Acting veteran John Hurt and British comedian David Walliams have loaned their voices to a U.K. advertising campaign instructing parents how to save a choking child. The Alien star and the funnyman, plus comedians David Mitchell and Johnny Vegas, voice the animated commercial for the U.K.'s leading first aid charity St. John Ambulance.
The stars play 'The Chokeables', a variety of objects that a child could accidentally swallow, such as a pen lid and a marble. Hurt voices a peanut and Walliams is a small doll, and they tell parents what steps to take if their baby is choking.
Actor Wendell Pierce led the cast of his new civil rights movie Selma in a public protest on Sunday (14Dec14) by wearing T-shirts referencing the police killing of unarmed black man Eric Garner ahead of the film's New York premiere. The Wire star joined forces with co-stars including David Oyelowo, E. Roger Mitchell, Andre Holland and Lorraine Toussaint, and director Ava DuVernay to wear black T-shirts with the words, "I can't breathe" printed across the chest.
Staten Island resident Garner was heard uttering the phrase over and over again as he gasped for breath after a cop placed him in an apparent chokehold during an arrest in July (14), when he had been caught illegally selling cigarettes.
His death was ruled a homicide by the New York City medical examiner, but a grand jury chose not to indict the officer responsible for his passing earlier this month (Dec14) - sparking widespread protests across the U.S., where demonstrators were already angry over another grand jury's decision not to prosecute the cop who fatally shot Ferguson, Missouri teenager Michael Brown in August (14).
The stars of Selma made their support for the calls for justice known on Sunday by posing for a group photo in their shirts on the steps of the New York Public Library, while holding up their hands.
The snap was taken shortly before the group headed to the Ziegfeld Theater for the Selma premiere, where Pierce decided to continue modelling his T-shirt for photographers.
The pre-premiere protest took place a day after thousands of activists took to the streets of the Big Apple to take part in the Millions March NYC, another demonstration over the Garner and Brown killings.
Oyelowo, who plays human rights activist Martin Luther King, Jr. in the film, recently expressed his hope that his movie would inspire campaigners to keep the protests peaceful.
He told The Hollywood Reporter, "Thankfully, we're seeing a lot of the same good sides of protests happening with these protests - i.e. that they are non-violent, and that we are now seeing black and white and everything in between coming together against injustice. I think that the next step for us to be able to really articulate our demands. What is it we want out of this? In Selma, it was voting rights, and now it's police reform. We needed federal intervention for the verdict situation (in Selma); I would say we need the same thing for the police. Who's going to police the police? We really need to press to the government that this cannot go on."
The Office ended May 16, 2013. That might only be a year and a half ago, but with fall TV in full swing, The Office fans can feel the show's presence missing from our lives. Can't they just reunite and make new episodes already? Every other show/movie is getting redone or sequels or put on Netflix, why not skip the waiting period and do it now?
1. This show taught us amazing life lessons, like that you can be both feared and loved.
2. We also learned this very useful bit of advice about mistletoe.
3. The show gave us aspirations that we could do more than just sit in an office.
4. Kelly Kapoor is the reason we know what to say to sound smart.
5. And Michael broke the very important news over who loves pizza.
6. Kevin taught us all what dreams really are.
7. Our inner child smiled when Dwight used this insult we've been throwing at our friends since we could read.
8. This show introduced u s to a new National holiday.
9. They gave us hope to one day create such an amazing holiday card with our own co-workers.
10. Characters like Jim created places no one ever knew they wanted, but once we heard of them, we needed them.
11. But speaking of Jim, The Office also showed us that office romances can bloom into the most powerful and amazing things in the world.
12. The show gave us the perfect insult for Negative Nancys.
13. It also reminded us there are too many people on this planet.
14. Prison Mike let everyone know why we should never wind up in prison.
15. Stanley gave everyone a new life motto.
16. Jim and Dwight gave us very tough decisions. Did we love Jim as Dwight?
17. Or Dwight as Jim, more?
18. And honestly, is TV really even funny anymore if people aren't force-feeding Kevin vegetables?
What do you miss the most about The Office? Tweet us your answers!
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The cast of Jessica Biel's TV drama 7Th Heaven reunited on Tuesday (16Sep14) for the first time in eight years. The actress joined her TV siblings Beverley Mitchell, Barry Watson and David Gallagher and their fictional parents, played by Stephen Collins and Catherine Hicks, to catch up with one another over dinner.
However, there was one member of the show who was visibly absent - Mackenzie Rosman was unable to attend.
Collins shared a photo of the group back together again on Twitter.com, alongside the message, "1st time in 8 yrs Joy, laughs!".
Mitchell, who is pregnant with her second child, also posted a snap of the reunion on her WhoSay.com page, writing, "Something truly amazing happened last night and my heart is overflowing! Love these peeps more than I can ever explain! We were just missing Mack!
"Feeling so incredibly blessed to have these incredible people in my life!!! #theresnothinglikefamily #7thheaven #love #blessed (sic)."
The show, about Protestant minister's family, aired in the U.S. from 1996 until 2007.
