I find the various movies on the channel to be sappy and formulaic, but it turns my wife into a steaming cauldron of passion, and I get mugged by her.
Let me make it clear: I am not complaining, just making an observation.
*Love of my life, light of the cosmos, she who must be obeyed, my wife.
You either post Arlo Guthrie’s Alices Restaurant, or that WKRP in Cincinnati episode.
I choose the latter:
As God as my witness, I thought Turkeys could fly.
I watch Perry Mason reruns. The real show, not the Freddie Silverman semi-regular movies that resembled Matlock more than the the original TV noir show that ran for more 9 seasons.
In the original series there was only color episode, The Case of the Twice-Told Twist, which was the only episode of the original series to be filmed in color.
It was intended to be a dry run for a 10th season, which was to go full color, but it was canceled at the end of season 9.
It was just ……… wrong.
First, Perry Mason is clearly a product of black and white TV, but second, the script just ……… off somehow.
In going for color, they decided for a more frenetic direction, with William Hopper as Paul Drake chasing a potential witness down a Mexican street, and repeated split second car stripping that looked like they had come out of a heist movie.
The full color version makes the episode more real, and some of the conventions of the show, smoking, drinking, and ethnic stereotyping, become far more jarring, as opposed to a relic of a bygone era.
Finally, the episode was replete with references to Dickens, specifically Oliver Twist.
If you are a Perry Mason fan, I’m not sure if I would recommend it unless you want to watch it stoned.
I think that it would be good to watch stoned.
All in all, it’s the second weirdest bit of TV I’ve seen this year, after the Presidential debates.
Diana Rigg, the best Bond girl ever, Shakespearean actress, Tony Award winner, Emmy winner, Dr Who villain, Dame Diana Rigg has died of cancer at the age of 82.
I am sad. She was my first celebrity crush, giving me stirrings at age 6, and remained stunning and beautiful throughout her life.
She was also a force of nature on stage and screen.
I feel old, and sad.
F%$# 2020.
Cast:
Kaley Cuoco … Harley Quinn
Lake Bell … Poison Ivy
Ron Funches … King Shark
Tony Hale … Doctor Psycho, Felix Faust
Jason Alexander … Sy Borgman
J. B. Smoove … Frank the Plant
Alan Tudyk … the Joker, Clayface, Calendar Man, Doctor Trap, Condiment King
Charlie Adler … Nick Quinzel, Grandpa Quinzel
James Adomian … Bane, Chaz, Ian, Ratcatcher
Diedrich Bader … Batman
Tisha Campbell-Martin … Tawny Young, M.O.N.I.C.A.
Briana Cuoco … Barbara Gordon
Andy Daly … Two-Face
Chris Diamantopoulos … Aquaman
Rachel Dratch … Nora Fries
Giancarlo Esposito … Lex Luthor
Susie Essman … Sharon Quinzel, Grandma Quinzel
Sean Giambrone … Joshua Cobblepot
Meryl Hathaway … Marcus
Tom Hollander … Alfred Pennyworth
Michael Ironside … Darkseid
Tom Kenny … Clayface’s Hand
Wayne Knight … the Penguin
Rahul Kohli … the Scarecrow
Phil LaMarr … Jason Praxis, Black Manta, Lucius Fox, Brian
Sanaa Lathan … Catwoman
George Lopez … Himself
Howie Mandel … Himself
Vanessa Marshall … Wonder Woman, Giganta, Joey Day
Christopher Meloni … Commissioner James Gordon
Alfred Molina … Mr. Freeze
Natalie Morales … Lois Lane
Brad Morris … Victor Zsasz
Frankie Muniz … Himself
Matt Oberg … Kite Man, Killer Croc, KGBeast
Rhea Perlman … Golda
Jim Rash … the Riddler, Stan, Mr. Isley
Will Sasso … Maxie Zeus
Rory Scovel … Gus
Nicole Sullivan … Mrs. Cobblepot, Benjamin
Wanda Sykes … Queen of Fables
Talia Tabin … Debbie Day
Jacob Tremblay … Damian Wayne / Robin
Mark Whitten … Herman Cizko / The Cowled Critic
James Wolk … Superman
Directors:
Directors: Juan Meza-Leon, Matt Garofalo, Ben Jones, Frank Marino, Cecilia Aranovich Hamilton, Colin Heck, Colin Heck, Vinton Heuck, Brandon McKinney, Ben Jones
I will attempt to keep this this review as spoiler free as possible, but there will be a few inevitable spoilers, you have been warned.
