It wouldn't be a proper month for a horror fest without some sort of anthology film. And, unfortunately, this is the first one that I chose for this month. I was considering watching Tales from the Darkside: The Movie, but I'll have to leave that later as I got a trial for this add-on channel on Amazon Prime. Specializes in horror movies, you see, which is where I found this one to begin with. I'm feeling lazy today, as I have been for almost every anthology flick I've seen lately, so I'm not gonna bother reviewing each short individually. Plus I honestly don't think I could go into that great of detail into each short that would warrant an individual mini-review. With that said, this movie wasn't what I would have called good or anything of the sort, but at least each individual segment of the film attempted to have their own distinctive visual style. The 9th Circle, the first segment, had a more 80s VHS style of look. The second short, whose name I didn't get, looks just like a normal low-budget affair. And the third short, Terrifier, looks much like the second short, except that Terrifier has an aged, grainy look like it was a 70s grindhouse flick. It didn't really work, though, because the film looked way to modern for it to have that aged, grainy look, so there was a certain disconnect from how it actually looked to how they actually wanted it to look. So, really, it didn't work as well as, say, The 9th Circle. There's also a wraparound story, that connects all of the segments together, and it features a babysitter looking after these kids on Halloween watching this VHS tape that got left in one of the kids' candy bag. It's basic stuff, but the ending itself, to the wraparound segment at least, was actually strong in that it goes places that some filmmakers are simply much too afraid to go to. The gore itself, in the wraparound, isn't great, but I gotta give them props for at least going to some dark places. Which brings us to the segments of the film on the VHS tape. Honestly, none of them are really what I would call good, though I have to give props where they're due and the clown featured in the film is suitably creepy enough. The 9th Circle, to me, would have to be the best of them all simply due to the fact that it's the only one that really goes all out with its concept. It all boils down to finding a woman for Satan to impregnate, really, but it's a pretty decent short in and of itself. The second short, the one with the woman who just moved into her new house being hunted down by this alien is, honestly, pretty fucking terrible. The alien looks awful and the acting by the woman in peril is even worse. Seriously, it was fucking dreadful. Might have been one of the worst shorts in any anthology movie I have ever seen and that is no joke. The third short, Terrifier, isn't great as it's just really basic. The lead in the short is basically running away from the clown and no matter what she does, or how far she drives, she cannot escape him. It's simple and not particularly interesting, but the gore, at the very least, is at its strongest in Terrifier. Halloween or Hallowe'en also known as Allhalloween, All Hallows' Eve, or All Saints' Eve, is a celebration observed in a number of countries on 31 October, the eve of the Western Christian feast of All Hallows' Day. It begins the three-day observance of Allhallowtide, the time in the liturgical year dedicated to remembering. So it has something to offer in spite of its relative nothingness. The wraparound does exactly what the wraparound does, it connects all of the segments together while weaving its own, small, story. Again, nothing special, but it's there. The acting is for sure at its best here, at least by the actress who played the babysitter, she was solid. And this is where things end, as I mentioned the ending to the wraparound was good enough. I don't really know what to make of this anthology film. I didn't find it to be worse than VHS: Viral, believe it or not, even though Viral had a bigger budget. But I can't say that it was a mixed bag either, because I didn't find any of what the film had to offer, in terms of shorts, good. At its best, the movie is just watchable and and its worst, it's downright terrible. Two stars is what I really feel comfortable giving this, but I wouldn't blame anyone if they thought it was either better or worse. It's that type of flick. Not that the Mass of the day has mention of black cats, or the Divine Office of witches, but for so long Halloween meant nothing but parties and vandalism that when someone first proposed that it came out of the liturgy, I asked: 'Are you sure?' You still hear people doubt it, even when you show them that Halloween is All-Hallows'-Eve which is the night-before-All-Saints'- Day. Some tell me they understand that Halloween pranks were a post-Reformation contribution to plague Catholics who kept the vigil of All Saints. Now it is possible that Halloween was abused for such a purpose; nevertheless, during all the Christian centuries up until the simplification of the Church calendar in 1956, it was a liturgical vigil in its own right and thus has a reason for being. Learning this, one pious lady of our acquaintance was heard to say: 'Oh, I'm so glad to know that. I was about to write my congressman and suggest the whole thing be outlawed.' A celebration much like our Halloween, with bonfires and feasting on apples and nuts and harvest fruits, was part of pagan worship for centuries. The Britons celebrated in honor of their sun-god with bonfires, a tribute to the light that brought them abundant harvest. At the same time they saluted Samhain, their 'lord of death,' who was thought to gather together at last the souls of the year's dead which had been consigned to the bodies of animals in punishment for their sins. The Romans celebrated the same kind of festival at this time in honor of their goddess Pomona, a patroness of fruits and gardens. Whether the Church 'baptized' these customs or chose this season for her feasts of the dead independent of them, their coincidence shows again how alike men are when they seek God and His ways, give praise, use the language of symbols to express the inexpressible. It was in the eighth century that the Church appointed a special date for the feast of All Saints, followed by a day in honor of her soon-to-be saints, the feast of All Souls. She chose this time of year, it is supposed, because in her part of the world it was the time of barrenness on the earth. The harvest was in, the