With his new 6 part miniseries, he has created a tender and bruising piece about brotherhood, ancestry, mental illness, grief, and acceptance of those we are bound to.

Through non-linear storytelling, we are shown various stages in the lives of twin brothers Dominick and Thomas Birdsey, both played by Mark Ruffalo. In the present timeline, Thomas commits a bizarre act that gets him admitted into a mental institute. Dominick, fearing for his safety, must fight to get him out. The writing perfectly balances this present story with their past, and the frustrations Dominick carries from devoting his entire life towards caring for his brother.

Although Dominick is honourable in his complete dedication to his brother’s well being, this is the cause of his personal demons. He is frequently angry and lashes out at everyone in his life, which he uses to hide his true vulnerabilities, and cope with the regret of his past.

Ruffalo’s performance as the twin brothers are two of the finest performances I've seen in a long time. While the technical achievement of him acting alongside himself is awe inspiring in itself, while watching, I rarely stopped to question how this was achieved. I was too captivated by the acting to think about how the filmmakers pulled it off and there isn’t a second in the film where I don’t believe that these are two completely real characters. Ruffalo is equal parts caring and volatile as Dominick, and completely transforms himself (both physically and mentally) to play the innocent but traumatized Thomas.

Cianfrance’s writing and direction feels as effortless as his two lead performances. He is a director that puts all his effort into creating organic moments of drama from his cast. From all his work, it’s clear to me that he accepts nothing less than complete emotional honesty and because of this, his previous films all feel alive in ways few are. With his first narrative series, he has stayed true to this formula and has a much bigger canvas to capture these moments.

My Verdict

It brings me great joy to see Cianfrance continue telling stories about family.

Dedicated to Cianfrance’s younger sister, and Ruffalo’s younger brother, who have both passed away, the passion from the cast and filmmakers is felt throughout every episode, really making you feel how personal this project was to them.

I highly recommend this series to anyone looking for an emotionally brutal drama about the unbreakable bond between siblings.

[chiseler]

CRAIG BALDWIN IN RETRENCH MODE

By way of brief introduction for the unfamiliar, San Francisco-based filmmaker, archivist, curator and artist Craig Baldwin is widely regarded as a kind of figurehead, a holdover crazy beatnik artist from SF’s pre-tech boom days. He’s also been hailed as one of the country’s most respected culture jammers, and a brilliant American original.

While most Hollywood films, he says, simply regurgitate the same tired old stories over and over, “old wine in new bottles,” as he puts it, Baldwin is trying to put new wine in old bottles, telling new stories in a new way. Referring to himself as a media cannibal, since the late ‘70s he’s been doing this by plundering the culture itself, salvaging discarded, forgotten movies and media clips, industrial and educational films, archive footage, TV ads, soundtracks, infomercials, found images, anything he can get his hands on, repurposing, recombining and reorganizing them. He edits all this cultural detritus together to create video collage essays and narratives which put these old recognizable faces and scenes into a whole new context, turning this existing media back on itself, telling stories that interweave historical facts, conspiracy theory, critical theory, science fiction, anti-corporate and imperial commentary and film history, all with a sly sense of grim humor.

His 1992 film Tribulation 99, for instance, maps out the dark and frighteningly true history of American foreign policy in Latin America from the end of World War II through the Reagan Era and beyond. Far from being another dry PBS doc, the whole thing is disguised as a sci-fi conspiracy film about evil android replicants (like Castro) and a race of alien lizard people living in the hollow earth. But that’s merely a simple-minded thumbnail sketch of a film which, like his others, is a deeply complex artistic experiment.

But on with the story.