This series is a telling of Harley Quinn’s transition from sidekick to super-villain after her split with Joker.
You can (at least until June 1) stream it online at Syfy.com, at least if you have a cable account. (see the link)
I have enjoyed what I have seen this far, I am very impressed.
Kaley Cuoco, who plays Harley, gives what her is arguably her finest performance to date.
She puts the “fun” in dysfunction, and plays Quinn as a whip smart and thoroughly broken ingenue.
The best performance though, is Lake Bell as Poison Ivy, who completely steals the show as the self-described eco-terrorists.
She is deeply devoted to Harley (I ship them so much), and she has a remarkably clear view of reality, except for the whole insane toxic pheromone criminal plant lady thing.
Ron Funches as King Shark is an truly amusing combination of techno nerd and ravenous prehistoric deep sea predator.
Alan Tudyk as Clayface (and the Joker, Calendar Man, Doctor Trap, Condiment King) is a revelation. (He is a leaf on the wind, watch as he soars)
His, and the writers’ vision of Clayface as the ultimate theater dweeb overeager actor is truly inspired.
All of this is wrapped in witty, completely irreverent, and thoroughly profane (S-Bomb, and F-Bomb, though the (spoiler) C-Bomb is bleeped) plotting and dialogue.
There are some problematic bits in the scripts though, particularly the fact that they occasionally traffic in Jewish stereotypes, particularly during the (spoiler) Cobblepot bar-mitzvah, and the character of Sy Borgman, and (spoiler) Harley’s parents. (Who knew that Quinzel was a Jewish name?)
This is a joyous roasting of super-hero culture, while also being a profoundly feminist narrative.
I recommend this highly, and rate it 8⅔ out of 10.
Here is hoping that shedding light on the organization, which among other things was largely responsible for Uganda’s “Kill the Gays” bill, gets some much deserved scrutiny as a result.
From the Illuminati to the freemasons to QAnon, there’s no shortage of conspiracy theories trying to explain how power is accumulated and shared in Washington, D.C. But the wide-ranging network of politicians, world leaders, and men of faith that make up the Fellowship isn’t mere conspiracy theory: it’s 100 percent true. What’s more, some of its members are speaking on the record about it for the first time in the new five-part Netflix series The Family, directed by documentarian Jesse Moss.
The Fellowship, also known as the Family, is a highly secretive group of evangelical Christian men who meet for Bible study and prayer meetings; it’s best known for serving as the organizer of the National Prayer Breakfast, an annual gathering of diplomats and world leaders in Washington, D.C. Founded in 1935 by a man named Abraham Veride, the Fellowship initially arose from Vereide trying to arrange a meeting of business owners to crush laborers’ attempts at organizing. Over the course of the past 75 years, it has evolved into what some have referred to as a secret theocracy, or an underground movement of prominent Christian men who exert their influence not just in the United States, but abroad as well.