summer done, the world brown and drab and mindful of death. Snow had not yet descended to comfort and hide the bony trees or blackened fields; so with little effort man could look about and see a meditation on death and life hereafter. Apparently how you spent the vigil of All Saints depended on where you lived in Christendom. In Brittany the night was solemn and without a trace of merriment. On their 'night of the dead' and for forty-eight hours thereafter, the Bretons believed the poor souls were liberated from Purgatory and were free to visit their old homes. The vigil for the souls, as well as the saints, had to be kept on this night because of course the two days were consecutive feasts and a vigil is never kept on a feast. Breton families prayed by their beloveds' graves during the day, attended church for 'black vespers' in the evening and in some parishes proceeded thence to the charnel house in the cemetery to pray by the bones of those not yet buried or for whom no room could be found in the cemetery. Here they sang hymns to call on all Christians to pray for the dead and, speaking for the dead, they asked prayers and more prayers. Late in the evening in the country parishes, after supper was over, the housewives would spread a clean cloth on the table, set out pancakes, curds, and cider. And after the fire was banked and chairs set round the table for the returning loved ones, the family would recite the De Profundis (Psalm 129) again and go to bed. During the night a townsman would go about the streets ringing a bell to warn them that it was unwise to roam abroad at the time of returning souls. It was in Ireland and Scotland and England that All Hallows' Eve became a combination of prayer and merriment. Following the break with the Holy See, Queen Elizabeth forbade all observances connected with All Souls' Day. In spite of her laws, however, customs survived; even Shakespeare in his Two Gentlemen of Verona has Speed tell Valentine that he knows he is in love because he has learned to speak 'puling like a beggar at Hallowmas.' This line must have escaped the Queen. Tricks or treats old style Begging at the door grew from an ancient English custom of knocking at doors to beg for a 'soul cake' in return for which the beggars promised to pray for the dead of the household. Soul cakes, a form of shortbread and sometimes quite fancy, with currants for eyes became more important for the beggars than prayers for the dead, it is said. Florence Berger tells in her Cooking for Christ a legend of a zealous cook who vowed she would invent soul cakes to remind them of eternity at every bite. So she cut a hole in the middle and dropped it in hot fat, and lo a doughnut. Circle that it is, it suggests the never-ending of eternity. Truth or legend, it serves a good purpose at Halloween. The refrains sung at the door varied from 'a soul cake, a soul cake, have mercy on all Christian souls for a soul cake,' to the later: Soul, soul, an apple or two, If you haven't an apple, a pear will do, One for Peter, two for Paul, Three for the Man Who made us all. Here they had either run out of soul cakes or plain didn't care. Charades, pantomimes, and little dramas, popular remnants of the miracle and morality plays of the Middle Ages, commonly rehearsed the folk in the reality of life after death and the means to attain it. It is probably from these that the custom of masquerading on Halloween had its beginning. The folly of a life of selfishness would be the message pantomimed by the damned; the torment of waiting, the message of the souls from Purgatory; the delights of the beatific vision, the message of the Heaven-sent. Together they warned the living to heed the means of salvation before it was too late. Doubtless the presence of goblins and witches with cats (ancient symbols of the devil) were remnants of pagan times bespeaking to Christians of spirits loosed from hell to keep track of their own and herd them back at cockcrow. Saint- Saens' Danse Macabre with death fiddling his eerie spell over the graveyard fascinated us all the years of growing up. Waiting for the sound of cockcrow, which would send the souls scuttling back to their graves, was almost too much suspense to bear. Little did we know that it was inspired by old French customs and superstitions on All Hallows' Eve. The familiar harvest fruits, cornstalks, and pumpkins were seasonal. Although there is an old Irish legend about a miser named Jack who was too stingy to go to Heaven and too clever to go to hell, so that he had to spend eternity roaming the earth with a lighted pumpkin for a lantern, the appearance of jack-o'-lanterns has always seemed much more reasonable than that. These were ages when death was a serious and acceptable meditation. Christian art shows skulls and bones as a commonplace of interior decoration, at least in the cells of the convents and monasteries. Vigils were kept by the graves, and lights and bread left for the dead, all for the twofold purpose of recalling those dead and remembering that one day you would be dead. Surely it was some bright boy, stumbling over a pile of pumpkins by his father's barn, who hit on the notion of carving a grinning death's-head to carry, lighted by a candle, under his arm. If you know small boys, this is the most reasonable of all explanations. Prayers and party fun together Our family's Halloween parties are now planned around the custom of begging for soul cakes. Among the neighborhood children who attend, Catholics together with non-Catholics, there is no one who is not intrigued to learn the stories of these customs and join in the prayers and the fun. Frying doughnuts is a big undertaking, but this one time of the year we have a doughnut session the day before Halloween. Soul cakes need not be doughnuts, but we like to tell Mrs. Berger's story; and this, of course, leads to much tasting to see if one does think of eternity at every bite. Other refreshments for the party are natural sweets apples, nuts, popcorn all perfect companions to the soul cakes. Next, costumes. Saint costumes have been much in vogue in our circle since the rediscovery of Christian Halloween. These are lots of fun to make, but if you are having non-Catholic children who do not know about patron saints, a full course on the subject is not possible before the party. You might suggest that these come as some departed soul, one of those from eternity who come to warn the living to mend their ways. This gives much leeway and justifies the inevitable cowboys and space cadets. Cowboys do eventually depart, I am confident, and space cadets look as though they already have. A rhymed invitation tells everybody that this is a real party and also keeps enough of the familiar Halloween ghostliness to enhance the rest, which sounds a little unfamiliar. Our invitation goes like this: Come to keep vigil on All Hallows' Even, With Monica, Jamie, Peter and Stephen, With John, Philip, Christopher, dressed up like souls; Bring berries of red to help warn off the ghouls. Come knock at the door and beg for soul cakes, Pray hard for the souls, for the prayers that it takes.