Justin Bieber is "relieved" after prosecutors in Canada dropped an assault charge against him on Monday (08Sep14).
The troubled pop star was accused of attacking a limousine driver in Toronto last year (13), but officials withdraw the charge against the 20-year-old star during a hearing at a court in the city. Officials insist they could not prove "beyond a reasonable doubt" Bieber was the offender because there were several other passengers in the car at the time of the incident.
Prosecutor David Mitchell told the court they had decided not to proceed with the case as there is "no reasonable prospect of conviction," adding, "There were a number of people in the vehicle seated behind the driver at the time of the incident, and the (prosecution) is not in a position to establish the identification of the person who came into contact with the complainant beyond a reasonable doubt based on the evidence available."
Bieber's lawyer Brian Greenspan told reporters outside the court, "(Bieber) was obviously relieved... (and feels ready to) get on with his busy career with one less diversion... This is an example of the system working as it should. Police laid the charge after a complaint was made and the (prosecution) did its job by reviewing all the evidence before reaching the correct decision."
The news comes as a boost to Bieber following a string of recent convictions for his bad boy behaviour. He was convicted of vandalism in July (14) for pelting a neighbour's house with eggs, and he also pleaded guilty to misdemeanour charges of careless driving and resisting arrest last month (Aug14) stemming from an arrest in Miami Beach, Florida earlier in the year (14).
"Punk? There's no excuse for making bad music, man. Just because you're being rude and frighteningly dramatic doesn't mean you can't have songs. Bad attitude is no substitute for great music like Joni Mitchell or James Taylor. By the way, I thought disco f**king sucked, too." Veteran rocker David Crosby is still a musical purist after 50 years in the industry.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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Adaptations are a crapshoot. Some are doomed from conception, like a live-action musical based on Spider-Man. Others are shocking successes, like the 11-season classicM*A*S*H. However, in recent history, very few movie-into-television adaptations have worked. So why, might you ask, is someone trying to re-make the popular 2002 film About a Boy?
Twelve years ago, the comedy film was born itself as an adaptation a of the successful Nick Hornby book. It stars Hugh Grant as a wealthy man-child who lies about having a son to impress women. He befriends Marcus (Nicholas Hoult), a boy with an overbearing flighty mother (Toni Collette). Over time, the man and boy teach each other.
Now, we have a new television series version of About a Boy, developed by Jason Katims, who worked on Friday Night Lights and developed Parenthood (there seems to be a trend in Katims' projects). But despite his prior success, this show seems doomed to fail.
Comedy series have had a majorly difficult time recreating the success of films. We choose not to remember Jennifer Aniston’s turn in the regrettable Ferris Bueller sitcom. Sandra Bullock started a short-lived television career as the lead in a Working Girl remake. Party Girl was an adaptation of a cult-indie film starring Parker Posey. It starred Christine Taylor, Swoosie Kurtz, and John Cameron Mitchell. And it just doesn’t work. One exception from the era is Clueless, which was more a television sequel and included a bulk of the original cast and the film's creator. It also only survived by moving to a syndicated network.
There are a few anomalies of successful remakes like Buffy the Vampire Slayer, but that series was reworked almost entirely by creator Joss Wehdon. Rather than settling on remake form, Buffy had the priveledge of being the original material Whedon intended to create with his film. Friday Night Lights, Parenthood, and La Femme Nikita also all found television success, but as dramas, adapting different tones than their source material. The About a Boy adaptation seems to be veering dangerously close to the original with a few slight changes to account for the translation to American audiences.
Not only does the show have one strike against it automatically with being an adaptation, but the cast includes people with a ton of failed series on their resumes. Are they cursed? Minnie Driver is an amazing actress, but the last time she headlined a series, The Riches, it did not live long. David Walton and Leslie Bibb have also had a string of failed series launches including Perfect Couples and GCB, respectively.
From the series trailer, it looks like multiple moments from the film will be worked into the series. It’s tough to not notice the great source material being repurposed for 30-minute episodes. Of course, the series may shock everyone and rewrite rules for TV remakes. It may create a golden age of television series (*based on movies). Or audiences could check out the film, available at most DVD bargain bins.
If you had any doubts check out the trailer for the series vs. the original.
Spoiler alert: anything you don’t get from the movie trailer you can gloss from the TV series promo.
Let's start with HannahWe open this season of Girls in the traditional way: on Hannah lying in bed, nestled in the comforting arms of her most cherished loved one and principle source of security — this time, that's Adam. The grid-evading oddball has moved back into Hannah's life, taking the wheel on her road toward self-betterment (as Hannah tells her therapist, a fumbling Bob Balaban, Adam is "making sure" she is eating healthy and taking her medication) and watching her embrace new productivity in the face of her editor's optimism. Hannah's Obsessive-Compulsive Disorder, as it none too shockingly turns out, is predicted to be a big sell by the maniacally pragmatic David (John Cameron Mitchell, who, far more shockingly, is 50 years old), who delights in the revelation of her ailment over a pair of edible chocolate cups. Romantically, professionally, and creatively, things are looking up for Hannah.