………
Fellowship members operate under a veil of secrecy, which is by design; Fellowship head Douglas Coe, who died in 2017, believed that the group could best exert its influence that way. Its members include senators, diplomats, and religious leaders around the world: Sen. Chuck Grassley, Sen. Jim Inhofe, and Rep. Bart Stupak have been linked to the group, while Vice President Mike Pence and attorney general Jeff Sessions have also been referred to as “friends of the Family.” And it’s a testament to the persistence of the production team that a handful of Fellowship members, including former Congressman Zach Wamp, speak on the record for the first time about the organization in the series. Moss attributes their willingness to talk in part to the organization’s attempts to “adapt to the 21st century with a greater degree of transparency, though only time will tell if that’s true.” Sharlet, however, has a slightly different take: “They’re not opening the doors. They’re not becoming transparent. That simply hasn’t happened. But they do want to have their say.”
The primary way the Fellowship maintains influence, the series argues, is through the National Prayer Breakfast, which every president since Eisenhower has attended over the past 50 years. Though many consider the Prayer Breakfast something of a “banal event,” according to Moss, he says, “It’s really quite an impressive demonstration of influence and power.”
………
In its efforts to consolidate its power, the Family has extended its tentacles overseas. One episode of The Family focuses in large part on a trip that Rep. Robert Aderholt, a right-wing politician tied to the group, made to Romania to campaign for anti-LGBTQ rights and advocate for Christian policy. Members of the Family have also aligned themselves with global leaders who had committed atrocities in their home countries, including Libyan dictator Moammar Gaddafi, who once prayed with Coe. “In the face of all these dictators, they don’t say anything at all,” says Sharlet. “They don’t ask any accountability.”
This is a group that literally orchestrated the introduction of a bill that had the death penalty for homosexuality.
They are dangerous fundamentalist extremists.
Evangelicals have have organized a letter writing campaign to convince Netflix to cancel the show Good Omens.
I do not expect this to be successful, particularly since the show is produced by Amazon, not Netflix:
More than 20,000 Christians have signed a petition calling for the cancellation of Good Omens, the television series adapted from Terry Pratchett and Neil Gaiman’s 1990 fantasy novel – unfortunately addressing their petition to Netflix when the series is made by Amazon Prime.
………
But Christians marshalled by the Return to Order campaign, an offshoot of the US Foundation for a Christian Civilisation, disagree. More than 20,000 supporters have signed a petition in which they say that Good Omens is “another step to make satanism appear normal, light and acceptable”, and “mocks God’s wisdom”. God, they complain, is “voiced by a woman” – Frances McDormand – the antichrist is a “normal kid” and, most importantly, “this type of video makes light of Truth, Error, Good and Evil, and destroys the barriers of horror that society still has for the devil”. They are calling on Netflix to cancel the show.
Gaiman responded to the petition on Twitter, writing: “I love that they are going to write to Netflix to try and get #GoodOmens cancelled. Says it all really. This is so beautiful … Promise me you won’t tell them?”
This may be the best way to honor the memory of Terry Pratchett ever.
I just noticed that there is a lot of physical similarity between anti-alien bigot Ben Lockwood/Agent Liberty (played by actor Sam Witwer, right) on Supergirl, and Alt-Right bigot Ben Shapiro (played by useless sphincter Ben Shapiro, left).
The story arc of Supergirl, prominently features an anti-alien movement in the United States.
This arc is unequivocally an allegory for the anti-immigrant movement in general, and the Alt Right in particular, in the United States.
I am thinking that this was an deliberate decision by the producers, and I wholeheartedly approve.
Bernie Sanders was on The Daily Show, and I thought that he slayed.
My son was in paroxysms of political bliss.
Both were intensely amusing.
Fox news audience and ad revenue is on a significant down trend.
I’m a pessimist, so I think that this was demographics.
It had to happen eventually: Their audience is old, and getting older fast.
Optimists think that their audience has finally tired of their phony “Journalism”, but I think that it’s just because they are dying off:
The news just keeps getting worse for Donald Trump’s favorite television network. Over the past three months Fox News has been thrashed in the Nielsen ratings by MSNBC, particularly by Rachel Maddow who has topped her competition, Sean Hannity, almost every night since the November midterm election.