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“A chilling portrait of sociopath behavior, perverted family loyalty, official malfeasance, and political corruption.... Along the way, [Clarke] exposes the dark underbelly of the frontier myth. A comparison to In Cold Blood comes easily to mind.” —Arizona Daily Star “Fascinating... Though the details of corruption in Arizona’s prison system are absorbing, the story of Tison’s psychological control over his three sons provides... Riveting reading.”—Chicago Tribune “A riveting account of a bloody crime spree and a first-class study of a cunning sociopath in action.”—Publishers Weekly “Illuminating and absorbing... The book is more than a simple cops-and-bandits tale: it is a psychological study in the machinations of a master manipulator.”—Arizona Republic. Clarke, a political science professor at the University of Arizona, spent five years researching the jailbreak and the carnage that followed. The killings alone are chilling enough to place this fascinating book alongside Joseph Wambaugh`s ``The Onion Field`` or Joe McGinniss` ``Fatal Vision,`` but Clarke uncovered more-evidence of corruption permeating Arizona`s government. To begin with, Gary Tison never should have escaped. Although he had killed a guard in a previous escape, he was imprisoned in a facility where security was, Clarke writes, ``a joke.`` From there, he allegedly ran a prison drug ring and supposedly carried a pistol in his boot. The film follows the true story of Gary Tison's attempted escape from prison to Mexico. Robert Patrick and Heather Graham will star in Last Rampage, a new film based. And it was rumored that he had ordered the killing of a prisoner who had turned informant. According to Clarke, the murdered convict had information on a shady real-estate partnership among a Mafia chieftain, a Phoenix lawyer suspected of involvement in the car-bomb murder of a reporter, and a former congressman who was a political ally of the prison warden. For arranging the killing, Tison apparently was given ``preferred prisoner`` status and was transferred into the medium-security annex. A money payoff helped bankroll his escape, which he masterminded with the help of his wife and three sons. Though the details of corruption in Arizona`s prison are absorbing, the story of Tison`s psychological control over his three sons provides the most riveting reading. The sons-Donny, Ricky and Ray-grew up believing that their father was a hero and a victim. In truth, he was a conniving sociopath with the ability to manipulate people as easily as Charles Manson did. It seemed no problem for Tison to influence reporters and state officials; it was easier still to dupe three boys who loved him. The sons believed Tison`s murder conviction was unjust, and to this day the two survivors contend that Tison killed because the military had ``brainwashed`` him and trained him to carry out political murders and other ``secret missions.`` And although they watched their father and his fellow fugitive, Randy Greenawalt, pump shotgun slugs into a baby`s head, they refused to believe that Tison was to blame. Sep 26, 2017. On July 30, 1978, Gary Tison and Randy Greenawalt walked out of Arizona State Prison in Florence after a daring escape staged by Tison's three sons. Six innocent. The father, Gary Tison, escaped again into the desert. He wrote 'The Last Rampage' about the Tison Gang's murderous spree in 1978. Last Rampage: The Escape of Gary Tison This movie tells the true story of Gary Tison and another killer who broke out of the Arizona State Prison in 1978 with the. Find helpful customer reviews and review ratings for Last Rampage: The Escape of Gary Tison at Amazon.com. Read honest and unbiased product reviews from our users. Last Rampage: The Escape of Gary Tison full movie online for free in HD quality with English subtitles. Even at the gory end, as the oldest brother, Donny, lay fatally shot in a stolen van, and as Gary Tison raced off into the desert, muttering, ``Every man for hisself,`` the boys believed that their father knew best. For these psychological prisoners, there was no escape. When it was over, Ricky and Ray Tison were sentenced to death for murder-as accomplices-though they actually killed no one. Today they are with Greenawalt on Arizona`s Death Row. Their father died of exposure in the Arizona desert rather than be taken alive. Cast, crew, and production information. This article's tone or style may not reflect the used on Wikipedia. See Wikipedia's for suggestions. (December 2014) () The Virginian Also known as The Men from Shiloh Genre Based on by Written by David Friedkin Harold Swanton True Boardman John Hawkins Don Ingalls Directed by David Friedkin Don McDougall James Sheldon Michael Caffey Starring Sara Lane Theme music composer (seasons 1–8) (season 9) Opening theme 'Lonesome Tree' conducted by Ending theme 'Lonesome Tree' conducted by Composer(s) Richard Shores Country of origin United States Original language(s) English No. Of seasons 9 No. Of episodes 249 () Production Executive producer(s) Producer(s) David Friedkin Joel Rogosin Cy Chermak Frank Telford Arthur H. The main cast in the fall of 1964: Center: Lee J. Cobb (Judge Garth). From left: Roberta Shore (Betsy Garth), Clu Gulager (Emmett Ryker), Doug McClure (Trampas), Randy Boone (ranch hand), James Drury (the Virginian) Set in the late 19th century, and loosely based on, a 1902 novel by, the series revolved around the tough foreman of the Shiloh Ranch, played. His top hand Trampas () and he were the only characters to remain with the show for the entire run. As in the book, the foreman went only by the name 'The Virginian'. The Virginian's real name was never revealed in the nine years the show was on the air. The series was set in. Various references in the first season indicate that setting is about 1898 – in episode 5, 'The Brazen Bell', guest star quotes from 