The one speedbump that Hannah does hit on this road trip to personal improvement comes when Adam's recent ex Natalia (Shiri Appleby), who you'll remember from perhaps the darkest and most disturbing cene on the series yet to date, confronts the pair in Ray's coffee shop with accusations of Adam being a selfish, heartless, and overall unreliable human being. Hannah manages to shake off the residual jolts from this particularly jarring conversation, but the viewer keeps them in mind. While Adam might have played the villain in his relationship with Natalia, we can see him enduring her fate — being left to grieve alone — as Hannah eventually ascends to whatever venture comes along with a more attractive path.
Which brings us to AdamAt this point, Adam seems to be the dominant voice of wisdom for each of our main characters this year — in the first two episodes alone, he chauffeurs Marnie through her breakup with Charlie, establishes the image of romantic ideality for the impressionable Shoshanna, and offers Jessa a helping hand in the kicking of her addiction. But the permanence that his arguably questionable bits of advice (we've got to remember that the source has exhibited his own tremendous character flaws, despite his broad-shouldered air of nobility) is yet to be witnessed. Adam probably isn't going to turn Jessa off drugs entirely, instill in Marnie a refurbished self-esteem, or drill into Shoshanna's head what it means to be in a healthy, adult relationship. And worst of all for Adam, he's probably not going to keep Hannah from succumbing to her own demons... and unleashing them upon him and everybody else.
Onto MarnieMarnie, a victim of actor Christopher Abbott's suspended interest in his Girls character Charlie, is dealing with a sudden breakup, bled of her lasting self-efficacy by her venomous mother (Rita Wilson). Peaking visibly in the embodiment of defeat, Marnie breaks down at Hannah's dinner party over the very idea of Charlie, reciting the story of their split (they were planning to make frozen pizzas, and then… it was over) and wallowing in her ever loosening grasp on her sense of self.
It's not a particularly optimistic set-up for Marnie, both in-universe and out. We've seen her struggle with issues of loss and loneliness before, and things don't look to be "picking up" in any drastically different way. Yes, she's got a new apartment in Manhattan, but a pretty significant change is in order to keep our interest in the character's journey, however humane and relatable (albeit regularly contemptible) it may be. The first two episodes do very little to set her on any narrative path, so we're hoping that next week switches up the game in some fashion (be it a "happy" one or otherwise).
And now, JessaStuck up in rehab in the boonies, Jessa is succeeding in alienating everyone around her. Playing the "bad guy" in her regular group therapy meetings, Jessa uses her wicked clever streak to diagnose and castigate her fellow patients, earning their scorn and her counselors' disapproval. While there is no doubt in any fan's mind that Jessa would behave as such in this kind of setting — nor that this behavior would result in a wealth of ill repute among the rehab inmates — what stands out as a bit too "stylized" is just how unique the rehabilitation establishment is making her out to be. Jessa' counselor condemns her as a rare case: someone who makes less and less sense the more you get to know her. But if the character is supposed to represent a sub-community of free spirit addicts who thrive on their own narcissism and obsessive detachment, then why is she being treated like such a one-of-a-kind figure? Surely, this is exactly what the Jessas of the world want to hear. To have a psychiatric professional utter these words seems damningly toxic for Girls' intention of breaking down its characters as products of an ill-fitting regime.
In the second episode of the season, Jessa — having been booted from rehab for inappropriate sexual advances on another patient, played by Orange Is the New Black's Taystee (Danielle Brooks) — awaits the arrival of Hannah, Shoshanna, and Adam (the only one of the lot old enough to rent a car). The road trip faces Adam's concerted belief system against Hannah's lack thereof, culminating in the reveal that Jessa is (despite Hannah's insistence) in lasting dire need of help. While she maintains her psychotic stoicism, Jessa does appear to have taken some pain away from her rehab experience. In some form, she believes she was helping Laura/Taystee, a closeted lesbian, achieve a new sense of honesty. Furthermore, the one friend she feels she had made at the establishment, a middle aged British addict, was only consumed by his sexual cravings for her. Although Jessa does not seem at all willing to accept Adam's (a fellow addict) offers for help, she is newly marred. And maybe that will institute some kind of new exploration for her.
Finally, ShoshannaHer own experimental phase in high gear, Shoshanna is pretty much where we left her post-breakup with Ray. She's attending to her desires for adventure, primarily of a sexual nature, but is convincing herself that her studies will not go neglected... that proclamation coming shortly after we see her falling asleep at the library. But these hints, as well as Shoshanna's determination to graduate and escape the shackles of school life, suggest that Girls is setting up her professional future to be particularly nightmarish. The anxiety-ridden character is likely to achieve a new understanding of the cold hand of reality once her tenure at NYU comes to a rest, which means a new plateau of confusion and terror for the girl we once saw accidentally smoke crack and run around Bushwick without pants.
Ray was barely in these episodesHe called some girl a "feisty shiksa," and told Hannah that she was pathetic, but that's about it.
What did you think about the episodes? Sound off in the comments section!
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