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hqbackstage · 4 years

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THE COSTUMER — KURT HUMMEL

AGE: 27 (May 27th).

HOMETOWN: Mason City, IA.

IDENTITY: Cismale (he/him), homosexual/demisexual.

SELECTED CREDITS: The Red Year (Off Broadway, 2015), Sound of Music (regional production, 2016), Victor/Victoria (national tour, 2016), the first ever LGBT production of Who’s Afraid of Virginia Woolf (Off Broadway, 2017), Extinct (Broadway, 2018).

CASTING CALL

The Producer – They met back in their university days, in a dingy Manhattan bar frequented by numerous different colleges. They’ve been friends ever since, and have been sharing an apartment in the theatre district for the last three years. The Producer recommended the Costumer for the position, presenting their portfolio to the rest of the team and stressing their friend’s reliability and creativity. It’s great fun to be working on a production together, but there is an element of friction now they’re spending so many hours a day together.

The Leading Man – It’s embarrassing, but the Costumer met the Leading Man on their last job, and fell deeply, desperately in love. Well – they had a crush, at least. The Costumer is pretty sure that the Leading Man can’t have been that oblivious, but the Leading Man never felt like his suspicions were totally confirmed. They’re good friends now, though – despite the many romantic comedies the Costumer imagined them starring in together.

The Female Understudy – When it comes to the cast, the Costumer tries to stay out of the drama, and spending time with the Female Understudy is the best way to do that. She’s nowhere near as emotional or explosive as some of their colleagues, and the Costumer finds that refreshing. They’ve found refuge in each other’s more drama free personalities, and now make sure to meet up for regular brunch dates to get all their cast gossip out in a safe space (with mimosas).

THE FIRST ACT

Kurt was born in Mason City, Iowa, and raised in nearby Nora Springs. His mother, Elizabeth, was an elementary school art teacher while his father, Burt, ran his own auto shop. His happiest childhood memory is sitting in his mom’s lap, gazing curiously at the pictures in her fashion magazine. He can easily recall these moments with his mom, perhaps because there are so few others. Elizabeth died suddenly when Kurt was only eight years old. Burt quickly stepped up, doing his best to be everything Kurt would need. While it was clear the two men had very little in common, Burt still came to every backyard tea party Kurt invited him to and tried to help Kurt plan weddings for his Power Rangers.

As the years went on, Kurt withdrew more. Due to financial and scheduling issues, he was forced to quit ballet and say goodbye to the friends he had made at the studio. This would have been more manageable if he had any friends at school. Instead, he was constantly bullied for how much he stood out. Kurt escaped into his hobbies; he taught himself how to sew and joined community theater. Playing a character on stage pulled him out of his own life and let him be someone else, while fashion helped him express who he was while simultaneously hiding his insecurities. Within a few years, Kurt was sewing most of his own clothes and had been in over a dozen community productions.

Outside his hobbies, his quality of life continued to deteriorate with his entry into high school. The members of the football team were merciless, but it was a specific jock who made Kurt feel completely cut off from his peers. His first kiss was taken by surprise, followed by the words ‘If you tell anyone, I’ll kill you’. Already isolated and unable to remember what happiness felt like, Kurt’s thoughts turned to hurting himself. Nobody noticed how miserable he was, would anyone care if he was gone? He didn’t audition for the Christmas community theater production he’d been excited for, and quickly lost weight from the stress he was under. After a few long and painful weeks, Burt started to realize something was very wrong. Once he became involved, everything changed dramatically and quickly. The football player was expelled and Kurt began seeing a therapist. His mood began to improve and in the winter he auditioned for, and was cast in, the spring school musical. He quickly made friends with other members of drama club, who encouraged him to join the choir program as well. Suddenly, Kurt was excited about going to school and spending most of his day involved in music and drama.

-unior year, Kurt started to seriously consider what his future would look like. One thing was for certain, he was leaving miles of cornfields behind in favor of The Big Apple. He wasn’t entirely sure if he wanted to go into musical theater or fashion design, but he knew that his first choice school was a tie between the New York Academy of Dramatic Acting and Parson’s School of Design. Traveling to New York to visit colleges left him more sure that he needed to be in the city, but less sure about what he should do when he got there. He toured several campuses, including NYU’s Tisch School of Arts. Although he hadn’t looked into their programs, he was in New York and it was a famous arts school, so it seemed worth his time to check out. This was when he first saw the university offered a costume design major. Kurt wasn’t sure why he didn’t think of it sooner, it was an obvious choice that combined both of the lives he wanted flawlessly. He liked the campus and loved the location it was in, and so Tisch was quickly added to the list of schools he needed to apply for. After throwing in a few safety schools (all of which were in New York, of course), Kurt waited to hear back from the colleges.

The first school to contact him was NYADA - a rejection letter. Kurt was heartbroken, and his anxiety spiked as he waited to hear from the other colleges. What if none of them wanted him? Would he have to work at his dad’s garage for the rest of his life? When his letter from Parson’s came, he was so nervous he made his dad open it for him. ‘You’re in, Kurt’!’ Burt told him before pulling him into a hug and getting emotional about Kurt’s future. NYU was next, sending another acceptance letter. Kurt now had a choice, and after a lot of back and forth decided on costume design. Kurt worried he would regret his decision, but quickly began looking forward to the next chapter in his life. He was giving up his anticipated collection launch at Paris Fashion Week, but it would be in favor of one day winning a Tony, and maybe even an Academy Award.

After making plans to move to New York, Kurt’s senior year of high school passed quicker than he ever could have anticipated. The next thing he knew, he was moving into a dorm in Greenwich Village and preparing for his first day of college. He excelled in his classes, and held down a summer internship at vogue.com. During college, he found work doing costumes anywhere that would give him experience. Theater was about connections and Kurt enjoyed a challenge, so he never turned a production down. After graduation, he continued working and using his contacts to do bigger and better shows. In the four years since graduating college, Kurt’s most notable credits include a couple off-Broadway shows, a regional tour, and one Broadway show that enjoyed modest success. After talking with his roommate, who was producing the new musical, Voice, Kurt was soon brought on to the production as the costume designer.

#glee rp #rp #skeleton rp #rpg #roleplay #roles.#taken.

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monstrous-hourglass · 6 years

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Kai’sa: Disconnect Between Design and Story

If you have followed League of Legends in the last month, you must have seen varying amounts of disappointment around the new champion.

Kai’sa’s design isn’t great for a lot of reasons, both on its own and both in relation to her backstory.

Let’s look at her without the distraction of her splash art:

Riot and the sexy lamp woman

Let’s get this out of the way first. Riot has a problem with creating same-faced, stereotypically beautiful white-looking female characters in large quantities and yes, it is a problem. They seemed to have been getting better about it, but she is an enthusiastic jump back into that same mold.

If it wasn’t obvious that she is meant to be eye candy, then I think the cleavage clears that up, that boob window is hardly subtle. Still, just because something is intended to be sexy it should not excuse questionable design decisions.

What her design tells us about her

Ideally a character’s design should convey some information about them by looks alone. They have resorted to very obviously visual shorthands and not much else in the older champions (Miss Fortune is either an unfortunately dressed waitress or a pirate because she’s wearing a pirate hat and someone’s idea of a skimpy pirate outfit) but they were getting better with the recently released one. Looking at the humans alone, Ekko, Taliyah, Camille, Zoe, Illaoi and even Kayn have something in their design that makes it easy to tell where they are from and something about their profession/skills or personality.