's, which was first published in 1898, in episode 7, 'Riff Raff', several of the main characters join 's, the volunteer cavalry unit formed in 1898, to fight in during the, and in episode 11, 'The Devil's Children', the grave marker for one of the characters that dies in the episode states 1898 as the year of death. The episode, 'Decision', filmed in black and white in 1958, clearly showed The Virginian wearing a belt buckle marked 'CSA'. While truer to the book, the timeline was advanced as the series developed for production. The series circled around the foreman's quest to maintain an orderly lifestyle at Shiloh Ranch. The ranch was named after the two-day,. The show's white was named Joe D., and Trampas' was named Buck. As the show progressed, Trampas became the more developed of the characters, and it continues to be the role for which actor Doug McClure was best known. [ ] Several cast changes were made throughout the program's run. In the first four seasons (1962-1966), the owner of the ranch was Judge Henry Garth (). His de facto daughter Betsy () lived at the ranch with him, and had a sister relationship with the ranch hands. Ranch hand Steve Hill () joined in episode storylines. Joined the show in the second season as a youthful ranch hand who played guitar and sang duets with Betsy. (In 1965 released an LP of songs from the two singing actors.) In the episode 'First To Thine Own Self' (February 12, 1964) Boone's character sings ', written by in 1949. [ ] In the third season, was added to the show as the restless deputy Emmett Ryker. After executive producer was replaced by at the end of season 3, season 4 became a troublesome time. When Shore left the cast, Macdonnell added a new leading woman—, who played Jennifer, the Judge's niece. Cobb also left the show in 1966, was brought in as the new owner, Morgan Starr. His demanding presence and tough demeanor did not fit well with the show, nor did fans like his character. Producer was brought back on board for season 5 to straighten out the series. He replaced the characters of Randy, owner Morgan Starr and Jennifer with a few actors who brought back the family atmosphere to the show. John Grainger (played by ) became the new owner. Elizabeth Grainger (played by Sara Lane), was John Grainger's granddaughter. Her brother Stacey () rounded out this new cast. Although Price left again, the series continued smoothly in the pattern that he set. In season 6, Clay Grainger (played by, previously portrayed the wagonmaster on ) took over ownership after his brother John's apparent departure 'on business.' (John Grainger's abrupt series exit, due to actor star Charles Bickford's sudden death on November 9, 1967, was never properly explained onscreen in the series.) The sixth season also added Holly Grainger (played by, McIntire's real-life wife) as the wife of Clay. Season 7 saw the entrance of David Sutton, played by (later longtime anchor on 's morning news/features program). However, Sutton was replaced in season 8 with a younger hand, Jim Horn (played by ). [ ] Season 9 [ ]. The new The Men from Shiloh title card In season 9 (1970–71), the name of the program was changed to The Men from Shiloh and the look of the series was completely redesigned. Ownership of the Shiloh Ranch was changed once more, and Colonel Alan MacKenzie () took over. Granger said of his character: They had some idea of Col. Mackenzie against the West. I wanted no part of that. Englishmen were running cattle here from the beginning. The English have this thing for land; for animals and crops. I said this old cocker's out of India and the colonies: he can take the American west on his own terms. In several countries, including the United Kingdom, the show went under the extended title The Virginian: Men From Shiloh. The opening theme song was changed to a new one, composed by, and the look of the show was changed reflecting a style similar to, which were very popular at the time. The hats worn featured much broader brims and higher crowns. The clothing was also jauntier and more imaginative and mustaches and beards were much in evidence. [ ] These changes brought a better ranking (#18) in the top 30 prime-time shows, after the previous year saw the show slip out of the top 30 rankings for the first time ever. (It was one of only four Western series on in prime time. ) The final season operated on a 'rotating lead actor' basis of the four stars, with normally just one lead appearing each week. Two of the four lead actors ( and Doug McClure) never appeared together in the last season. The ranch itself played a very nominal part in season 9, with most scripts featuring the four stars away from the ranch. There seemed little that could save it, as the final season brought in several big guest stars to the remaining episodes. The studio and network were set on ending the series, as evidenced by rivals CBS and ABC making demographic moves away from rural-oriented shows (see ' for more information). The final episode aired on March 24, 1971, ending the show's nine-season run. [ ] Characters [ ] The Virginian [ ] The Virginian. James Drury as the Virginian in the Universal series by the same name. First appearance 'The Executioners' (1962) Last appearance 'Jump-up' (1971) Created by Portrayed by Information Gender Occupation Foreman of the Shiloh Ranch in Medicine Bow, Wyoming Played by, the Virginian was the tough foreman of the Shiloh Ranch. Based loosely on the character in the, he always stood his ground firmly. Respected by the citizens of Medicine Bow and the hands of the ranch, he was a prominent figure in Medicine Bow. In the series, the Virginian is the ranch foreman from the first episode. This way, the producers were able to establish a feeling that he had been there for a while, and thus keep a consistent story line. In the book, however, the Virginian was the deputy foreman, and only became the foreman after a promotion from the Judge. When making the show, the producers chose not to reveal the Virginian's real name, and little about his past was actually made known. This succeeded in making the Virginian an intriguing and mysterious character. The foreman worked under five ranch owners throughout the series: Judge Garth (), Morgan Starr (), John Grainger (), Clay Grainger (), and Col. Alan Mackenzie (). James Drury and Doug McClure were the only cast members to remain with the show for all nine seasons. James Drury first played The Virginian on the July 6, 1958 episode of. Judge Garth [ ] Starting in season 1, succeeded