Now TheWrap is reporting that Hannity’s primetime colleagues have problems of their own. Tucker Carlson and Laura Ingraham have both been the targets of advertiser boycotts as a result of commentaries that were especially loathsome. Not that their regular topics don’t routinely offend decent people. But even these weasels can cross lines that are impossible to ignore:
“According to an analysis for TheWrap by advertising data firm Standard Media Index, Fox News’ 10 p.m. slot, hosted by Ingraham, was down at least $16 million in ad revenue in 2018. Carlson’s show, which airs at 8 p.m., has lost another $2.2 million thanks to an ad boycott that began in December after he said mass immigration makes the U.S. ‘poorer, and dirtier, and more divided.’”
Tucker Carlson’s flagrant white nationalism has become a staple of his nightly program. It’s unconscionable that any advertisers continue to support him. But the exodus of ads has definitely proven to be more than a temporary setback. Carlson is currently is running about half of the ads he had prior to the boycott. And they have been replaced by unpaid Fox promos and public service announcements.
Laura Ingraham’s problems began after she attacked the survivors of the Parkland, Florida high school shooting. These are kids who suffered a nightmare that no one should ever face, but who Ingraham considered fair game for even more abuse. She is also notorious for her racist and elitist views, such as when she said that basketball legend and philanthropist LeBron James should “shut up and dribble.” Now her advertisers have also been cut in half.
I do not think that ratings are falling because Fox News have shocked the conscience of their audience.
In fact, I do not think that is possible.
To quote the Bard of Baltimore: (This is the actual quote from Menken, it is frequently misquoted)
No one in this world, so far as I know — and I have searched the records for years, and employed agents to help me — has ever lost money by underestimating the intelligence of the great masses of the plain people. Nor has anyone ever lost public office thereby.
I saw the premier of the latest season of Dr. Who, with a new Doctor.
I was not immediately impressed, but typically, the first show with a new doctor tends to be a bit weak, because both the writers, and the actor, are trying to find the character.
This is further complicated because they are also adding a whole new batch of companions.
That being said, I rather like that she has a northern (Yorkshire) accent rather than the received pronunciation (BBC), and I like that this actually Jodi Whittaker’s native accent.
I do kind of wish that there wasn’t so much hype over this, but I do understand why this is the case.
My daughter’s rehearsal went long, so I watched the first episode of Kolchak: The Night Stalker on my phone in the parking lot. (She has a thing about us being in one of her plays, she is the stage manager, when the rehearsal is going. She also has a problem with people saying the name of the Scottish Play. Whatever.)
Nowadays, it’s primarily remembered as being the inspiration for shows like The X-Files, but it was very well done television.
I remembered enjoying it as a kid, but it’s a lot more sophisticated and polished than I noticed back then.
Darren McGavin was engaging, the relationship between him and Simon Oakland, who played his ever-annoyed editor Tony Vincenzo showed a lot more depth than I recalled. (you get a sense of mutual the respect that they have for each other)
The supporting actors Jack Grinnage, as Kolchak’s uptight and barely competent cow-orker Ron Updyke, and the guest appearance of Beatrice Colen as the gore and food obsessed competitor Jane Plumm was spot on. (I did not like all the fat jokes about her: It was the one thing that rankles now.)
The action sequences/SFX are amazing in that there really are no special effects, the show was done on a shoe string, but, because of good directing and camera work, you really don’t notice this.
Through inspired use of camera angles, light, and darkness, you believe that there is a superhuman maniac tossing policemen around like they were puppies.
I would also note that its representation of reporting has shaped my view of the trade. It was an entertaining depiction of old fashioned shoe leather journalism.
This show is one reason why I tend to disdain the sort of access journalism favored these days.
The following video is the “Ripper”, the first episode of the series: (run time 51:44)
Two months ago, Roseanne Barr was a star again.