Now let’s take a look at Kai’sa’s design, what we can tell about her from looking alone.

Does it give us information about where she’s from? - She looks white - her splash art has the same face as pre-rework Katarina and a lot of other older female champions and her in-game model looks like Quinn in different makeup. Because Riot has predominantly white or white passing characters in every region from the fjords to the desert, she could be from anywhere.

She looks healthy. She has nice curves, good proportions, nice hair and a healthy looking face. No scars, no blemishes, no sign of struggling for survival on her. Without context she looks like someone who lived well, ate good food and worked out regularly through most of her life.

Can we tell anything about her suit? That it’s alive and whether it comes off or permanently attached? - Not really, there really isn’t much indication that the suit is alive and in the AMA the creators said that they haven’t considered whether it can be removed or not.

Can we tell whether she’s a good, bad or neutral person? - I’m only bringing this up because the design team said they made her human and pretty because they wanted it obvious that she is a good person. Unless you equate beauty with goodness then no, we can’t tell that she’s not a particularly creative Void monster posing as an attractive human to lure in its prey. You can’t an you should not be able to tell someone’s morality based on their looks

So what do we know about her from looks alone? She is (most likely) human and she has something to do with the Void. We don’t get any other information from her design alone. She has no personality or personal touches in her character design.

How much of her story is reflected in her design

Well, that could have been better, but let’s approach this from the other end: We can’t tell much about her by looking at her, but surely her story has effect on how she looks like. You might not know what’s the deal with Zoe’s colorful hair when first looking at her, but once you know that she’s an aspect you can say “yes, so that’s why it’s like that”.

Is it apparent that Kai’sa’s Shuriman, from the southern desert? - Fuck knows, Riot has a very obvious race problem in their art design, we can have white passing people everywhere. 6 characters of color in a cast of 140 is atrocious and such a big and influential company should absolutely not be allowed to get away with it because as they have already proven they will not do anything about it otherwise.

Does any of her backstory - 10 years in a nightmare dimension filled with monsters where she had to fight day to day for food, water and basic survival with a parasite attached to her - show on her? That’s a very definite no. She has no signs of ever having to struggle for anything, much less survive by killing and eating whatever she could find in the Void. No scars, no blemishes, no signs of malnourishment, pretty hair and pretty face.

Her design not only isn’t justified by her backstory, at times they even contradict each other. There is a very definite disconnect between how she looks and what her story is.

This is something of a fun fact, but when we first looked at her teaser, without knowing her name, we did some brainstorming with friends about how they could make her design work for the story (because despite how it seems, I do try to give riot the benefit of doubt when I can). We got a very superhero feel from her, mostly because of her suit looks less organic in her model than her splash and we only saw the teaser at the time. A lot of (especially older) super-heroines are wearing skintight costumes, maybe someone found a way to fashion organic body armor from some Void-related stuff. We know that Piltover likes to poke around in the desert looking for stuff they can turn into another industrial revolution, nothing is stopping them from stumbling into the Void and its pollution.

I still wouldn’t have been thrilled about her and her Very Important and Functional cleavage, but I would have been fine with it. Super-heroine parallel and maybe some story about how they discovered the Void - or why she put on the suit in the first place and what if she miscalculated and now can’t get it off, oh the horror. Not the most original story under the sun, but one I would have been okay with.

But to have Kaisa looking as she does with the story she has, I’m not okay with.

Kai’sa could have been an opportunity to add more PoC representation to the game, as she was born in the southern desert.

But she’s been in a dark hole for years! - Yes, time spent in the sun can correlate with how dark somebody’s skin gets, but being poc isn’t only about how tan someone is. If you changed Taliyah’s or Illaoi’s model or art to have light skin (which might happen in Taliyah’s SSG skin, but hopefully it’s just an early concept art) you could still tell that they aren’t European looking.

But she’s Kassadin’s daughter and he’s light skinned in pre-void! - They reworked Swain from an old cripple to Lucius Malfoy lite, it shouldn’t be difficult to make Malzahar, Kassadin and Sivir actually dark or darker skinned. Two out of three have their faces covered, it shouldn’t be difficult to update their textures. Don’t make excuses for Riot to keep the desert filled with almost entirely light skinned people.

They could have made her not traditionally pretty. Make the suit truly monstrous, make her worn and scarred, make it show on her face and body that she’s a fighter who struggled and survived.

But then she wouldn’t be pretty! - Good, we already have plenty of pretty. Her backstory has massive plot holes, but why even have it in the first place if you are going to ignore it in her design?

The Void suit kept her beautiful and healthy! - Everything they established, the entirety of the Void lore repeatedly shows that any contact with the Void is disastrously bad for humans. You can’t make something a deadly poison and then say “Oh it’s lethal to most people, except her. By the power of boob, to her it’s a harmless beauty product.”

People wouldn’t play her if she wasn’t attractive! - I know “sex sells“ is something a lot of people fall back on when justifying things, but League’s champion pick rates are shaped by the meta. If she’s strong in the meta, people will play her. If she isn’t, they won’t.

Kai’sa is a collection of bad decisions for the sake of creating a generic pretty character and I can only hope she isn’t the sign that Riot is returning to the bad old habits.

#League of Legends #kai'sa #long post #very long post #salt salt salt salt

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michael-radi-the-glamorous-life · 5 years

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Hey, Old Friend

What is a theatre writer’s best friend and worst enemy?

You might think: Writer’s block? The blank page? Technology? Caffeine? Sleep? Outlines? All good possible answers, but…nope. What applies only to theatre writers and to no other form of writing?

Readings.

DUN DUN DUN! *Insert dramatic zoom here*

But why, Michael? Why are readings both potentially wonderful and oh-so-evil at the same time?

An excellent question.

“As the Horses Go Round…”"

Theatrical readings of all types - but particularly for musicals - have a tendency to live within a cycle. And this cycle is simultaneously comforting and deadly.

Allow me to explain:

You write and finally finish a presentable first draft of a new show. YAY!!! So what do you do next?

Home Reading - You gather some actor and/or writer friends together to give the new piece a read aloud and see what it is that you have created.

You have some food and drink for your guests, you have a light and easy time, stakes are low, and you all have fun. Your friends stick around and chat with you about the show to give some constructive critiques, you realize you have a lot of rewrites to do (insert small crisis here), and then you all disperse.

You rewrite lots for a lengthy period of time and come up with a new, better presentable version. Yay!!! What do you do next?

Closed Reading - This could take place in your home again, if there’s room, or you can rent a studio for this one. What’s different?

The atmosphere is definitely still casual and stakes are relatively low, but now it’s time to find out if what you have is worth digging into and pursuing. You now have rehearsed the show with your friends/actors/writers who are helping you out, you’ve taught music to be sung live, and perhaps hired an accompanist. You’ve invited a director friend you think might be interested in the piece or have good critiques. You hold off on the snacks and booze until after the reading is over and you’re all in discussion mode. It’s just a tad more professional.

And the critique is more specific, because the show has grown and changed. There are now multiple drafts that people have heard - they can compare and contrast. Ideas and opinions begin to flow, some helpful and some not. It’s harder to detach from the critiques, though they need to be heard. You gain a lot.

