Advertise Here and Reach Highly Engaged Media/Ad Industry Decision Makers

Total Page:16

File Type:pdf, Size:1020Kb

Advertise Here and Reach Highly Engaged Media/Ad Industry Decision Makers August 2019 #70 __________________________________________________________________________________________ _____ Some Hidden Gems to Stream in the Era of Peak TV By Steve Sternberg In the era of Peak TV, there are more original scripted series on more platforms than ever before. Ten years ago, there were no streaming services – today, two-thirds of homes in the U.S. have at least one, and over the next year or two more major players are on the way. A few years from now, the majority of TV homes will probably subscribe to three or more streaming services. Some of the higher-profile original series, such as Netflix’s House of Cards, Orange is the New Black, Stranger Things, Narcos, Black Mirror, and The Crown, Hulu’s The Handmaid’s Tale, and The Looming Tower, and Amazon Prime Video’s The Man in the High Castle, Transparent, and The Marvelous Mrs. Maisel, have won awards and received a lot of press coverage. So even though most viewers may not have actually watched them, many have at least heard of them (and might be among the first shows they check out when they subscribe to one of the major streaming services). There are numerous other good-to-great TV shows on these platforms that most people have probably never heard of. I’ve been analyzing television programming for more than 30 years and pride myself on keeping up with the TV/video landscape, and there are many shows I hadn’t been aware of until I started doing research for this report. I’ve already written about some of the best original series to stream and binge, highlighting such excellent shows as Amazon Prime Videos Bosch, Netflix’s Ozark and GLOW, and CBS All Access’s The Good Fight and Star Trek Discovery. I’m including them here, along with several other gems that you may not have yet discovered. I’ll try my best not to provide any spoilers. Advertise here and reach highly engaged media/ad industry decision makers. Contact [email protected]. The Sternberg Report ©2019 __________________________________________________________________________________________ _____ Bosch: This is hands down the best procedural drama on television. Titus Willever is perfect as the brilliant, tough as nails, flawed, and haunted detective Harry Bosch. He’s been brilliant in many supporting roles over the years, and it’s great to see him in the lead. He melts into the role (as he does with virtually everything he does). The ensemble cast of regulars – Jamie Hector, Amy Aquino, Lance Reddick, Madison Lintz, Troy Evans – are spot on as well. The guest stars have been a string of superb character actors who you will immediately recognize (if you’re over 40) and wonder where you’ve seen them. Each season focuses on one main crime that Bosch and crew need to solve, along with one or two secondary crimes. The murder of Bosch’s prostitute mom when he was 12, how it impacted who he is today, and his relentless efforts to solve the crime, is a thread that has sewn its way through the first four 10-episode seasons. Season 5 hasn’t lost a step. It continues to be tight, straightforward, and unhurried as it gradually unravels clues to solve each crime. It remains as addictive as ever. If you haven’t discovered Bosch yet, you’ll have the joy of being able to binge 50 episodes. They are currently filming season 6. 2 __________________________________________________________________________________________ The Sternberg Report ©2019 __________________________________________________________________________________________ _____ Fleabag: The immensely talented Phoebe Waller-Bridge (she created and writes for Killing Eve) stars in this comedy-drama as Fleabag, a depressed, dysfunctional, yet strangely confident single woman with a voracious sexual appetite, navigating the streets of London (surrounded by other depressed and dysfunctional people), and dealing with her equally dysfunctional family. Breaking the fourth wall has never been done this brilliantly with her side-eyed glances and talking directly to the camera, as the show provides insights into the ongoing themes of love, grief, faith, and using sex to fill a void in your life. The sex scenes (of which there are many) are sometimes hilarious and sometimes squirm-inducing, so it’s not for everyone. That said, it should be for everyone else. The supporting cast is excellent. A uniquely inventive gem. Fans had to wait three years between the first two seasons, but it was worth it. There probably won’t be a third season, but it’s not out of the question. It has managed to break through the clutter of a Peak TV world, at least with Emmy voters, being nominated for 11 awards this year. No one deserves it more than Phoebe Waller-Bridge (who is Executive Producer and writer as well). Goliath: Billy McBride (Billy Bob Thornton), once a high-powered lawyer ln Los Angeles, has become a burned out and washed-up ambulance chaser, who spends more time in bars than in a courtroom. But he’s still got the skills. In season 1 he reluctantly agrees to take on a wrongful death lawsuit against the biggest (and extremely dangerous) client of the giant law firm he helped create (William Hurt plays his former partner, now biggest adversary). Maria Bello is his ex-wife, also a partner in his former firm. He puts together a ragtag team that helps him uncover a big and deadly conspiracy. 