We swoon over Daryl. We fawn over Michonne. We identify with Carol. We pity Rick. We root for Glenn and Maggie. And we can't stand Carl. But when's the last time anybody said a word about Hershel? Yes, Hershel. The rock of Walking Dead. Since we met him back in his farming days, Hershel has provided the audience with a rare source of stability. For these past two years, we have been able to cling to the wise, kind, and level-headed veterinarian through all the chaos — in the darkest, most harrowing of episodes, we can take ease in the presence of Hershel. "Oh good," we sigh when he hobbles into a scene. "He's here. Something is going to make sense now."
Since Hershel kicked his habit for the spirits, that has been the case. He's doled out proverbs and compassion, never allowing pride or resentment to steer his actions, acting instead in the interests of what we can all identify as a "good." Unlike Carol's (who we miss already), Hershel's good is not controversial. His is one of obstinate humanity. He sees suffering, he sees incongruity, and he fixes it. Unlike Rick's (who we could take or leave), Hershel's good doesn't waver. He always knows what to do. He doesn't just abide by right and wrong, he understands their parameters. And then he brings them to life.
In "Internment," we see Hershel brought to his most trying limits yet. Even with the loss of his friends and family members looming over him forever, his feats of strength this week seem like new, unprecedented torture. Hershel aims to contain the sickness that is spreading through the jail, to keep all patients alive and free of suffering. But this one-legged, gray-haired God-fearing man cannot accept the cruelties of the Earth upon which he lives — he loses resident after resident to the ailment, watching friends transform into zombies at a rapid rate. But he doesn't stop.
He drives a knife into the head of his protegee, a young and kindly doctor with whom Hershel was beginning to identify. He sees a father bitten by his own undead child, turning quickly afterward into a monster all his own. He is forced to stare into the face of the young man who has been granted his daughter's heart, whom he has come to think of as a son, as he chokes violently on his own blood. He rushes, on one leg, to obtain a breathing apparatus from a cannibalistic walker in order to save his surrogate son's life. He wrestles with the zombie as it snaps repeatedly at his flesh, aching to take his life away. But he doesn't stop.
And finally, after retrieving the oxygen tank for Glenn (thanks to a well-placed bullet into the head of the zombie, courtesy of his daughter Maggie... who chose her father's life over the risk of destroying her boyfriend's last hope at breathing, we might want to note) and bringing him back to stability, Hershel holes up in his cell, fans through the pages of his Bible, and begins to cry. Openly, loudly, and deeply. And he doesn't stop.
We, along with just about everybody in the camp, take Hershel for granted. His unfolding heroism. His kempt responsibility. His ability to see through the bulls**t that haunts this collection of decaying human beings and always highlight the best course of action. Here, we are shown Hershel's internal, the toll that this world, and his roll in it, has taken. Next week, we'll probably see Hershel back in his old saddle, handing out wisdom, advice, and compassion. He doesn't stop. Ever. And we all need to pay a little more mind to that.
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The Tomb Raider star was dropped by the designer line last year (10) after starring in its ad campaigns for more than five years, with redheaded singer Elson taking her place.
But now Elson is out of the picture, too - and Titanic star Winslet is slipping into her shoes.
The British beauty's appointment has come as a surprise to fashion insiders since top executive Glenn McMahon admitted last year (10) that Jolie was dropped because she "overshadowed" the brand.
He added, "We wanted to make a clean break from actresses and steer away from blondes and cleanse the palette."
Winslet posed for a campaign shot by photographer Craig McDean last week (ends01May11) and will appear in St. John advertisements later this year (10).
Animated films may come to dominate the family-film genre but they’ll never entirely edge out their live-action counterparts -- not so long as there exist characters like Nanny McPhee whose charms could never be properly rendered in a computer. After a half-decade away from the big screen Emma Thompson’s magical governess is back to take on a new batch of recalcitrant children in Nanny McPhee Returns. She's gotten better with age.