Her sitcom “Roseanne” returned in March after a two-decade absence to enormous ratings on ABC. Network executives were celebrating their strategy of appealing to wider swaths of the country after Donald J. Trump’s surprising election win and the president himself called Ms. Barr to congratulate her on the show’s large audience.
But on Tuesday, that all came crashing down. ABC abruptly canceled “Roseanne” hours after Ms. Barr, the show’s star and co-creator, posted a racist tweet about Valerie Jarrett, an African-American woman who was a senior adviser to Barack Obama throughout his presidency and considered one of his most influential aides. Ms. Barr wrote if the “muslim brotherhood & planet of the apes had a baby=vj.”
Ms. Barr later apologized, but it was too late. In announcing the show’s cancellation, ABC’s entertainment president, Channing Dungey, said in a statement that “Roseanne’s Twitter statement is abhorrent, repugnant and inconsistent with our values.”
The show had ended its successful comeback season last week and was expected to return in September for a 13-episode run. Robert A. Iger, the chief executive of the Walt Disney Company, ABC’s corporate parent, shared Ms. Dungey’s statement on his own Twitter account, adding: “There was only one thing to do here, and that was the right thing.”
The sudden cancellation of a hit show — it had the highest ratings of a new TV series in years — because of offscreen controversy was almost without precedent.
Seriously, I would not expect this from someone with the title, “President of ABC Entertainment Group.”
Entertainment executives are not generally known for taking morally courageous stands.
Someone just did a quantitative analysis of Captain James T. Kirk, going through all the episodes of the original Star Trek, and rather than being the promiscuous and reckless character parodied in Futurama‘s Zapp Branigan, he turns out to be a lower key and far more cautious figure:
………
We reach the point of no return when the omnijerk (really I suspect there’s just one vast eldritch horror sitting in another dimension that extrudes its thousand tentacles into our own, and that each one of This Guy is merely an insignificant manifestation of the beast: they couldn’t all be so boring in precisely the same way by chance, surely) decides to voice some Dinner Party Opinions on original-series Star Trek. God knows why. It’s not five seconds before he’s on ‘Kirk and the green women’. He’s mocking the retrosexist trope, but smiling a little weirdly while doing it. His own insufficiently private enjoyment is peeking out, like a semi-erection on his face. A sort of Mad Men effect: saying, “isn’t it awful” and going for the low-hanging critical fruit while simultaneously rolling around in that aesthetic and idea of masculinity. Camp, but no homo!
“You’re thinking of Pike,” I say. “The captain in the unaired pilot. Some of that footage got reused for a later story, which made Pike into a previous captain of the Enterprise. And it never actually happened—it was a hallucination sequence designed by aliens who didn’t know what they were doing in order to tempt Pike. He rejected it.”
………
His [the loudmouthed boyfriend of a girl invited to the party] was a common enough error, and he can claim neither the credit nor the blame for the invention. The pop culture idea of Kirk, Captain of the Enterprise for the first Star Trek series (ST:TOS) and the original run of films, has become almost synonymous with Zapp Brannigan from Futurama. To quote Wikipedia,[t]hough famed for his bravery and strategic genius, it soon becomes very apparent that [Brannigan] is sexist, vain, and often very cowardly and inept. […] Brannigan is also completely indifferent to military casualties. […] He is arrogant, completely incompetent, chauvinistic, and stupid.
Brannigan is supposed to be part comic exaggeration of the “real” Kirk, part reflective take-down of the source character [1] . Per wiki, in some ways the ultimate aggregator of the vox populi, “Kirk has been noted for ‘his sexual exploits with gorgeous females of every size, shape and type’ [11]; he has been called ‘promiscuous’ [66] and labeled a ‘womanizer’ [67] [68].” (Note all those still-working footnotes for fan-publications and major papers and entertainment news sites.) The article “Captain Kirk’s 8 Most Impressive Love Conquests” gives us such bon mots as these:
For three glorious seasons, Star Trek‘s Captain James T. Kirk boldly seduced and explored women no Earth-man had been with before. Well, okay, some of them were from Earth, but Starfleet’s greatest discovery was that no women anywhere in the cosmos could resist the intense gaze and oft-exposed, tanned pecs of the Enterprise’s head honcho. Who can blame them, really? Of the many, many seduction [sic] committed by James T. Kirk, here are the 8 most impressive (not most exotic, which would totally include the green Orion Slave Girl, but this doesn’t, because Kirk had no problems getting under her Orion’s belt), which deserve to be recorded in the Captain’s Log for all eternity.