in making Judge Garth a stern man with a soft side to his personality. The Judge acted as a father figure to the Virginian. Respected by all the townspeople, as well as his employees, the Judge was often looked to for matters to be settled. Cobb left the series near the end of season 4. In the episode 'Morgan Starr', it was stated that the Judge had left Shiloh to become Governor of Wyoming. [ ] Trampas [ ] Played by, the character of Trampas took on a completely different personality from the character in the novel. In Owen Wister's book, Trampas was a villain throughout the story and at the end was shot by the Virginian. However, in the TV series, the producers chose to make Trampas a fun-loving and rowdy character, Doug McClure fitting the part perfectly. Trampas, a sandy-haired, rowdy cowhand who eventually settled down on the ranch, was by far the most developed character in the series. Several episodes were made detailing his past. Doug McClure, as Trampas, added a touch of light comedy to the series to counterbalance the Virginian's serious manner. For part of season 9, the Trampas character wore a thick mustache and broader brimmed hat. Steve Hill [ ] Played by, Steve was a good friend of both Trampas and the Virginian. He was constantly getting Trampas in and out of his usual scrapes. The on-screen chemistry that Gary Clarke and Doug McClure possessed reflected their good friendship off screen, and was loved by fans worldwide. Although he was with the show at the beginning, Gary Clarke was being phased out of the show at the end of season 2, but remained as a guest star for a few episodes in season 3, before departing for good. Betsy Garth [ ] Played by, from seasons 1 through 4, Betsy was the only daughter of Judge Garth. Early in the series, it was made clear that she was adopted, but nevertheless the Judge treated her as his own. Betsy and the ranch hands had a sort of brother–sister relationship. Trampas and Steve had a particular soft spot for her, often jumping to protect her, and looking out for her wellbeing. At the start of the series, Betsy is said to be fifteen years old. In a season 4 episode, 'The Awakening,' she married a minister (), and moved to Pennsylvania, reflecting Roberta Shore's departure from the show. Randy Benton [ ] Played by, from seasons 2 through 4, Randy was a young ranch hand who played guitar and sang. He came into the show as Steve Hill was being phased out as a regular cast member during season 2. Before the new Grainger family was brought in for season 5, his character was discontinued. Deputy Sheriff Emmett Ryker [ ] At the beginning of season 3, a new cast regular was introduced. Played the restless deputy Emmett Ryker. Ryker was the first cast regular not to live on Shiloh. Once a hired gun, Ryker decided to settle in Medicine Bow before he took his former profession too far. Ryker became the sheriff in season 4. Clu Gulager remained with the show for four seasons, leaving briefly at the beginning of season 5, then returning for the rest of season 5 before leaving for good toward the end of season 6. Jennifer Sommers [ ] After Roberta Shore left the show, was brought in as the Judge's niece. At the end of season 4, along with Boone and Dehner, she left, making room for the new owners. Morgan Starr [ ] Halfway through season 4, Morgan Starr was brought in to run the ranch for Judge Garth because of Garth's appointment as Governor of Wyoming. Played a tough and demanding man, who was hard to become friends with, as the Virginian and Trampas soon found out. Fans disliked Dehner's character, and he left the show at the end of the season. John Grainger [ ] At the beginning of season 5, with Judge Garth, Betsy and Jennifer gone, a new character was brought in to run Shiloh. Played a stern but loving grandfather to his two grandchildren, Stacey () and Elizabeth (Sara Lane). Although the Virginian and Mr. Grainger never quite had the father–son relationship that the Virginian and Judge Garth had, they got along well. Charles Bickford's death on 9 November 1967 was a shock to the cast. He was replaced by as his brother Clay. Stacey Grainger [ ] Played by, Stacey Grainger, the grandson of John Grainger, lived at Shiloh, beginning in season 5. He worked alongside Trampas, and the two become good friends. Stacey's sister Elizabeth looked up to him as a big brother, and he filled the role more than competently. Quine's two seasons on The Virginian were the only ones that finished in the Nielsen rating top 15 year end rankings. Elizabeth Grainger [ ] Stacey's younger sister Elizabeth (Sara Lane) was the granddaughter of John Grainger, starting in season 5. Trampas, the Virginian, and Stacey all look out for her wellbeing. Elizabeth was cast as a teenage girl enjoying her life on the frontier. She loved horses, riding the range, and going to the ever-present Saturday night dances. Sara Lane left the series in season 8. Clay Grainger [ ] After the death of Charles Bickford, was hired as his brother, Liz and Stace's great uncle. Clay had a wife, Holly (), and was the ranch owner for seasons 5 through 8. McIntire had earlier taken over the lead role in upon the death of, assuming the role of the new wagonmaster. In season 9, The Virginian was revamped, and McIntire, along with, Sara Lane,, and, left the show. Retrieved 2016-10-19. • Green, Paul & Price, Frank. A History of Television's 'The Virginian', 1962–1971, pg. 17, McFarland, May 30, 2010. •, imdb.com; accessed September 21, 2017. Retrieved 2011-06-18. Retrieved 2011-06-18. Retrieved 2016-10-19. (subscription required) •. Retrieved 2016-10-19. (subscription required) •. Retrieved 2016-10-19. (subscription required) •. Retrieved 2011-06-18. Retrieved 2011-06-18. Retrieved 2016-10-19. (subscription required) • ^. Retrieved 2011-06-18. Retrieved 2011-06-18. Retrieved 2011-06-18. Retrieved 2011-06-18. Retrieved 2016-10-19. Retrieved 2016-10-19. Retrieved 2011-04-06. Retrieved 2016-10-19. Retrieved 2016-10-19. Retrieved 2016-10-19. Retrieved 2016-10-19. Retrieved 2016-10-19. Retrieved 2016-10-19. Retrieved 2016-10-19. Retrieved 2016-10-19. Further reading [ ] • A History of Television's The Virginian 1962–1971 by Paul Green, with a foreword by former executive producer, (2006) • The Virginian: A Horseman of the Plains by Owen Wister. (1902) External links [ ] • on • at • • • • • • Wikiquote has quotations related to: Wikimedia Commons has media related to. Memories are all that's left of the love we used to know. Memories of happier times now seem so long ago. What