A little time away from the piece. Then more rewrites. A little re-structuring. More songs. Fewer characters. Better dialogue. You begin to really like the piece. YAY!!! What now?

Staged Reading - This one often comes in the form of a festival or an open reading for people you and your creative team know, taking place in some studio or small theater. Now what’s up?

Well, there’s still no real staging. “Staged reading” is a little bit of a misnomer. Usually everyone is at music stands and the director does their best to make this feel natural on the movement of your show - a true feat for all involved. The performers are now of the correct vocal and personality type - some of them you knew ahead of time and some you did not. There is a director and a musical director. The piece has been worked a bit during your short rehearsal process (well under 29 hours if using AEA actors). Many changes have been made with the actors on their feet. The whole thing feels more like a performance, even though it isn’t. Everyone is being paid…except the writers, who are usually paying for everyone else out of pocket while taking off time from work to make the reading happen. This occurs quite often.

The feedback? From the cast and creatives it’s usually over drinks in a celebratory fashion right after the reading. From the audience? Perhaps there was an open talk back session where people you do and don’t know offer their opinions. Some great, some out of left field. Otherwise, you approach your friends and beg them to be honest to help your work grow, even though you know some of the critiques will hurt more at this point. More work piles on. Major changes needed. Off you go.

Back to the drawing board. Great experience. More work necessary. Lots of rewriting. Plenty of new material. Now it needs to be tested again before the public sees and hears it. Yay?!?

Home Reading - We’ve been here before, haven’t we? What’s different?

You’ve more actor friends who know the material to choose from. More performing can take place for the older material and you can personally supplement for the newer material. Things are lighthearted and fun as you test out the new version, but there’s more stakes now for you the writer. Critiques are critical, particularly from those who know the show well. Everyone has pizza and booze, or you give a little gift, and they go on their way. Onward.

Now you have a plan. You know what the show is missing, it’s not nearly as much as before. You’re oh-so-very close and you have a goal. Solid rewrites. More fire. Lots of coffee. Excellent new draft. Very solid yay.

Invited Reading - This one has definite stakes attached. Money will be raised, everyone will be paid, industry people you know and trust and/or are interested in will be invited, and music stands will be nowhere in sight. What is this thing?

We may be in a high profile festival of some sort, or perhaps just rented a nice space somewhere. You’ve gotten performers with excellent credits in the city - Broadway and Off-Broadway for sure - with at least one recognizable name who will perk ears up. You have found, or are courting, a director you really like who has great connections, whose interest in the piece could really move you forward. Scripts are in hand - contractually - but the performers like the material and care, so they’re basically off-book anyway. There is light staging and some good lighting. It feels theatrical. The audience is excited to be there - since they’ve all been invited for xy or z reason. This time it’s not about getting critiques - though necessary always - it’s about garnering interest in the piece and getting it out there into the world/the NY theatre scene’s psyche.

It goes well. You get good feedback, potentially even great feedback. You get industry people interested and/or attached. Or you don’t. Many factors are involved. You’re stoked about your piece. Lots of celebration after the reading. Everyone goes home, having had a great experience and looking forward to next time. You go home, knowing there has to be a next time. You’re not getting produced quite yet. The balloon deflates. Or perhaps you are! Congratulations! Depends on who you know, who came, where you are in your career, and what exactly happened. But there’s still more work to do.

If you’re getting produced, it’s time now to get the piece in perfect working order for production. Lots of work, much of it minutia. If your not getting produced, it’s time to get the piece in perfect working order to be sent out to every submission opportunity you can think of or find. Lots of work to do. Lots of cover letters to write and samples to be created. Demos to be recorded. Formatting to detail. This thing is great now. It’s totally what you want it to be. You’re pretty sure at least. YAY.

Home Reading - Whoa. What are we doing back here?

Well, you need to make sure you’re not crazy and that this thing is indeed where it should be. Friends love to hear and be a part of good pieces in good developmental stages. It’s actually a lovely time, despite how much work went into this little reading. You’re happy, they’re happy. It’s a good evening. Yes, there’s always more work to do, but you’re, like, totally there.

The show gets produced! Wahoo! (If it doesn’t, see above instructions for another Invited Reading and also do tons of submissions. Perhaps you’ll win a contest or be accepted to an opportunity where they will put on a Staged Reading for you. In that case, see instructions even further up.) Production went great. Much happiness. Not perfect though, and it needs revision before the next production and the next step. Okay, yay!

Workshop Reading - There’s a lot that’s great about this one. Like what?

It’s produced for you. Hells yes! Now you can be the writer, and only the write,r during a reading process - isn’t that a luxury? You are given more time. BOOYAH. It’s not rushed and everyone can take time to engage in the creative process together. It’s memorized. It’s rehearsed on its feet. There’s a dedicated creative team - and some cast - that are likely to remain attached to the project. The piece is finally starting to resemble what you had envisioned all along. The reading takes place for for backers and the next production step is discussed - will you be able to do a big regional premier? A pre-Broadway contract of some kind? Off-Broadway? West End? Minor tour to gain interest? Many possibilities.

From here, it’s likely production to production with tweaks in-between until you get to your final destination (Broadway, Off-Broadway, licensing, etc.). Perhaps another Workshop Reading takes place, but it’s unlikely to go too many steps back up on the list. I think you did it. You think you did it. You broke the cycle. YAY!!!!!!!!!!!!!!

Well, until you do it all over again with your next show, at least. But that’s for another day.

Whaddya Say, Old Friend?

There are many lessons to take away from the reading cycle. There are many emotions attached to each step of it, as well as the entire concept. It’s a lot. And it’s easy to get caught cycling between a few of those steps. It’s difficult to break out.

But you know what helps at every single stage? The people. The friends. The artists you know and love who help you, support you, sing for you, read for you, and give you the most honest-yet-kind feedback throughout the entire journey.

Never underestimate their value. Cherish them. Pay them, even if all you can afford is some pizza and booze to share. They are you biggest fans and your best allies.

Short Personal Application

This past weekend I held a Home Reading (version 3 from above) of The King’s Legacy in preparation for this summer’s production. It was wonderful.

The show is in a fantastic place, the people were lovely and helpful and generous and kind, the food was good, the booze was better, the critiques were tops, and it was the best. And readings can totally be the best.

I am so incredibly grateful to all of the artists who have been involved in readings of my shows over the past decade+, for without them I could not do what I do. So, here’s to all of you who support writers through the chaos that is the reading process - you are loved more than you could know. Cheers!

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astro-onechampionship · 3 years

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Refinery Media Founder Karen Seah On Reimagining ‘The Apprentice’ During a Global Pandemic

The upcoming reality series “The Apprentice: ONE Championship Edition” is all but ready to hit TV screens this March.

The ONE Championship version based on the popular non-scripted television franchise is a complete departure from the classic American version, and offers viewers an entirely new experience, according to Refinery Media founder, Karen Seah.

The show’s participants are hand-picked from around the world to compete in a series of business and physical challenges. The last man or woman standing gets a US $250,000 job offer to work directly for ONE Chairman and CEO Chatri Sityodtong.

Sityodtong has an estimated net worth of US$350 million and will be the star of the upcoming edition of “The Apprentice.” 16 candidates will be vying to be the protege of one of Asia's leading entrepreneurs.

Filmed entirely in Singapore, during the COVID-19 pandemic no less, “The Apprentice: ONE Championship Edition” is a production marvel.