What follows is an inventory of Kirk’s actual behavior, which is far milder, particularly by the standard of 1960’s television, than I recall:
Let’s start, as people so often do, with those infamous Green Women.
Yes: one existed in ST:TOS. Sort of. It was a vision. On a planet Kirk wasn’t even on. A captain was there: it wasn’t Kirk. Captain Pike and this green, Orion woman [2] could literally never have done the deed [3].
(ADDENDUM: I should also mention here the first and only actual Orion woman we see in TOS, Marta: an inmate of an asylum who attempts to seduce a suspicious, wounded Kirk, who is himself interested in escaping dangerous captivity. She then immediately tries to murder him. Ah, l’amour.)
Over the course of three seasons and six films (though I hesitate to mention the films in the same breath as the series, because even the initial run of films represents a significant, reflexive re-working of the original material), we do meet some women Kirk has had romantic relations with. These previous relationships mostly seem of a type.
- Ruth (“Shore Leave”) was a college girlfriend of Kirk’s while he was at Starfleet Academy. The script implies she was also in Starfleet. We see only a facsimile of her.
- Dr. Janet Wallace (“The Deadly Years”) was a biologist, and she and Kirk broke up in favour of their respective careers.
- Janice Lester (“Turnabout Intruder”) was a Starfleet-trained scientist. Their relationship lasted at least a year, and was strained and broken by Janice’s violent resentment of Kirk’s ability to benefit from institutional sexism (check the tapes, I’m not exaggerating, that’s what she says).
- Areel Shaw (“Court Martial”) was a dedicated JAG attorney.
- Carol Marcus (The Wrath of Khan), retconned into the history of Kirk’s life by the films, was a brilliant, ground-breaking scientist. In one draft of the script, this character literally was the aforementioned Janet Wallace [4]
At some point during his time at the Academy, Kirk “almost married” a blonde lab technician (“Where No Man Has Gone Before”). It seems probable that she was one of the aforementioned women (all of whom but Lester were blonde, though dye exists, and all of whom but Shaw were scientists, though majors can change—I know an attorney with a biology degree myself).
With the exception of Lester, all Kirk’s relationships that we’re aware of seem to have ended amicably. He and the women involved have often kept up communication to some extent, despite the impediments caused by interstellar travel (Wallace, Marcus). The relationships all seem to have been of some duration, and characterised by fairly serious involvement on both parts. They were distinctly emotional affairs, and no one accuses Kirk of having “womanised” during them. They all involved competent people drawn to demanding, intellectually stimulating fields—usually science—and the service of something greater than themselves—almost universally Starfleet.
Kirk’s storied history of womanising seemingly consists of his having seriously dated a fairly small number of clever women in Uni. We’re even told Kirk had to be manipulated into paying attention to matters of the heart and/or loins during that period (and that Kirk’s into “longhair stuff” like 17th-century philosophy):
………
A tumblr fan essay [6] puts it well:Nearly every instance of Captain James T. Kirk seducing an alien woman was not because he’s some randy alien shagger extraordinaire, but because he needed to distract the enemy of the given episode in order to save the Enterprise. In the same way we wouldn’t say a woman who uses her sexuality as a weapon (flirting with the villains to distract them and ultimately defeat them) is just some intergalactic bed hopper, neither is Kirk.