started out as friendship grew into so much more. Mar 21, 2013. The scene of a horrific multi-vehicle accident caused by drinking and inattentive driving left the students, parents and faculty members who witnessed it thoughtful, emotional and glad it was a staged portrayal of the real thing. Shattered Lives of Montgomery County, along with a variety of first responders,. I fell so deeply in love with you, a feeling like never before. The days and nights turned into months, and months turned into years. There was love and laughter, a baby boy, and many happy tears. Friends and family, cookouts, four-wheeling, and camping--a life filled with joy. Watching as our infant son grew into a handsome little boy. Holidays were spent with the ones we loved each year. Happy kids, lots of laughs, life was perfect with you my dear. Falling asleep, feeling safe and secure, nights were never lonely. You, my love, were it for me. Definitely my one and only. And just like that it was over as I watched you walk out the door. I felt my world crumble, the life I once knew no more. Unable to stop what was happening, I watched you spin out of control. The meth had taken over, and addiction had taken its toll. The endless days, the sleepless nights, I've cried countless tears. Waking up each day to face the reality of my own fears. As I lay here all alone, my spirit completely broken, A million unanswered questions, a thousand words unspoken. When did you stop loving me? Exactly when did we fall apart? No longer us, now you and her, she's holding a piece of my heart. She was a dirty little secret; you kept her hidden well. I wondered if she believes all the lies that you tell. You claimed that I was crazy, there wasn't anyone else, but the truth came out in the end. A betrayal at its worst; she was once my very best friend. I never saw this coming; I guess I was just a fool. So hard to comprehend it all; how could you be so cruel? The sincerity of your voice, now replaced by hurtful lies. The man that I once loved, I no longer recognize. You've chosen the wrong path, and now you've lost your way. The devil has taken the lead, the ultimate price you've yet to pay. Don't take anything for granted; it can change in the blink of an eye. I never thought I'd live without you, never thought we'd say goodbye. I look at our little boy, so innocent and pure. I know I have to be strong; this pain I must endure. Longing for the time when this heartache goes away, I put my best foot forward and face another day. The Peanuts gang learns a valuable lesson in the importance of security after Linus learns that his grandmother plans to rid him of his beloved blanket during an upcoming visit in this animated special inspired by the comic strips of Charles Schulz. Wherever Linus goes, his blanket is sure to follow. But when Linus learns that his fuzzy, ever-present companion may soon be taken away from him, his friends all rally to highlight the importance of letting go. Somewhere between Lucy's arm-chair psychiatry, Snoopy's scheming to claim the blanket for himself, and Charlie Brown's inability to act while seeing his friend in distress, however, the insightful owner of the blanket in question points out the fact that everyone has a comfort item that helps them through hard times, and that sometimes when the going gets tough the best we can do is hang on and hope that things will get better soon. Happiness Is a Warm Blanket, Charlie Brown is a 2011 hour-long special released by Warner Premiere, though it has since aired on television. It adapts and intertwines several comic strip arcs from, the overarching one that of Linus trying to give up his security blanket before his grandmother, who is against a boy his age carrying something childish around, arrives for a visit in a week. It was the first Peanuts special in five years (the 45th in the total lineup) and the first produced without the leadership of Charles Schulz, Lee Mendelson Productions, or Bill Melendez. Instead, it's produced by and Wildbrain, and animated off-shore by in. Eschewing 's tendencies towards computer-assisted animation, it is animated in hand-drawings on paper with hand-painted backgrounds and a piano soundtrack composed by, meant to evoke the 1960's/'70s animated specials/movies as well as 's scores from the earliest specials. Co-wrote the script. This special provides examples of: • •: Character cameos, to be specific. When Snoopy scans the neighborhood in imitiation of a vulture, recurring character Frieda is briefly glimpsed along with her cat Faron. Early regulars Shermy, Violet and Patty have their first speaking roles in decades, Shermy even appearing in a flashback directly based on the very first Peanuts strip. •: For the original run of animated adaptations. Adapting material from the strip that had previously been incorporated into the franchise's and the special It's an Adventure, Charlie Brown in, it focuses on the core cast of the strip as it stood in (Charlie Brown, Linus, Lucy, Schroder, Sally, and Snoopy), scales back Snoopy's and tendencies (as well as having him walk on all fours), doesn't try to be, and has sharper humor and a quieter, more melancholy tone than post- adaptations did. It also disregards the strip and specials' in favor of using the character and background designs from, though it keeps the voice acting style and jazz scoring forever linked to the franchise. •: Snoopy provides a few, as does Charlie Brown. •: Sally constantly tries to woo her 'sweet babboo' Linus, and Lucy tries to do the same to Schroeder. Mar 08, 2011 Official trailer for 'Happiness Is a Warm Blanket, Charlie Brown': Linus is pushed to his limits when he learns grandma is coming to visit and plans on. Happiness Is a Warm Blanket, Charlie Brown (2011) Movie Script. Read the Happiness Is a Warm Blanket, Charlie Brown full movie script online. •: One of the clips shown when Charlie Brown thinks about his insecurities is an exact recreation of •: Linus tries this, giving Charlie Brown his blanket and telling him to hang onto it and not give it back no matter what. Only to discover that Charlie Brown unceremoniously gives him the blanket back at the first hint of pleading. •: Linus spends a vast amount of time trying to find his blanket after Lucy buries it. Snoopy just sniffs around for a few seconds and is able to dig it up almost immediately. •: Or perhaps a case of Dog Pets You — Snoopy, after having spent most of the special trying to snatch Linus's blanket, immediately gives it to him after finding