“It was very tough, of course, and a high responsibility on our shoulders to ensure we did it right. The production was the largest in the region at the time, and we had to ensure we set a standard for safety,” said Seah.

“If we couldn’t get it right, then it wouldn’t look too good for the rest of the media industry. Naturally, there were a lot of restrictions, which made things doubly difficult and longer to execute. But we are very proud of what we have accomplished, and we did it very well. This gives me a lot of optimism for future productions in Singapore.”

ONE Championship and Refinery Media worked extensively with the Singapore government, particularly the Singapore Tourism Board (STB), in putting together a series of health and medical protocols to keep the cast, crew, and guests all relatively safe from exposure to COVID-19 as they filmed across iconic locations around the country.

Guests on the show include high-profile CEOs such as Zoom’s Eric Yuan, Grab’s Anthony Tan, and Catcha Group’s Patrick Grove, among others, as well as martial arts legends such as Georges St-Pierre and Renzo Gracie.

According to Seah, the logistics involved in having to bring all these high-profile figures from all around the world to Singapore, in addition to the show’s 16 candidates who represent 11 nations, was incredibly complex but effective.

“All of us had to wear masks and other PPE, especially the camera and sound team under extremely hot temperatures, and sometimes running with the contestants. Rules like this applied to us, but not to a regular person who went for a jog or did some exercise. It seemed extremely difficult, but we needed to put aside our discomfort to ensure the show was produced,” said Seah.

“Despite the adversities, there were always spots of opportunity for those who could see the potential in what we were doing, and were willing to take the risks and make sacrifices. I didn’t care how difficult and daunting the entire production looked like it was going to be, I just wanted to make sure that we were going to surpass all expectations creatively and visually.”

Tremendous hype has surrounded “The Apprentice: ONE Championship Edition” since it was announced in early 2020. When Seah’s team at Refinery Media worked with ONE to storyboard the initial concept of the show, she knew almost immediately she had a potential hit in her hands.

The martial arts promotion is touting this version of the show as the toughest “Apprentice” in history, and Seah is confident ONE and Refinery Media have put together a compelling product that will entertain a wide audience.

“The ONE Championship DNA of sports already gave us an incredible angle to push out an entirely different format than the ‘old’ Apprentice we know of. Combined with Chatri [Sityodtong] being a natural television host and anchor on the show, I knew I could really push the boundaries and do something really exciting and different. I was very confident it was going to be a winning formula,” said Seah.

“I don’t even think anyone will recognize it. It’s vastly different from the original in every sense.”

“The Apprentice” is one of the biggest non-scripted reality television programs in history, judging the business skills of candidates who are competing for a job offer under a high-profile CEO. It has aired in more than 120 countries.

The first season of “The Apprentice: ONE Championship Edition” consists of 13 episodes. It’s scheduled to premiere across Asia on Thursday, 18 March, on AXN, the show’s official Asian broadcast partner, followed by a global launch in June across broadcast and streaming platforms.

Seah invites fans of both “The Apprentice” and ONE Championship to tune in to the show once it finally airs next month.

“I think they will appreciate how global, modern, and edgy the show is, and how the characters are incredibly strong, from various backgrounds, and are exciting to watch. They would also be awed by the quality of filming,” said Seah.

“I think that the show will keep everyone sitting on the edge of their seats with the dramatic twists and turns, and at times, they will be wondering if they are indeed watching a reality series, or a drama series.”

Refinery Media is ONE Championship’s official production partner for “The Apprentice: ONE Championship Edition.” The company has vast experience in delivering audiences top quality reality and non-scripted programming, including Amazing Race Asia, Asia’s Next Top Model, SupermodelMe, Cesar’s Recruit Asia, and many other shows.

Seah believes producing “The Apprentice: ONE Championship Edition” in Singapore has had a positive impact on the country's economy, creating a bevvy of jobs for locals, especially in the freelance ecosphere.

“I believe this is just the beginning. ‘The Apprentice: ONE Championship Edition’ has proven that it’s possible to put on a production of this caliber even in times of a global pandemic. Producers should consider taking advantage of how well Singapore has managed the COVID-19 situation,” said Seah.

“There will be more demand for content and they should pivot and find ways to produce good quality content. There is also more demand for Asian faces on the global screens as well. More producers should be creating for global audiences. I’m proud to say that this project has created many jobs for Singapore freelancers.”

Up next, catch all the action from the previously recorded ONE: FISTS OF FURY II next Friday, 5 March, by downloading the ONE Super App.

See also[edit]

References[edit]

Metti Oli 800th Episode

^'Choosy housewives and their favourite soaps'. The New Indian Express.

^'Sun TV Metti Oli Gayathri'. The Indian Express.

^'Metti Oli Song Cine Times Thirumurugan Moon TV'. You Tube. 31 July 2019. Retrieved 7 April 2020.

^'Manase Manase Exclusive Song Metti Oli Serial Moon TV'. You Tube. 2 December 2019. Retrieved 7 April 2020.

^'Shows that launched, bombed and scrapped in 2012'. The Times of India.

^ ab'Far from the flashy crowd'. India Today.

^'Hindi television soaps on a remaking spree'. Daily News and Analysis.

^'10 Hindi serials that are remakes of popular regional shows'. Desi Martini.

^'From Chithi to Chinna Thambi: Hit fiction shows to keep the audience entertained during lockdown period'. The Times of India.

^'How Maran helped Sun beat rivals'. Rediff.com. 4 May 2005. Archived from the original on 18 November 2020.

^'Metti Oli team has a reunion after 12 years'. The Times of India.

^'UTV gets aggressive'. The Indian Express.

^'Why are soaps still pedalling backwards?'. Hindustan Times.

Metti Oli Serial Episode 800 Online

External links[edit]

Metti Oli Episode 76

Official Website(in English)

Sun TV Network(in English)

Sun Group(in English)

Retrieved from 'https://en.wikipedia.org/w/index.php?title=Metti_Oli&oldid=992291951'

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recentanimenews · 3 years

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FEATURE: Crunchyroll Editorial Staff's Top Anime of 2020

As we near the end of this ... very interesting year, we here on the Crunchyroll Editorial team are taking some time to reflect on all of the excellent anime that has aired this year. While there were plenty of reasons this year to be sad, stressed out, or worse, anime was there to help us through. Our editorial team has members all across the globe, and we came together to celebrate the anime that kept that fire of hope burning inside us all through 2020.

This year, due to many different circumstances, I wasn't able to keep up with nearly as much anime as I would have liked to, but there are a few shows I managed to watch that really left an impact on me this year. The year started off with an explosion of color and imagination with Keep Your Hands off Eizouken! Anime is something so special to all of us and this series about three girls coming together and learning to animate captures the power this medium has to inspire us. Later in the year, we got the first half of Re:Zero Season 2. While it had some ups and downs, the episode that brought us Subaru's fleeting reunion with his parents was a high watermark for the year. Finally, My Teen Romantic Comedy Snafu Climax capped off one of my favorite series of the last decade with one of the most successful, emotionally resonant ends I've seen in a while. I'm so grateful to all of the creators who brought these stories to life for us in a year where we desperately needed them.

- Cayla Coats, Editor-in-Chief for English regions

There are too many cliched phrases to apply to 2020, but despite every hurdle this awful year had, the endurance of those who create our favorite shows was still present. Even in the best of circumstances, these productions are strenuous, but it’s thanks to the work of every animator and staff member who is part of the process that let us enjoy every show this year. For that, I cannot thank them enough. With that, here are the best anime I saw this year.