3 __________________________________________________________________________________________ The Sternberg Report ©2019 __________________________________________________________________________________________ _____ He returns in season 2 to defend his friend’s 16-year-old son who is wrongly accused of a grisly double murder. He and his team uncover another conspiracy, which leads to the highest levels of city politics and corruption. This season has a harder edge than season 1, as it becomes more difficult for David to slay all the Goliaths. Created and written by David E. Kelley and Jonathan Shapiro, Billy Bob Thornton’s naturalistic, laid back style is well suited as a former Goliath, now a David, beaten down but still confident in his ability to take down new Goliaths each season. Randy Quaid, Amy Brenneman, Beau Bridges, Griffin Dunne, and Sherilyn Finn have signed on for season 3 (scheduled for sometime in 2019). Hanna: Based on the 2011 film of the same name, 15-year-old Hanna (Esme Creed-Miles) has been raised in the forest by her ex-spy “father” (Joel Kinnaman) to be a hunter and killer, as they evade the relentless pursuit of off-the-book CIA agents (one of whom is played by Mirielle Enos, who teamed with Kinnaman in AMC’s The Killing). Part thriller, part coming-of-age drama, Creed-Miles and Kinnaman give performances over eight episodes that elevate this beyond just another action series. Season 2 will air sometime in 2020. Jack Ryan: John Krasinski is the fifth actor to portray Jack Ryan, a CIA analyst first introduced in a series of best-selling Tom Clancy novels in the 1980s. This is the character’s first incarnation on the small screen, and one of the best. It covers his early years in the CIA, as he’s just starting to make a name for himself. 4 __________________________________________________________________________________________ The Sternberg Report ©2019 __________________________________________________________________________________________ _____ In the 8-episode first season, Jack is thrust into his first field assignment after he uncovers a suspicious pattern of terrorist communication. The supporting cast is excellent. Part of the character’s appeal is that Jack Ryan is no Jason Bourne-type superspy. He’s a regular guy (although more clever than most) who works in an office, who, as a former marine, can defend himself if he has to. It has been renewed for a second season. Sneaky Pete: Giovanni Ribisi plays a con man who assumes the identity of his prison cell mate, Pete, to escape a vicious mobster. He moves in with Pete’s family (who haven’t seen him for twenty years), including his grandma (Marge Martindale), grampa (Peter Gerety), and cousin (Marin Ireland), who run a bail-bonds business. They have their own secrets and lies (and world of shady characters) that make “Pete’s” new life as dangerous as the one he is trying to escape. He uses his well-honed skills to help them out of one jam after another. His past, however, is never far behind, constantly threatening to expose him to his new extended family. Bryan Cranston is executive producer, and has a role as a gangster who is after Pete in season 1. Intelligent, gritty, and a good mix of drama and humor. Season 3, which premiered this past May, is the last for this fine series. 5 __________________________________________________________________________________________ The Sternberg Report ©2019 __________________________________________________________________________________________ _____ The Good Fight: Christine Baransky stars, along with Cush Jumbo and Rose Leslie in this female-driven legal drama (and spinoff of CBS’s The Good Wife). They make a diverse team that is as much in (or out of) control professionally as they are in their relationships. Audra McDonald and Delroy Lindo also star. Sexual harassment, racism, and income inequality have been dealt with here in a more thought- provoking way than is typically seen on television (or anywhere, for that matter). Having Christine Baransky’s character, Diane Lockhart take a partner position at a majority black-owned and staffed Chicago law firm lends itself to a number of race-related storylines, which the writers have handled well, without getting too heavy-handed. There remains a clear anti-Trump tone, particularly with the over-the-top animated shorts that appear in each episode during the third season. Just the right mix of drama and humor, along with the excellent cast and superb writing, make this great television – although returning to more courtroom drama and less anti-Trump rhetoric would not be a bad thing.