it. Of course, he's right back to trying to steal it afterwards. •: At the climax, Linus is finally fed up with his friends' demands of giving up his blanket and proceeds to give them a speech about how everyone is insecure. Find great deals on eBay for happiness is a warm blanket charlie brown and a boy named charlie brown. Shop with confidence. •: The 1980's special 'It's An Adventure, Charlie Brown!' Involved a similar storyline. •: Linus's trope-naming blanket — what the main story revolves around. •: Just like the comic strip it's adapting. Nov 27, 2017 Politics behind the unfolding drama at watchdog agency CFPB November 27, 2017, 7:11 AM| President Trump named his budget director, Mick Mulvaney, to take over the. With the world standing on the brink of nuclear disaster, a young researcher and his girlfriend travel to Dartmoor to investigate an ancient building. However, the. Online shopping from a great selection at Books Store. The Unfolding (2016) on IMDb: Plot summary, synopsis, and more. THE UNFOLDING is released as part of FightFest Presents on VOD, 14 March 2016 - It is 2016 and a fearful world seems to be on the brink of a nuclear catastrophe. A researcher in psychical events and his girlfriend travel to deepest Dartmoor to investigate a centuries-old building. What they unlock and discover is way more than they could have ever bargained for. An exciting first feature from newcomer Eugene McGing, who expertly takes familiar tropes and gives them a fresh spin in this genuinely terrifying haunted house tale. 'The Unfolding Trailer' 'UK Horror' 'FrightFest Presents' 'Horror' 'Official Trailer'. Nancy Sinatra - Some Velvet Morning Some velvet morning When I'm straight I'm gonna open up your gate And maybe tell you about Phaedra How she gave me life And how she made it in. Some velvet morning When I'm straight Flowers growing on a hill Dragonflies and daffodils Learn from us very much Look at us but do not touch Phaedra is my name Some velvet morning When I'm straight I'm gonna open up your gate And maybe tell you about Phaedra How she gave me life And how she made it in. Some velvet morning When I'm straight Flowers are the things we know Secrets are the things we grow Learn from us very much Look at us but do not touch Phaedra is my name Some velvet morning When I'm straight Flowers growing on a hill I'm gonna open up your gate Dragonflies and daffodils And maybe tell you 'bout Phaedra Learn from us, very much And how she gave me life Look at us, but do not touch And how she made it in. Pheadra is my name Some velvet morning When I'm straight I'm gonna open up your gate Some velvet morning when I'm straight Flowers are the things we know Secrets are the things we grow I'm gonna open up your gate Learn from us very much Look at us but do not touch Look at us but do not touch Look at us but do not touch Lyrics licensed. Lyrics to 'Some Velvet Morning' by Nancy Sinatra. Lee: / Some velvet morning when I'm straight / I'm gonna open up your gate / And maybe tell you 'bout Phaedra. Lyrics to 'Some Velvet Morning' song by Nancy Sinatra: Some velvet mornin' when I'm straight I'm gonna open up your gate And maybe tell you 'bout Phaedra A. Fred (Stanley Tucci) arrives at the doorstep of his beautiful young mistress Velvet (Alice Eve) after four years apart, claiming to have finally left his wife. Lee Hazlewood - Nancy Sinatra, Some Velvet Morning, NBC television special 'Movin' With Nancy' in 1967. Lee Hazlewood's passing made me think of the 'Some Velvet Morning' recording, It's a strange eerie tune Lee wrote in the mid to late 60's and recorded with Nancy Sinatra, anyway, here's the video, I wanted to share it. PLEASE be aware that is is a Lee Hazlewood, Nancy Sinatra tribute. I welcome your thoughts and stories. Beware that ALL derogatory comments will be removed along with comments about other artiest covers and talk show host using it as bumper music. Please just celebrate Lee and Nancy. Crime Arjun is a reckless young man with an obsession for making money at card games. A chance meeting with a girl in a mall, Zoya, gives him the reasons he was looking for the move out of his. See full summary ». 'JANNAT' - In Search Of Heaven. Jannat||In Search of Heaven||Emraan Hasmi||Sonal Chauhan||2008||Best Movie Scene||A True Love Story. Climax The Ring Scene. Emraan Hasmi Death Scene. Please Like, Comment, Share & Subscribe. Don't Forget to Hit the Bell Icon ? Love You All. Take a look at SDR SanJay (@SDR_SanJay): SDR SanJay - Why So Serious. 'Batman and Robin' is an ambitious attempt to create something that combined various levels of fighting, detective work and really cool 3D graphics. Watch full episodes of Batman and get the latest breaking news, exclusive videos and pictures, episode recaps and much more at TVGuide.com. Directed by Joel Schumacher. With Arnold Schwarzenegger, George Clooney, Chris O'Donnell, Uma Thurman. Batman and Robin try to keep their relationship together even. You’ve heard the gags, we all have. Slurs, cheap puns, and innuendo have dogged Bruce and Dick’s partnership from the moment it began in 1940. The editorially mandated addition of Robin the Boy Wonder—the first kid sidekick in comics—occurred less than one year after Batman’s debut, and it accomplished several things at once. It lightened the comic’s tone, a necessary move as the Caped Crusader was developing a reputation for murdering the bad guy; his publisher worried that parents’ groups would object. It also gave Batman—who was and remains, beneath all that bat-themed fetishist folderol, a detective in the Sherlock Holmes mode—a loyal Watson to whom he could explain his leaps of deductive reasoning. In giving Batman someone to care about, it raised the stakes. Most importantly, perhaps, it doubled the comic’s sales. And of course there were the plots, many of which turned on Robin’s seething jealousy over Batman’s romantic interests and his paranoia that he might get replaced at Batman’s side by some rival crimefighter. In this era, elaborate ruses and misdirection were the twin engines of comic book storytelling, which meant many a comic began with Batman performatively rejecting Robin as his partner, an act that would send the tearful lad to his sumptuously appointed bedroom to (choke!) and (sob!) his guts out. People noticed. One person, in particular: Dr. Fredric Wertham, a psychiatrist convinced that comic books were directly responsible for the scourge of juvenile delinquency, led a nationwide anti-comics crusade that proved hugely effective. He published