Keep Your Hands Off Eizouken! - While Eizouken is “an anime about making anime,” it’s far more about animation as an art form and the physical/emotional energy it takes to make ideas into something tangible. An intimate look into what drives artists and one of the truest presentations of “it takes a village,” Eizouken is a love letter to much more than anime as a medium, and a series that aims to share that inspirational magic between viewer and creator.

Beastars - What Studio Orange continues to accomplish with 3D animation is nothing short of incredible, and an ever-increasing shining example of what is possible in the space. Along with the stellar visuals, Beastars’ intricate worldbuilding and story of opposite ends trying to understand each other was one of the most gripping and emotional dramas I watched this year.

March Comes in Like a Lion - This year I found myself, perhaps like many others, finally checking out shows on my “to-watch” list. I can’t tell you why I chose March Comes in Like a Lion from that list exactly, but I can tell you that the 44 episodes of the shogi drama contain some of the best television I have ever watched. What starts as a series about navigating trauma and pain turns into a powerful journey of recovery and self-introspection of finding one’s path to happiness.

- Kyle Cardine, Editor for English regions

This year has been a complicated one, but it also delivered some great moments with anime. January started strong with Keep Your Hands Off Eizouken!, a series in which its protagonists unleash an overflowing imagination and creativity trying to create ... an anime! It's a great story of effort and struggle for something that seems almost impossible, and also allows us to know a little better how the mind of a highly creative person works — particularly the mind of Masaaki Yuasa, who directed this series.

This year we also enjoyed Haikyu! TO THE TOP, the new series starring our favorite volleyball team, which showed us that no matter how many episodes go by, the series' passion and great characters do not decline at all. The evolution of the protagonists, the wide and varied cast of characters, and matches capable of keeping you glued to your seat in tension (only to finally get you excited and stand up screaming) make it not only one of the best series of the year but one of the best spokons in the history of anime.

Finally, I cannot forget to recommend Golden Kamuy, whose mixture of historical facts, interesting vision of Ainu culture, charismatic characters, action, plot twists, and of course, memorable comical moments, put it in a very high position in the history of anime. It's a wonderful story that nobody should miss, as few anime manage to mix the seriousness, comedy, fiction, and story in such a masterful way like Golden Kamuy.

-  Sergio Vaca, Spanish News Lead

As a longtime comedy fan, my favorite anime series this year couldn't be any different. Starting in April, we followed Catarina's misfortunes in My Next Life as a Villainess: All Routes Lead to Doom! while she tried avoiding the destruction flags in order not to be either exiled (or even killed)! Throughout the series, due to her unique charisma, Catarina gradually wins the hearts of everyone around her (and she won mine as well).

On the other hand, we have Rent-a-Girlfriend's Kazuya ... Since I've already read Reiji Miyajima's manga, I knew exactly what to expect from it. If you like a good old rom-com (and also don't mind getting constantly angry at your TV), give it a shot. But seriously though, you will want to throw your remote on the TV several times. Be strong, resist.

And in this last quarter, as someone who absolutely loves bunnies, I cannot deny how happy I was when I heard Is the Order a Rabbit? was coming back for a third season (highly recommended for those who like cute stuff and coffee). It's so relaxing and fun to watch the day-to-day job life in the Rabbit House café, following all the characters as they play around through the streets and water canals from their small town inspired by Colmar, France — it's really a lovely place, it will be on your “fictional places I would like to visit” list. If you want to relax after a busy day at work (or school), this is the anime to go.

- José Sassi, Portuguese News Lead

While 2020 as a whole was certainly improvable on many fronts, it also brought me the most positive of bamboozles: remakes of some of my favorite properties that are actually sequels in disguise. Not only did Final Fantasy VII Remake pull the rug from under everyone, but Higurashi When They Cry Gou repeated this feat just a half-year later and let me enjoy one of my favorite pastimes: Jokingly shaking my fist at the sky in anger and yelling a Japanese creator's name, be it Nomura or Ryukishi! Everyone who has had to suffer through more than 30 seconds of conversation with me knows of my fondness for the When They Cry franchise and after getting a new anime that might act as a bridge between Higurashi and Umineko (as of this writing, this is just a theory), I could hardly be more excited to see where this might lead in the future — maybe even a full-on Umineko reboot that finally lets me enjoy Erika Furudo shouting "<Good>" in anime form?! With Ryukishi becoming more and more prominent in the Japanese development sphere (he is currently working on an entirely new visual novel with renowned developer Key of Clannad fame and more of his works receive English translations like the recently released Iwaihime), I expect the next few years will be a promising future for 07thExpansion fans.

Apart from losing it over singular frames in Higurashi's opening, I also very much enjoyed our very first Crunchyroll Original In/Spectre, with Kotoko's and Kuro's chemistry and the final battle being particular highlights for me (possibly because Kotoko fighting the internet itself not only reminded me of the debates in Umineko but also of my work as a community manager). If we manage to forget about reality for a moment, 2020 was a fantastic year for anime and I can't wait to see what next year has in hold for us (apart from, you know, more Higurashi episodes)!

- René Kayser, Public Relations & Community Manager, Germany

Despite the anime delays that occurred this year, the industry managed to come out with unforgettable shows. My watch list consisted mostly of sequels of my favorite anime which included Chihayafuru Season 3. It's difficult to categorize Chihayafuru as it's a distinguished series that defies the stereotypical themes, and this particular season saw big developments in terms of story and characters. It was a memorable and passionate journey told through an admirable trio.

As for the anime that completely captured my interest this year, Golden Kamuy came back this year with Season 3. The power of narration along with an engaging and dramatic plot told through a unique set of characters made Golden Kamuy one of the best I've watched. Golden Kamuy is more than just an exciting series, but also a fulfilling experience, which Season 3 very much showcased.

As for the newcomers, I myself am surprised that I've picked TONIKAWA as one of the best shows I've seen this year. I didn’t expect that I would fall in love with the show when I first saw it, however, I was absorbed the minute I started watching. It's a simple anime yet holds many beautiful and serene moments. Nasa and Tsukasa are both what I liked the most: they were like a cube of sugar in a warm cup of tea. I loved how clear and honest their relationship is and I can’t wait to see more of them.

- Reem Ali, Social Media Coordinator & Editorial Lead (MENA)

This year has been peculiar, mostly for the negative reasons we know well. One of my solaces during 2020 was the wonderful anime that exceedingly impressed me. Ever since I found out about Jujutsu Kaisen, I immediately started looking forward to it since I love horror stories, especially if flavored with exotic mysticism. After the first episode, every feeling was confirmed and every detail of the series turned out to be a jewel. The characters are well defined and combined with a detailed and solid setting that looms in front of the audience. The Curses' character design is a masterpiece and shows all their temper, even before they start to act.

I am also biased when it comes to Re:ZERO. I was waiting for the series to come back for a long time and I feared that my hopes would prove to be misplaced. A few minutes after the beginning of the first second season's episode, I found myself tangled by the unraveling events. It's been a crescendo ever since. Even though one of my favorite characters is missing in this arc, the storytelling kept me glued to that screen.