………
Masculinity is not a fixed construction: it evolves over time. When we view Kirk as Zapp Brannigan, actually we’re retconning a more current understanding of the male action hero and superimposing it over an era where it doesn’t have all that much business being.
So, Kirk is not the compulsive womanizer that we recall him to be.
You should read the rest, it is a long and well worth the read essay, but it makes clear, with extensive citations, that our image of Kirk is not a reflection of the character in the original series, but rather a reflection of the overtones that we have assigned, and his risk taking occurs only when there is no alternative.
Read it, and expect to lose a bit of your childhood in the process.
It’s worth it.
There is a reason why Comcast is consistently one of the most despised businesses in the United States.
Case in point, the cable giant is refusing to upgrade lines for customers fho don’t shell out big bucks for cable TV in addition to internet service:
As we’ve often noted, Comcast has been shielded from the cord cutting trend somewhat thanks to its growing monopoly over broadband. As users on slow DSL lines flee telcos that are unwilling to upgrade their damn networks, they’re increasingly flocking to cable operators for faster speeds. When they get there, they often bundle TV services; not necessarily because they want it, but because it’s intentionally cheaper than buying broadband standalone.
And while Comcast’s broadband monopoly has protected it from TV cord cutting somewhat, the rise in streaming competition has slowly eroded that advantage, and Comcast is expected to see see double its usual rate of cord cutting this year according to Wall Street analysts.
Comcast being Comcast, the company has a semi-nefarious plan B. Part of that plan is to abuse its monopoly over broadband to deploy arbitrary and unnecessary usage caps and overage fees. These restrictions are glorified rate hikes applied to non competitive markets, with the added advantage of making streaming video more expensive. It’s a punishment for choosing to leave Comcast’s walled garden.
But Comcast appears to have discovered another handy trick that involves using its broadband monopoly to hamstring cord cutters. Reports emerged this week that the company is upgrading the speeds of customers in Houston and parts of the Pacific Northwest, but only if they continue to subscribe to traditional cable television. The company’s press release casually floats over the fact that only Comcast video customers will see these upgrades for now:
“Speed increases will vary based on the Xfinity Internet customers’ current speed subscriptions. Those receiving the speed boost will benefit from an increase of 30 to 40 percent in their download speeds. Existing Xfinity Internet and X1 video customers subscribing to certain packages can expect to experience enhanced speeds this month.”
As is usually the case, Comcast simply acted as if this was all just routine promotional experimentation (an argument that only works if you’re unfamiliar with Comcast’s other efforts to constrain emerging video competition):
Comcast is, using the immortal words of Douglas Adams, are, “A bunch of mindless jerks who’ll be the first against the wall when the revolution comes.”
BBC America has been running a Dr. Who marathon.
I just saw the episode The Doctor’s Daughter, which had Georgia Moffett starring as Jenny the daughter (clone) of the Doctor.
Ms. Moffet is the daughter of the 5th Doctor, Peter Davison. (Davison is his stage name, his birth name is Moffatt)
She co-starred with David Tennant, who played the 10th Doctor.
Tennant and Moffett later had a daughter (2 actually, as well as 2 sons).
This is profoundly weird.
Voice of:
And hundreds more.
She will be missed.
Performing a Holocaust themed skating routine, complete with striped uniforms and yellow stars:
The wife of Russian President Vladimir Putin’s chief spokesman, Dmitry Peskov, sparked outrage on social media by performing a Holocaust-themed ice skating routine that quickly went viral.
Tatiana Navka, a former Olympic figure skating champion, performed with actor Andrey Burkovsky, each wearing concentration camp uniforms and yellow Stars of David.
The two skated to the song “Beautiful That Way,” by Israeli singer Achinoam “Noa” Nini. The song was featured in a 1997 Italian-language Oscar-winning Holocaust film, which Navka said was the inspiration for the performance. She also said in an Instagram post that she wanted the performance to teach children about the Holocaust.
I have no words.