Recommended publications
  • Netflix's Bloodline
    Economic Impacts of the Netflix Original Series Bloodline Prepared for the Monroe County Tourist Development Council December 2015 Monroe County Tourist Development Council Economic Impact Analysis of the Netflix Original Series Bloodline TABLE OF CONTENTS Summary of Results ................................................................................................. 2 Introduction .............................................................................................................. 4 Study Purpose .......................................................................................................... 4 Season 1 Production Spending in Florida ............................................................. 4 Season 1 Production Spending in Monroe County ............................................... 5 Economic Impacts of Production Spending .......................................................... 5 Film Induced Tourism Impacts ............................................................................... 6 Additional Impacts ................................................................................................... 7 Appendix A – Economic Impact Methodology ...................................................... 8 Appendix B – Share of Production Spending in Monroe County......................... 9 Appendix C – Comparison of Economic Impacts from Visitor Spending ......... 10 Page | i Monroe County Tourist Development Council Economic Impact Analysis of the Netflix Original Series Bloodline SUMMARY OF RESULTS The
    [Show full text]
  • February 26, 2021 Amazon Warehouse Workers In
    February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN;
    [Show full text]
  • Literariness.Org-Mareike-Jenner-Auth
    Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more pop- ular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fiction. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Titles include: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Clare Clarke LATE VICTORIAN CRIME FICTION IN THE SHADOWS OF SHERLOCK Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME FILM Subverting
    [Show full text]
  • Audience Affect, Interactivity, and Genre in the Age of Streaming TV
    . Volume 16, Issue 2 November 2019 Navigating the Nebula: Audience affect, interactivity, and genre in the age of streaming TV James M. Elrod, University of Michigan, USA Abstract: Streaming technologies continue to shift audience viewing practices. However, aside from addressing how these developments allow for more complex serialized streaming television, not much work has approached concerns of specific genres that fall under the field of digital streaming. How do emergent and encouraged modes of viewing across various SVOD platforms re-shape how audiences affectively experience and interact with genre and generic texts? What happens to collective audience discourses as the majority of viewers’ situated consumption of new serial content becomes increasingly accelerated, adaptable, and individualized? Given the range and diversity of genres and fandoms, which often intersect and overlap despite their current fragmentation across geographies, platforms, and lines of access, why might it be pertinent to reconfigure genre itself as a site or node of affective experience and interactive, collective production? Finally, as studies of streaming television advance within the industry and academia, how might we ponder on a genre-by- genre basis, fandoms’ potential need for time and space to collectively process and interact affectively with generic serial texts – in other words, to consider genres and generic texts themselves as key mediative sites between the contexts of production and those of fans’ interactivity and communal, affective pleasure? This article draws together threads of commentary from the industry, scholars, and culture writers about SVOD platforms, emergent viewing practices, speculative genres, and fandoms to argue for the centrality of genre in interventions into audience studies.
    [Show full text]
  • Cheers to the PGCPS Class of 2019! by OFFICE of COMMUNICATIONS Prince George’S County Public Schools UPPER MARLBORO, Md
    The Pri nce Ge orge’s Pos t OMMUNITY EWSPAPER FOR RINCE EORGE S OUNTY SINCE A C N P G ’ C 1932 Vol. 87, No. 22 May 30 — June 5, 2019 Prince George’s County, Maryland Newspaper of Record Phone: 301-627-0900 25 cents ® 2019 Comcast Leaders and Achievers Scholarship Achieving Excellence: Recipients from Prince George’s County Cheers to the PGCPS Class of 2019! By OFFICE OF COMMUNICATIONS Prince George’s County Public Schools UPPER MARLBORO, Md. (May 22, 2019)—Graduation cere - monies beg[a]n Thursday, May 23 for the Class of 2019 in Prince George’s County Public Schools (PGCPS). Graduates from 32 schools will celebrate their achievements over the next two weeks, starting [May 23] with Academy of Health Sci - ences (AHS) at Prince George’s Community College (PGCC), the school system’s highest-performing high school. AHS [held] its graduation ceremony at 10:30 a.m. for students who receive[d] both a high school diploma and associate’s degree on the same day. “Excellence is our standard for every student, from the first day of school to graduation day,” said Dr. Monica Goldson, Interim Chief Executive Officer. “We proudly celebrate our young achievers for earning their success and our admiration through perseverance and academic excellence.” This is a year of “firsts” for many innovative high school pro - grams. The first-ever graduating classes will walk across the stage at the two International High Schools, which serve immigrant stu - dents with limited English proficiency, and College Park Academy, a charter middle and high school.
    [Show full text]
  • Television Academy Awards
    2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D.