For a long time, I didn't want to watch Dorohedoro because something about its style didn't sit well with me. But I fell in love after finally giving it a watch. MAPPA managed to portray a foolish but plausible world, filled with absurd, but believable characters. They can turn even the most weirdo plot set in a crazy place accomodating through the world of men, The Hole, and the world of the sorcerers. I got lost in Dorohedoro's urban landscape is filled with so many small details alongside the great Caiman and Nikaido.

- Francesco Ventura, Italian News Lead

Most of all, this year I remember the emotional roller coaster from watching Kakushigoto. Kouji Kumeta first shoots you witty gags in the Sayonara Zetsubo-Sensei style, mocking himself as the protagonist drawing obscene comedy manga (read Katte ni Kaizou to learn about the dark and incredibly funny past of Kumeta-sensei), and then tells the unexpectedly touching history of a relationship between father and daughter. Kakushigoto teaches a lesson for both little Hime and the audience: being sad is just as important as having fun. For me, this is the best anime of 2020. Although, Keep Your Hands Off Eizouken! came out this year, a farewell ode to the art of animation by Yuasa Masaaki. Surely my colleagues and many anime fans already love Eizouken and want to celebrate this series this year, so I better take this opportunity to tell you about the existence of the Puparia by Shingo Tamagawa. It is an independent animation created only by the passion, hard work, and talent that Eizouken celebrates. Take a break from the mainstream, find this anime on the author's channel, and enjoy every shot of this three-minute masterpiece.

- Azaly Zeldin, Russian News Lead

By: Cayla Coats

#Anime #News #Latest in Anime News by Crunchyroll!

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modernresale · 4 years

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B & B Italia Furniture

From its creation, B&B Italia has adopted an innovative image of being a modern Italian brand based on industrial models. The company uses high-tech production techniques and materials such as plastic and polyurethane foams. B&B quickly established itself as one of the leading companies in the furniture market during the second half of the 20th century.

Alchemy is built up between creativity, innovation, and industrial capacity. From this alchemy emerges modern, exclusive furnishing elements that are characterized by high quality and timeless elegance. Adventure, challenge, and innovation are the key words to describe B&B Italia.

B & B Italia

The B&B Italia furniture collection was created to represent contemporary culture. B&B responds quickly to the evolution of the home environment. The modern furnishing elements are both distinctive and uniquely beautiful as a result.

Continuous research and collaboration with international designers have been key factors in the company's strategic development. It is an approach that has allowed B&B to distinguish itself from all others over the years. B&B has received many honors and awards over the years, including four Golden Compasses--the most prestigious award for industrial design in Italy.

Diversity of designs

Among the wide range of products you can find:

Sofas

Chairs

Armchairs

Tables

Desks

Cabinets

B&B’s extraordinary design and quality of workmanship has always delighted people over the years. The brand's designs decorate the interiors of exclusive apartments, hotels and buildings. The variety of designs offered allows you to choose furniture that will fit harmoniously into both minimalist and modern interiors, as well as those decorated in a classic style.

The first steps of Piero Ambrogio Busnelli

The identity of this famous brand owes everything to its founder, Piero Ambrogio Busnelli - nicknamed "il Leone" (the lion). He was born in 1926 to poor parents in la Brianza. This is both a fertile breeding ground in terms of entrepreneurship and the historical cradle of design in the province of Como in Lombardy.

Busnelli was a talent spotter and invented a revolutionary process for mass production: polyurethane foam padding. In order to build the image of the brand on which he would build his empire, he relied on unknown geniuses in architecture and photography. He then teamed up with some of the leading names in design.

Busnelli & Piano

Busnelli trusted a young architect who had not yet proven himself: Renzo Piano. Busnelli commissioned him to design the headquarters of his company in Novedrate. Even if it was not visible from the city skyline, he wanted it to be unique.

In 1971, the young architect imagined a sort of sketch of the future Pompidou Centre, which made him famous a few years later. The concept was that of a box suspended inside a tubular metal structure with--on the outside--visible and colored pipes.

Risk taking and poker moves

In the 1960s, Piero Ambrogio Busnelli's main concern was not to follow in the footsteps of the artisanal businesses that flourished in the region. The design pioneer preferred to take risks, which paid off as he managed to revolutionize the production process. From improbable poker shots to brilliant intuitions, his goal was to win the market with a managerial approach.

The origin of the name B & B Italia

B&B was initially called C&B, following a partnership with the artisan chair maker Cesare Cassina. However, Busnelli was looking at the rapidly developing plastic materials sector, and as a result, he left Cassina to his artisanal production, and borrowed his network of designers such as:

Afra and Tobia Scarpa

Vico Magistretti

Gaetano Pesce

He was always looking for ways to industrialize his own production. Forced to find the funds for this purpose because he no longer had a partner, Busnelli turned to the banks. In a grateful stroke of humor, he named his company B&B for "Bank & Busnelli".

The discovery of Piero Ambrogio Busnelli

Torn by the need to stay ahead of progress, Piero Ambrogio Busnelli found himself strolling around London at the plastic materials fair in the mid-60s. He saw a stand with perfectly round ducks, made in one piece thanks to a special mold casting. He then had the idea of adapting this process to produce a seat.

The entrepreneur returned to Italy with the recipe for the polyurethane that gave life to the famous ducks. It's a mixture of two milky liquids that--when fused together--produce a chemical reaction that creates a voluminous paste that perfectly fits the shape of any container.

New innovative technology

After his London trip, a new way of designing furniture was born. It allowed Busnelli to drastically reduce production costs and to experiment with infinite forms and shapes of furniture. An organic sofa such as Zaha Hadid's Moon System marketed in 2007 could not have been conceived without such structural simplicity.

For each of them a specially designed mold was made. It's a sort of monumental waffle iron from which the entire piece of furniture is extracted. The density of the upholstery is calculated beforehand in the same way as you would make cake dough. And by combining technological discoveries such as the use of metal instead of wood, it became possible to increase the dimensions of the seat.

This entrepreneurial breakthrough in the 1960s led to the creation of the one-piece sofas, which became so iconic and shaped the history of the company.

Innovations boom

The Coronado model, dating from 1966, represented a first revolution as its elements were assembled using only six screws, thus allowing delivery in kit form. Other inventions then followed one after the other.

In 1969, Gaetano Pesce designed a round armchair shaped like a woman's body, which he named « Up ». It is sold under vacuum and once out of its packaging, it is spontaneously inflated with freon gas to take its final shape. It is a technique that is forbidden today. This was a kind of artistic performance to which a political message was added. The chair was tied by a rope to a large ball that was believed to symbolize the condition of women in prison.

Mario Bellini's Bambole (1972) was presented at the Milan Fair that same year. It made its way into the spotlight thanks to a suggestive advertising campaign by a young unknown photographer, Oliviero Toscani. He was the controversial author of the Benetton ads. The poster, displayed in front of the stand, showed the top model of the time, Donna Jordan, half-naked on the couch. It stirred up the censorship committee. The scandal prompted unexpected success for B&B Italia.

Magic shapes

Like the materials, shapes also have a story at B&B Italia. In order to get the line of his Papilio chair accepted, Japanese designer Naoto Fukasawa had to revise his model several times before it was approved by the Research and Development Center. He had to lighten the prototype with his originally planned metal legs, which were considered too vintage. The result was a hollowed-out cone with a wing-shaped backrest. It was anchored to the ground, with a streamlined yet enveloping design.