While touring with his 1999 film Spectres of the Spectrum, Baldwin says he began receiving some strange emails. The film, in his own inimitable style, was an exploded narrative documentary which traced out the intertwining evolutions of electronic telecommunications and military technology, this time disguised as a low-budget sci fi time-travel film about an underground revolutionary on the run from the government with his psychic teenage daughter.. For the first time here Baldwin included narrative sequences with sets and actors, those scenes interwoven with a collage of old TB shows, educational and industrial films, genre pictures and commercials. Along its tangled route, Spectres included a passing reference to pioneering rocket scientist Jack Parsons and his one-time close friend L. Ron Hubbard, who embezzled Parsons’ life savings before sailing off to found the Church of Scientology. That was all it took to get on the scientologist’s bad side, it seems, and when Baldwin returned home to San Francisco, he found a vaguely sinister letter waiting for him on Church of Scientology letterhead. That’s when he started developing the idea for his next film.

“You’re going to threaten me?

He recalls thinking at the time. “Okay then, I’m going to come right at you.”

The idea came into sharper focus not long afterward when he stumbled across John Carter’s biography, Sex and Rockets: The Occult World of Jack Parsons (Feral House). Parsons, along with being a seminal figure at the dawn of the U.S. aerospace program and founder of the Jet Propulsion Laboratory, was also deeply involved with the occult. Beyond his relationship with Hubbard, Parsons was also connected with Marjorie Cameron, who would play such a major role in what would come to be known as the New Age movement. On top of it all, Parsons was being groomed by Aliester Crowley himself to take over the OTO. Then everything went to hell.

“When I saw Sex and Rockets in a bookstore in Olympia, Washington—I was on tour, and I remember that day—my hair stood on end,” says Baldwin, now 65. “My father worked for Aerojet, the company that Jack Parsons founded. I’m not making this up. I’m so close to this aerospace story and I am where I am right now because my father moved to Sacramento and took this Job. I also understood the whole thing with the psychedelics and the connections and the subcultures. So it was a perfect thing for me.”

The resulting film, Mock Up on Mu, was released in 2008. Again employing his trademark media collage with newly-shot narrative scenes, and again disguised as a low-budget sci-fi thriller, the film not only explored the tangled relationships between Parsons, Hubbard, Cameron and Crowley, but also traced out the deeply interconnected growth of the space program and the spiritual movement in post-war California.

In the years  following Mock Up on Mu’s release, another major Parsons biography came out, as well as a couple high-profile films (both narrative and documentary) about Scientology. Now Ridley Scott is working on a miniseries of his own about Parsons.

“So he’s entered the public consciousness, at least far enough that Ridley Scott can get ahold of him,” says Baldwin, who has always been cursed to be a few years ahead of the curve.  “This may have changed, but I heard Scott was going to make a twelve-part miniseries. There’s so much material there, so many twists and turns it’s almost impossible to embrace. I’m not beating my chest here, I’m just saying X marks the spot. In the end, though, it may have been all that material, all those twists and turns, that caused trouble for the film in his mind.

In retrospect, he says Mock Up on Mu was too long,, took too long to make, and took up too much of his time and energy in general. In the nearly ten years since Mock Up on Mu was released, Baldwin has made a few shorts, began staging film performances involving multiple projectors on lazy Susan’s enhanced by avant-garde soundtracks, and put much of his energy into overseeing Other Cinema, the film collective and microcinema that showcases the work of other documentary filmmakers. He also became embroiled in an epic legal battle after the landlord announced an astronomical rent hike on the storefront space that serves as not only his home, office and studio, but also home to Other Cinema as well as housing his massive film archive. Although he eventually won a five-year lease extension (accompanied by a forty-three percent rent hike), the wounds inflicted by the case still linger, and he admits things have been very rough. Through it all, however, he’s been planning out his next feature. This time  he knew he had to change his approach.

“I struggled to get the whole thing into a story and then I overdid it,” he says now of the Parsons film. “I was stung by it. It was too overdetermined, it was trying too hard.  There were too many things that didn’t work out. It was two hours of people talking. Walking around in these silly spacesuits spouting all this information, because I tried to include everything.  I was wincing, so I decided I wanted to contract. I’m showing short films all the time, I’m doing these performances. The scale is perfect. Mu was too ostentatious, too bombastic. An experimental sort-of biopic. There’s not even a name for it. So I call it a compilation narrative or a collage narrative. I can’t name another person who’s doing this, so I get an A for effort. But I had to retread a little bit.”