    [Show full text]
  • International Theatrical Marketing Strategy
    International Theatrical Marketing Strategy Main Genre: Action Drama Brad Pitt Wardaddy 12 Years a Slave, World War Z, Killing Them Softly Moneyball, Inglourious Basterds, The Curious Case of Benjamin Button Shia LaBeouf Bible Charlie Countryman, Lawless, Transformers: Dark of the Moon, Transformers: Revenge of the Fallen, Eagle Eye, Indiana Jones and the Kingdom of the Crystal Skull Logan Lerman Norman Noah, Percy Jackson: Sea of Monsters, Stuck in Love, The Perks of being a Wallflower, The Three Musketeers Michael Peña Gordo Cesar Chavez, American Hustle, Gangster Squad, End of Watch, Tower Heist, 30 Minutes or Less CONFIDENTIAL – DO NOT DISTRIBUTE Jon Bernthal Coon-Ass The Wolf of Wall Street, Grudge Match, Snitch, Rampart, Date Night David Ayer Director Sabotage, End of Watch Target Audience Demographic: Moviegoers 17+, skewing male. Psychographic: Fans of historical drama, military fans. Fans of the cast. Positioning Statment At the end of WWII, a battle weary tank commander must lead his men into one last fight deep in the heart of Nazi territory. With a rookie soldier thrust into his platoon, the crew of the Sherman Tank named Fury face overwhelming odds of survival. Strategic Marketing & Research KEY STRENGTHS Brad Pitt, a global superstar. Pitt’s star power certainly is seen across the international market and can be used to elevate anticipation of the film. This is a well-crafted film with standout performances. Realistic tank action is a key interest driver for this film. A classic story of brotherhood in WWII that features a strong leader, a sympathetic rookie, and three other entertaining, unique personalities to fill out the crew.
    [Show full text]
  • Film: Literature and Law FM 241.01/EN244.01
    Film: Literature and Law FM 241.01/EN244.01 John J. Michalczyk Tuesdays, 6:30-9:00 PM Interest in the rapport between film and literature as it relates to the law intrigues us as much today as ever. Literature can vividly capture the drama of a legal trial or an investigation into a brutal, racial murder. Film then takes this rich material and shapes it into a compelling form with dynamic visuals and other narrative techniques. This course explores the power of story-telling and the impact of film to portray the inner workings of law and its relationship to ideas about inferiority, liberty, citizenry, race, justice, crime, punishment, and social order. Short stories, plays, and novellas with their accompanying film adaptations will comprise the body of the curriculum. All texts are required and will be available at the Bookstore or can be purchased through Amazon.com. Check online for free texts. Reflection questions based on the readings and film screenings will be emailed prior to each class. Class: Date/Texts/Films 1. Jan.17 Introduction and methodology utilized in the course Literary excerpts with analysis of form and content Arthur Miller: The Crucible Film: Nicholas Hytner’s The Crucible The Salem witch trials and the sensitive conscience of John Proctor, an allegory of the McCarthy era. 2. Jan. 24 Arthur Miller: The Crucible (discussion) Film: David Helpern’s Hollywood on Trial documenting the 1948 trial of Hollywood 10. Film: High Noon, a Western allegory about standing up against oppression during the McCarthy era. 3. Jan. 31 Robert Bolt: Man for All Seasons Film: Zinneman’s Man for All Seasons Thomas More, a man of conscience, stands up against Henry VIII.
    [Show full text]
  • Talking Through the Wire Jennifer Fremlin, Huntingdon College
    Talking Through the Wire Jennifer Fremlin, Huntingdon College I am at something of a critical loss when it comes to discussing The Wire. As a feminist media theorist especially interested in filmic representations of race and gender, I am pretty well trained at deconstructing hegemonic instantiations of the privileging of whiteness in movies and on t.v., especially those that seem to offer themselves as radical critiques but end up simply reinscribing familiar hierarchies. Popular culture—hit t.v. programs, award-winning movies, Hollywood stars—offers an endless supply of material on which to hone my knife. This is mostly shooting fish in a barrel, instead of any great testament to my mad skills. But The Wire, HBO’s critically acclaimed yet apparently largely unwatched series, leaves me a bit flummoxed. The problem is, first, that I loved watching it, reveling in its intricate, almost Shakespearian or Dickensian handling of interwoven plots and themes of power and corruption at all levels: economic, political, juridical, educational, racial, journalistic and sexual. Characters are complex and multidimensional, revealed in their working and personal lives to be neither good or bad, but some of both, often at the same moment, or neither, just like the rest of us. They sometimes try to do the right thing, even if by dubious means, or make more money, or get laid, or help others, but just as often they fuck up, and their motives are a nice messy stew of righteousness and self-serving. The show solicits me as a smart viewer, which on the one hand I critically distrust, but on the other hand flatters me to no end.