As for the Crinoline armchair designed for an outdoor collection, Patricia Urquiola was inspired by the rattan of a basket brought back from a trip. She uses polyethylene fibers for this project.

Maxalto

The trademark would perhaps not have the world-wide reputation it enjoys without its more consensual line: Maxalto. The brand was founded by B&B Italia in 1975, with a focus on the reinterpretation of classic design forms.

The brand name refers to the term "Massa Alto", which means “highest” in Italian. This is precisely what we can expect from this company's products--top quality design that never disappoints.

The artistic direction of Maxalto was first entrusted to Afra and Tobia Scarpa, then to Antonio Citterio in 1993. In 2002, Antonio Citterio was entrusted with the construction of a third building. It houses:

The research and development center

The underground mold storage room

A professional showroom

The B&B Italia woodworking plant uses more traditional techniques, from precious wood veneers to shellac varnishing techniques. The aim is to design furniture whose luxury is ingrained in the smallest details.

B&B Italia : the expert of Italian design

At B&B Italia, the technologies and materials used to manufacture the products are an integral part of advanced research. Moreover, quality control is carried out at every phase of production. These manufacturing processes ensure that each product has its own identity and meets the requirements of the international market.

B&B Italia has a network of over 700 businesses who use its products located in some 50 countries. Among its customers are:

Luxurious hotels

Gourmet restaurants

Dreamy yachts and holidays cruise ships

Multi-function stores and showrooms

Huge banks

Renowned theaters

High-quality museums

International airports

Is there any secret to such a wide range of activities? Yes, there is. Not only does B&B Italia offer a very rich selection of furniture, but its expertise also enables the manufacturer to provide tailor-made answers to each customer. This is made possible with an innovative industrial tool that features four production units and a center dedicated to research and development.

Collaboration with famous international designers

B&B Italia has collaborated with the most important international designers and architects, including:

Afra and Tobia Scarpa

Antonio Citterio

Atelier Oi

Chris Howker

David Chipperfield

Ettore Sottsass

Gaetano Pesce

Jakob Wahner

Jean-Marie Massaud

Jeffrey Bernett

Marcel Wanders

Mario Bellini

Naoto Fukasawa

Paolo Piva

Patricia Urquiola

Richard Sapper

Richard Schultz

Studio Kairos

Vico Magistretti

Zaha Hadid

B&B Italia in figures

Year of creation : 1966

Factory : 28 000 m2

Workforce: 500 people, including 250 in the 3 plants

Presence: in 80 countries

Flagship-stores: 8

Monobrand stores: 40

Resellers: approximately 800

Turnover: €170 M (of which 78% comes from exports)

The term that best sums up B&B Italia is quality. Since its creation, the research center has allowed it to become an industrial company at the service of design. Busnelli has devoted 3% of the company's revenue to it. As a result, thousands of innovative projects have been created and spread on a global scale.

B&B Italia is a world-famous brand because it exported its products very early on. The policy of opening flagship-stores, initiated in 2001 in France, has had an impact on its great notoriety.

The first flagship in Paris

A new space entirely dedicated to the Italian brand B&B Italia has opened up in the historic district of Paris. It was natural for B&B Italia to partner with the leading distributor Silvera for its first Parisian flagship store.

The prestigious Italian publisher is located in a former customs listed building. The layout was entrusted to the architect and designer Jean-Marie Massaud, who transformed the 8,000 square feet location to reflect the image of B&B: creative and modern.

The showroom’s layout

The three levels of the building are connected by a smoked glass staircase that is more than 100 feet high. The home, outdoor and project collections of B&B Italia are displayed on each platform.

Collections for the interior, exterior and public spaces with sofas and outdoor furniture fill the ground floor and the basement. Offices, large meeting tables and rest areas for the tertiary sector are located on the 1st floor.

Iconic collections

The setting is immaculate, fluid and luminous. It fades away to highlight the lines and curves of the furniture, so that you can discover the brand's best-sellers such as:

The Up collection signed by Gaetano Pesce

The Moon System by Zaha Hadid

The Crinoline armchair designed by Patricia Urquiola

Jean-Marie Massaud's sublime daybed

The Luis sofa by Antonio Citterio

And much more

B&B Italia's contract business

B&B Italia's contract business is now responsible for a big part of its overall revenue. Sales Director Roberto Barbazza says that this is a very good time for the contract business, especially in Europe.

He also mentions the Olympic Games in London, which brought B&B some prestigious projects. These include the luxurious Bulgari Hotel and the Café Royal Hotel.

B&B designer Piero Lissoni worked on the beautiful Conservatorium Hotel in Amsterdam. The brand has also signed with the Clarion Hotel Post in Gothenburg in Sweden, and the Clarion in Norway.

Discover the durability secret of this emblematic brand

To look at the duration is to evoke that of the products themselves. It would not be wrong to say that a B&B Italia sofa or armchair is indestructible. To understand why, you have to drop the cover and dive into the soul of the product, both in the literal and figurative sense.

After Piero Ambrogio Busnelli discovered polyurethane foam at the event in London, he developed it into an extraordinary product for the manufacture of armchairs and sofas with original shapes.

By combining this cold-molded material with a metal frame, it becomes possible to obtain a comfortable and resistant seat, and to do so without the traditional wooden structure. As a result, the shapes given by a metal mold are freed up and can adopt any fantasy in terms of dimensions and design.

Behind the scenes of furniture production

At the factory, production is divided into two lines:

Sofas

Armchairs and footstools

A carousel is used to hold the molds that rotate for about 20 minutes. The polyurethane foam is cold injected, swells to 40 times its initial volume and solidifies.

The workers then simply have to remove the sofa or armchair from the mold and remove the remaining residue. The garment department then takes over, preparing the leathers and fabrics that have been checked one by one and then assembled. The last step is to cover the foam with a protective layer of Dacron, a synthetic textile, which gives it more flexibility before the final dressing.

B&B Italia is able to create custom-made products for both individuals and contracts. The company uses both the products of the collection, but can modify the size or the finishes as well. B&B can also create tailor-made products with architects, or even manage an entire project, like a hotel for example.

The fabric

The fabrics used are the result of rigorous research. They are a mixture of natural and synthetic yarns, tested for their resistance to all types of use. Some fabrics are also subjected to treatments to increase their performance tenfold and meet customer expectations.

The leather

Whether it is the Diesis sofa or the Mart armchair, the beauty and suppleness of the leather used is amazing. And this is not surprising, because the brand pays particular attention to the origin of its skins.

The selected leathers come from animals bred within the European Union. All demonstrate a guarantee of care and attention to the animal's well-being.

To preserve the excellence of this raw material, treatments and finishes ensure optimal conservation of the natural characteristics of the leather.

The wood

As far as wood is concerned, the Italian designer is banking on American white oak rift. It’s easily recognizable by its straight and irregular fiber, with a texture that is sometimes a little coarse.

Rosewood comes from controlled cultivation in Latin America. Its veins with chromatic reflections make this wood an inimitable and unique species.

The teak used for outdoor collections is one of the most prestigious tropical woods. Its exceptional qualities against bad weather and its natural fatty resin increase its impermeability and make it extremely resistant.

The marble

The different marbles offered by B&B Italia have two types of finishes, depending on the customer's expectations: matte or varnished. An anti-stain treatment slows down the absorption of liquids. The polyester varnish enhances the marked veining and chromatic reflections of the marbles.