Guy Debord

Baldwin says the two books that had the greatest impact on him were William Burroughs’ Naked Lunch and Guy Debord’s Situationist manifesto Society of the Spectacle, which were released originally just a few years apart on Paris’ Left Bank. As an artist long obsessed with, as well as a product of, post-war subcultures, it was Rich territory. So his next film. Invisible Insurrection, began as the idea of an imagined  meeting between two of the twentieth century’s most radical thinkers at the Beat Hotel in Paris.

“I don’t want to make the same mistake with Invisible Insurrection, but it’s the same thing. In the case of Parsons it was the post-war milieu in Southern California. Invisible Insurrection is about ten, fifteen years later, but it’s the post-war milieu in Paris. But that’s a good thing. It’s based in social history, which is what my films are supposed to be about, kind of dissecting them. It’s good if you have a story, especially if it’s a true story. For me it was already getting too complicated, because you had Burroughs, but there were already too many films about Burroughs. Then there’s Debord, and that’s problematic, because I can already see I might fall prey to being accused of spectacularizing Debord. Exactly what he was opposed to. But he’s the one who held copyright on himself, he’s the one who made all these films about himself. He made seven films, and some of them contain details about his life. So he already committed the sin of trying to make a visual representation out of it. I don’t want to make another biopic about a very interesting intellectual. I mean, I do, but don’t dare. So I’m going to add a third guy just to confuse things even more.”

Alexander Trocchi

The third figure in question is Scottish expatriate writer Alexander Trocchi, author of Young Adam, Cain’s Book, and a handful of pornographic novels published by Maurice Girodious’ Olympia Press. Like Burroughs and Debord, Trocchi was a deeply damaged character who had his own struggles with heroin addiction and a troubled and troubling home life. But as editor of the Paris-based literary journal Merlin, Trocchi introduced English-speaking readers to the work of Samuel Beckett and countless other new and radical voices. Over the years, Trocchi had direct involvement with the Beats, the Situationists, and later the hippies, and for Baldwin that was the key.

“This guy Trocchi is the way in,” he says. “Burroughs has been covered, so that would look derivative. Debord is good, but it would look like I tried to gloss him up, to doll him up. No one’s covered Trocchi. There was that movie Young Adam based on his first novel, which was just a so-so movie. But you can see it’s deep, it’s a complex story. I don’t know that I could make a film about Trocchi that people would respond to same way they respond to the other two guys. Trocchi’s kind of a lesser figure, but he crossed through all these subcultures, he helped form the triangle connecting the Beats, the Situationists and the hippies. You couldn’t invent someone who was more central to the subcultural changes in this whole period I’m talking about.  So I’m thinking the perspective should be moved, more through a person who could be Trocchi. I could do it in the first person.”

One possible, if limiting, route into the material, he speculated, might be an adaptation of Trocchi’s best known work, the notorious 1960 novel Cain’s Book.

“Maybe that would give me my personal entry,” Baldwin says. “But then again do I want to cover that book? No. The stories should be told about ‘great men,’ but I’m not the one to do it. I want to do something about the relationships, the juxtaposition, the collage of different ideas in a particularly overheated environment, where you’ve got May ’68 on the horizon, you’ve got people writing these super radical experimental works , you’ve got this fantastic publishing house, you’ve got gangsters involved. The little cafes, the Beat Hotel and on and on. I want to create a hall of mirrors, so to speak. There can’t be that much depth, but it’s all in the interaction. So I’m not going to do Cain’s Book, because I want to talk a little bit about what Trocchi did with LSD, and his ideas about the School of the Streets when he started writing for the Situationist International journal. I don’t want to be stuck in that period when he was on the barge on the East River.”

The idea for another way in came after seeing Abigail child’s recent documentary, Acts and Intermissions: Emma Goldman in America.

“I know Abby and love Abby. We have an understanding,” he says. “She’s a way better filmmaker than me. She did this first person thing where she was Emma, and that’s where I got the idea. And the film she made is an hour long. Maybe that would be a better way.”