    [Show full text]
  • Reminder List of Productions Eligible for the 90Th Academy Awards Alien
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx.
    [Show full text]
  • Review: Mindhunter, Episode 3 | Nouse
    Nouse Web Archives Review: Mindhunter, Episode 3 Page 1 of 3 News Comment MUSE. Politics Business Science Sport Roses Freshers Muse › Film & TV › Features Film Reviews TV Reviews Festivals Review: Mindhunter, Episode 3 Charlie Ralph takes a closer look at Mindhunter’s detective duo Friday 20 October 2017 Image: Netflix 8/10 Creator: Joe Penhall Director: Asif Kapadia Starring: Jonathan Groff, Holt McCallany, Hannah Gross Length: 1hr Rating: 18 (N.B. This review may contain spoilers) At around the half-way point in this, the first episode of Mindhunter that progresses past the opening expositional phase of the narrative, FBI agents Holden Ford and Bill Tench are celebrating the assumedly successful capture of a man responsible for two murders in a small town. Amidst the celebrations, they are referred to as Sherlock Holmes and John Watson, in that order. Neither seem particularly enamoured or repelled by the assertion, but it paints an important picture of how other characters in the show are going to see Ford and Tench going forward. The important question is: is that how this show wants us to see them? http://nouse.co.uk/2017/10/20/review-mindhunter-episode-3 Archived 11 Dec 2018 12:33:26 Nouse Web Archives Review: Mindhunter, Episode 3 Page 2 of 3 They are, it is obvious to say, investigative pioneers. The premise of the show depends on their study of serial killers being revolutionary and a focal point of this episode is a legitimate college professor all but telling the audience directly that what Ford and Tench are doing is going to change the way criminal justice works for years to come.
    [Show full text]
  • Sharyn Gersh for Every Project We Do
    "There's a reason we keep going back to Sharyn Gersh for every project we do. SHARYN GERSH She's the best music editor in the business. Her creativity, speed, and I-can-make-this-work attitude have made her invaluable to us. President/CEO We can't imagine working with anyone else." Co-Owner -- Michelle & Robert King, Creator-Exec Producers of The Good Fight & The Good Wife AWARDS 2016 Golden Reel Award Best Sound Editing In Television Long Form Music: “Teen Beach 2” 2012 Golden Reel Award Best Sound Editing In Television Episodic Music: “Raising Hope: Prodigy” 2003 Golden Reel Award [email protected] Best Sound Editing In Television Episodic Music: “American Dreams: Cold Snap” 2001 Emmy Outstanding Sound Editing For A Series: 818-730-6973 “ER: The Crossing” 2001 Golden Reel Award Best Sound Editing In Television Episodic Music: “Ally McBeal: The Musical, Almost” www.createharmonymedia.com 1999 Emmy Outstanding Sound Editing For A Series: “ER: The Storm, Pt 2” (for full list of nominations go to IMDB: Sharyn Gersh, Sharyn Tylk-Gersh) Billing Address: 1837 N Niagara St SELECTED PROJECTS Burbank, CA 91505 Titles Composers “Evil” David Buckley “Dare Me” Jonathan Sanford “The Good Fight” David Buckley Office Address: “Whiskey Cavalier” Harry Gregson-Williams 1119 S. Flower St “American Woman” John Swihart Burbank, CA 91506 “Trial & Error” John Swihart “Life Sentence” Waz & Jamie Jackson “Youth & Consequences” Waz & Jamie Jackson “Braindead” David Buckley “The Good Wife” David Buckley fb.me/CreateHarmonyMedia “Kingdom” Tyler Bates “Betrayal” BT “Harry’s Law” Transcenders “Playboy Club” David Schwartz & Transcenders linkedin.com/in/sharyn-gersh “Raising Hope” Danny Lux & Matt Moriano linkedin.com/company/createharmony “Terriers” Robert Duncan “ER” Marty Davich “My Name Is Earl” Danny Lux “Ally McBeal” Danny Lux “The Practice” Stewart Levin (for full list of credits go to IMDB: Sharyn Gersh, Sharyn Tylk-Gersh) .
    [Show full text]