his “research” (read: testimonials from his juvenile psychiatric patients strung together with anti-comics rhetoric) in a book called Seduction of the Innocent in the spring of 1954, just as he testified before Sen. Estes Kefauver’s Senate Subcommittee on Juvenile Delinquency. Wertham devoted a scant four pages of his book to Batman and Robin; he had bigger fish to fry, attacking the luridly violent, sexist, and racist imagery found in many crime comics of the day. (About which: Dude had a point.) He did call Superman out as a fascist, and he noted that Wonder Woman’s whole shtick seemed unapologetically Sapphic. When it came to the Dynamic Duo, he seemed to relish drawing the reader’s attention to Wayne Manor’s “beautiful flowers in large vases” and the fact that Bruce was given to swanning about the estate in a dressing gown. Remember: Queer readers didn’t see any vestige of themselves represented in the mass media of this era, let alone its comic books. And when queer audiences don’t see ourselves in a given work, we look deeper, parsing every exchange for the faintest hint of something we recognize. This is why, as a visual medium filled with silent cues like body language and background detail, superhero comics have proven a particularly fertile vector for gay readings over the years. Images can assert layers of unspoken meanings that mere words can never conjure. That panel of a be-toweled Bruce and Dick lounging together in their solarium, for example, would not carry the potent homoerotic charge it does, were the same scene simply described in boring ol’ prose. Alfred the butler had joined them in 1943, serving as a 24/7 chaperone. Now, between a Bat-Hound, a Batwoman, a Batgirl, a, and—all too briefly—a, Batman and Robin could hardly find any time alone together. This was no coincidence. The shadow of Wertham lingered long into the ’60s, and Batman editors resolved to do what they could to dispel it, even if doing so came with a body count: When asked why Alfred the butler was killed off—briefly—in 1964 to be replaced by the dithering Aunt Harriet, editor Julius Schwartz averred, “There was a lot of discussion in those days about three males living in Wayne Manor.”. When the 1966 television series Batman came along it transposed the Dynamic Duo of that era’s comics—a pair of sunlit, anodyne, civic-minded cops in capes, essentially—onto the screen but imbued the proceedings with a deadly mock-seriousness that made it a cultural phenomenon. Although the show became inextricably associated with the notion of camp, its pop-art sensibility never came off as particularly gay despite the presence of guest villains played by such fierce divas as Tallulah Bankhead and Liberace. After the show went off the air, the creators of Batman comics resolved to get out from under its inescapable cultural penetrance by rebooting Batman as a lone avenger of the night. They shuffled Dick Grayson off to college in 1970, effectively ending the Bruce–Dick partnership that had grown so weighted with gay meta-meanings over the decades. Which, really, was all it took for heteronormativity to reassert itself, because while separately Batman and Robin came hardwired with vague gay associations (the fear of one’s secret identity being exposed, for example), it was only ever their status as a bonded male–male pair that had truly raised eyebrows. Sympathy for Delicious marks acclaimed actor Mark Ruffalo's first foray into directing. This inspired and unusual film tells the story of Dean O'Dwyer (Christopher Thornton), also known as 'Delicious D,' an up-and-coming DJ on the underground music scene in Los Angeles. When a motorcycle accident leaves Dean paralyzed, he abandons his turntables for a wheelchair as his once promising career disappears before his eyes. Forced to live out of his car on skid row, Dean begins his descent into depression when he meets Father Joe Roselli (Mark Ruffalo), a passionate young priest. Father Joe introduces Dean to the world of faith-healing, an unlikely way for him to begin his quest to walk again. He soon discovers that he possesses the otherworldly power to heal people, but in an odd twist of fate, he is utterly unable to heal himself. Despite Father Joe's warnings, Dean angrily decides to use his newfound gift for fame and fortune. He joins a rock band led by charismatic front man The Stain (Orlando Bloom) with bassist Ariel (Juliette Lewis), and manager Nina Hogue (Laura Linney). But his newfound notoriety is unable to cure the hurt that encompasses his life. To find true healing, Dean must ultimately confront his worst demons and come to terms with his own humanity. Jan 25, 2010. The Lord's ways are mysterious if not downright perverse in 'Sympathy for Delicious,' an unusual tale of miracles and self-doubt that marks the feature-directing debut of Mark Ruffalo. Directed by Mark Ruffalo. With Christopher Thornton, Mark Ruffalo, Laura Linney, Juliette Lewis. A newly paralyzed DJ gets more than he bargained for when he seeks. Apr 28, 2011. Dean O'Dwyer (Christopher Thornton), a k a Delicious D, the paraplegic turntable artist turned faith healer at the center of “Sympathy for Delicious” is a paradox in a wheelchair. A cynical nonbeliever who discovers that he has a faith-healing gift that works 75 percent of the time, Dean is understandably. For his directorial debut, Sympathy for Delicious, actor Mark Ruffalo has called upon the Canadian band to provide scoring, then augmented their efforts on the soundtrack album with some of the film's source music, including three tracks by a band called in the film 'the Stain.' On the album, the group is called; it features actors Orlando Bloom and Juliette Lewis, joined by and of. These songs are goofy lo-fi rock, and they add liveliness to tracks, which, at their calmest, are atmospheric and ambient, and, at their most assertive ('Dean Signs with Nina,' 'Dean Is Free'), midtempo pop/rock tunes with wordless vocals. Other source music includes a rock number by, 'U.R.A. Fever,' and 'El Mago Cardona,' a traditional Mexican song. The music is appropriate to the quirky story of a wheelchair-bound former disc jockey who turns to faith healing on skid row, aided by a priest played by the director. Ruffalo underscores the ironies of the film's theme by closing with ' 'I Started a Joke,' but long before the song's abstract opposites ('I finally died/Which started the whole world living'), the music has helped set a mood of quirky contradictions. |
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