The second chapter of the Nanny McPhee saga which marks a definitive improvement over the first sends the unsightly taskmaster to the English countryside where Isabel Green (Maggie Gyllenhaal) the mother of three rambunctious tots (Oscar Steer Asa Butterfield and Lil Woods) has been left alone to raise her unruly brood and manage the family farm while her husband is away at war. (Though it’s never specifically mentioned the film is presumed to take place during World War II.) Harried but capable Isabel’s tenuous grip on her unfortunate situation begins to loosen when a pair of privileged London cousins (Eros Vlahos and Rosie Taylor-Ritson) and a shady indebted brother-in-law (Rhys Ifans) arrive to wreak fresh havoc in her already chaotic existence. On the verge of losing control of both her farm and her family she opens the door to find Nanny McPhee’s wart-covered visage staring back at her and not a moment too soon.
Though for the most part a breezy and whimsical fable Nanny McPhee Returns is unafraid to scatter a few dramatic bombshells amid its mix of lighthearted fantasy and practical life lessons trusting correctly that its youthful audience can handle a few bleak bumps en route to its happy ending. The biggest revelation of the film aside from director Susanna White and screenwriter/star Thompson’s bawdy comedic sensibilities (one of the film’s less pleasant lessons: kids never tire of scatological humor) is the proficiency of its child actors so often the weak link in even the best family fare. It’s their winning performances along with that of the always excellent Gyllenhaal that help make Nanny McPhee Returns not just an entertaining experience but an endearing one as well.
The tattooed Tomb Raider star signed up with the designer brand in 2005, replacing supermodel Gisele Bundchen, and has been featured in their ad campaigns ever since.
Blonde beauty Kelly Gray, the daughter of the brand's founders Robert and Marie Gray, previously posed for the upscale firm.
But now top executive Glenn McMahon has dropped Jolie - in favour of red-headed model Karen Elson for the spring (10) campaign.
McMahon tells WWD.com that Jolie "overshadowed" the brand, adding, "We wanted to make a clean break from actresses and steer away from blondes and cleanse the palette. We needed to show a modern point of view of St. John. We have evolved."
Pity Mitch (John Francis Daley). It's his first day on the job at Shenanigans--a take on the nationwide-chain Bennigan's. The waiter who trains him Monty (Ryan Reynolds) is the same one he looks down on him. Monty shows Mitch the ropes as well as the cooks' genitalia. Sorry there's no other way to put it. See there's this game that the male employees play whereby...let's just say it's one of many unspeakable "games" they play that'll make you watch the film as you would a horror movie: your hands covering your eyes with just enough space between two fingers to catch a glimpse. And these are just Mitch's first moments on the job. Over the course of his shift he'll meet a twenty-something named Dean (Justin Long) who's trying to go straight--that is do something else with his life; a pushover (Patrick Benedict) whose timidity carries over to the urinal; and a veteran waitress (Alanna Ubach) who barks profane tirades about her patrons but not to them. People knock the MPAA's sense of humor but if they truly didn't have one this gross-out flick would be slapped with an NC-17 rating.
A film set in a restaurant falls squarely on the shoulders of its actors. Thankfully Reynolds and company make good carrying the film and its script of top-that one-liners and well shenanigans. Reynolds while now a bankable star in avenues other than comedy clearly has a knack for this stuff. His comedic timing and delivery are truly first-rate never more so than in Waiting excelling in the sheer vulgarity he has to shell out. Dodgeball's Long as Dean is downright earnest next to his buddy Monty but it's his role to defer to Reynolds' eloquent sarcasm. Of course this doesn't totally preclude him from joining in on the fun. He's just forced to take more barbs than he can dish out. Anna Faris (from the Scary Movie series) flies even more under the radar as Monty's ex the only one that stands in his way of proclaiming his prowess second to none. Also making pitch-perfect appearances as malevolent employees are fringe-sters Luis Guzman Chi McBride Dane Cook and Andy Milonakis with Anchorman's David Koechner as the manager.
Waiting is not the type of movie in which a separate director and writer is required--it's a package deal. That's because--and let's be honest here--a film set almost entirely in one location without a single stunt person or special effect doesn't need more than one voice. To this effect writer/director Rob McKittrick makes his first foray into each arena. Needless to say his directorial debut is almost a non-entity but that's more complementary than detrimental on a project like this. His stinging commentary on the other hand displays a comedic deftness that is worth keeping an eye on in the future especially if Waiting does any business at the box office.