Another hint toward a change in direction came through the work of prolific activist filmmaker Travis Wilkerson.

“He inserts himself into his movies, kinda like writing. A level of personal subjectivity you don’t see enough in my movies. I want to make something with more personal subjectivity., to tell the story from within instead of hurling it like a collage against the wall. So I’m kind of shifting the axis. It’s not going to be a big wrestling match between Burroughs and Debord. I’m going to enter into it as if I was a hanger-on. I haven’t made much progress with the film. I live with it every day. There’s a tower of books here that’s ten, fifteen books high. It’s gonna fall at any moment. I’m sure you’ve read most of them. I really have to take a little more time to study the material and find my way in. I want to keep it under eighty minutes. My thing is maximalism, that’s for sure, but I don’t need to tire people out. I think my last one was a hundred and twelve minutes of just maximum collage. I’m going to be a little more intelligent and nuanced.

Still from Spectres of the Spectrum

“The way I work is on paper, by the way,” Baldwin went on. “I’m not really a computer guy. I mean I’m surrounded by people who are much more capable than me on the computer. Thank god I got them. So I write little scribbled notes. It’s very Beat. I have mountains of these notes. I need to go through them. I need to create the space where I can concentrate on the material and find a way in. It’ll be a roman a clef, based on a true story, but slightly fictionalized. It could be very personal. I could go in as Trocchi or as someone else. Maybe his son, who committed suicide by jumping off a building. It would be a little easier on people’s systems than this bold barrage thing. I’m committed to that aesthetic, but you need to control it somehow. So I’m gonna try and reign the thing in.

“I have plenty of material here, about a hundred films are sitting there that are just awesome. I have this German Invisible Man, if you can believe such a seedy movie would come out in Germany in black and white in the early Sixties. It’s impossible to imagine. And back to the whole ventriloquism thing, I got my actors in that and another thing. Who was the woman who just died, the transvestite from the Warhol crowd? {Maria Montez} She went to France and was in this terrible existential movie where both of the leads die. I’m using that as source material as well, and about a thousand black and white films from the late Fifties and early Sixties. I have all these travelogues so I have all these locales and don’t have to go to France to shoot them myself. I don’t have to go climb the Eiffel Tower—I already have the Eiffel Tower.

“It will take more nuance. More subtlety. More poetry, and less bombast. Less bells and whistles. More of a literary style, more emphasis on the writing. I’m going to do something about this period in history that lead to me. But it’s not going to be a straight on profile., it’s going to be something from within. It’s gonna be more of a personal diary or confession.”

At this point, all these years after the idea first began simmering, he says he’s relieved he didn’t get a two-year burst of energy early on and start working immediately. As things stand he’s had the chance to think it through more carefully, especially in the wake of Mock Up on Mu.

Stills from Mu

“Well, I took it back into the shop,” he says. “It is a true underground film, like back in the day, like Jack Smith, just getting his friends to shoot or be in the movie, doing their own things. That’s authentic, that’s legit, that’s one way to make a movie. It’s hardly done anymore now, because of the emphasis on professionalism. You can’t get things like that out anymore. I mean you can put it on YouTube where it would be seen by all these people twenty years younger than me who don’t have a clue what ‘experimental’ means. Like the people on my street, just to get me pissed off again. There are three ice cream stores within one block. Three! Can you believe it? That’s what people are doing.  That’s the world I’m living in, constantly tearing my hair out.”

Given all that Baldwin has faced over these past few years, it’s easy to understand why progress on the film has been slow. Apart from the legal battle to remain in what has been his home and studio for the past quarter-century, he’s also had to contend with renovations which left the building without a working bathroom for four months, ongoing economic pressures, the recent election, the recent deaths of several friends, and the Ghost Ship fire in Oakland, which sent lingering shockwaves through the Bay Area’s DIY community. It’s been a lot to deal with and scrabble through.  “So the film’s in retrench mode right now,” he says. “But it’s going to come out.”

by Jim Knipfel