There’s a big selection, which includes:

Emperador marble

White Calacatta marble

Marquinia black marble

With all these options, you are sure to find the perfect marble look.

Family business in the hands of global investors

B&B Italia has always been run by its founder, who was very intuitive and visionary. When he became sick, his son made the decision to bring in investors.

In 2011, he bought B&B from the private financial company Opera, which obtained a majority stake in 2002. He has been running the company with his brother since the death of their father in 2014.

Investindustrial has been alongside B&B Italia since 2015. It provides a vision for the future and motivates the development of the company's communication. A year later, the company bought out his fellow businesses Arclinea and Azucena. Arclinea is a high-end chef and Azucena owns the archives and the rights to the designer's creations, Luigi Caccia Dominioni.

In 2016, B&B Italia celebrated its 50th anniversary by presenting limited edition pieces at the Salone del Mobile in Milan.

International Design Group

As part of the International Design Group, B&B Italia joins two small and medium-sized lighting specialists--the Danish Louis Poulsen and the Italian Flos. For its part, Flos acquired the outdoor lighting manufacturer Ariès.

All of these companies carry out most of their business outside Italy. Exports account for 80% of B&B Italia's sales--40% of which are in the United States and China--and 65% at Arclinea. The chef has just launched his first showroom in Paris in Beaupassage, the small luxury mall.

These brands enjoy a strong image with architects and decorators and are generating a growing share of their business through contracts to fit out:

Concert halls

Yachts

Hotels

And other luxury boutiques

Within the same entity, it will be easier for them to create large showrooms to highlight their offerings. The first of its kind has already opened in Paris, bringing together the Boffi, De Padova and MA/U Studio brands.

Awards

The visionary spirit of Piero Ambrogio Busnelli always seems to hover in the corridors, taking the company to other territories.

Awarded four Compasso d'Oro awards--one of which was given to the company itself in 1989--B&B Italia can boast of having earned a special place in the furniture industry. The company is supported by prestigious collaborations.

Tips for choosing furniture colors

We can increase the aesthetic value of the living room by making appropriate color adjustments. For example, the fashionable and timeless combination of white and black requires using appropriate proportions with a clear advantage of one color. Grey is also popular in interior design, but it is good to break through it with a flashy color. A bit of turquoise, yellow or red in decorative elements is all it takes.

Tips to arrange your interior with taste

Healthy moderation should also be maintained when choosing forms of furniture. A coffee table inspired by a shell shape is enough to emphasize the modern character of the living room. Therefore, there is no need to duplicate this pattern of design, as you do not want it to become desperately kitschy.

Visit Modern Resale’s website and shop your favorite collection from this fantastic Italian designer. More information can be found by clicking any of the links near the top of this page.

source https://www.modernresale.com/blogs/news-feed/b-b-italia-furniture

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keepingupwithlinmanuel · 7 years

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The Complete List of Lin-Manuel Miranda Projects

Where possible I have noted availability for purchase/viewing/listening. For future projects I’ve included as much detail as we have and I’ll keep updating the post when we have more. Cameos are listed separately at the end. If you think I’m missing anything, drop me a message/ask.

This is a very long post because Lin works a lot, so I have saved your dashes and put the content behind a read more. Let’s go.

Freestyle Love Supreme (2003-)

What is it? Freestyle Love Supreme is an improv hip-hop comedy troupe started by Lin, Anthony Veneziale and Tommy Kail. It has had a long life playing clubs and comedy festivals all around the world and spawned a TV show in 2014.

What did Lin do in it? Lin is one of the main MCs in the group.

How do I find it? For answers to all the FLS questions you’ve ever had, please see my incredibly comprehensive masterpost. The TV series is available for streaming if you have a Seeso subscription and can be purchased from iTunes/Amazon if you have US accounts.

In the Heights (2000, 2007, 2008, 2010)

What is it? In the Heights is a musical originally conceived, written and directed by Lin while a college sophomore. It was eventually developed into an Broadway show.

When was it on? Off-Broadway at the now defunct 37 Arts in 2007, on Broadway from 2008 to 2011. It had a US touring production from 2009 to 2011 and numerous authorized international productions since.

What did Lin do in it? He wrote the music and lyrics. He also starred as Usnavi in the entire off-Broadway production, the first year of the Broadway production and for the LA and Puerto Rico stops of the touring production.

How do I find it? You can purchase the cast album wherever you buy music. It is also available on Spotify. If you want to see a production, there are plenty of regional/local productions running in the US, including the first authorized all-Spanish version in DC. Here are some clips from the Broadway production.

In the Heights: Chasing Broadway Dreams (2008)

What is it? Chasing Broadway Dreams is a fantastic documentary by PBS on the making of In the Heights. Handily it also contains performance excerpts from the show.

How do I find it? Right here on Youtube.

Working (2008)

What is it? Working is a musical with a book by Nina Faso and Stephen Schwartz and music by a small group of composers that originally ran on Broadway in 1978. In the late 00s Schwartz put together a new version (known as the 2012 revised version), adding new songs and trimming characters.

When was it on? The new version has had a bunch of regional productions and is about to debut in the UK (as at May 2017).

What did Lin do in it? He contributed two new songs, Delivery and A Very Good Day. The first is about his own experiences as a McDonalds delivery boy, and the second about an immigrant nanny and an elderly care worker.

How do I find it? You can go here to see Lin talk about writing the songs and there are some videos floating around Youtube from regional/local productions. The London production produced a cast recording which includes Lin’s new songs.

The Brief Wondrous Life of Oscar Wao (with Karen Olivo) (2008)

What is it? A Pulitzer Prize-winning novel by Junot Diaz about a nerdy Dominican boy growing up in New Jersey

What did Lin do in it? He read the UK version of the audiobook with Karen Olivo.

How do I find it? Amazon, Audiobook.com and an excerpt here.

West Side Story (2009)

What is it? The classic 1957 musical by Arthur Laurents, Leonard Bernstein, Stephen Sondheim and Jerome Robbins, recently revived by the surviving members of the original creative team (Sondheim and Laurents).

When was it on? The most recent Broadway revival opened in 2009 and closed in 2011.

What did Lin do in it? Lin was hired by the creative team to translate the dialogue spoken and lyrics sung by the Puerto Rican characters into Spanish. This included translating iconic songs such as I Feel Pretty, Tonight and A Boy Like That.

How do I find it? There’s a cast recording which is available for purchase and on Spotify. Here’s a sizzle reel of performance clips.

Sesame Street (2009-2013)

What is it? You know.

What did Lin do in it? Lin made his first appearance as the villainous Freddy Flapman in season 40 and also voiced a lamb (Lamb-Manuel, ahem) and performed the theme song of the Murray Has A Little Lamb segment. He composed the music for 5 songs in seasons 42-45, including “Rhymes with Mando”, which was nominated for a Day Time Emmy.

How do I find it? Should you wish to explore this aspect of Lin’s career, here is the segment with Freddy Flapman. Here is Lin as Lamb-Manuel. Here is the Emmy-nominated Rhymes With Mando and here’s a very familiar voice singing the Murray Has A Little Lamb theme.

The Electric Company (2009-2010)

What is it? Classic 1970s children’s TV series from PBS, revived in 2009 for 3 seasons.

When was it on? The revival produced 3 seasons which ran on PBS from 2009 to 2013. Members of Lin’s hip-hop comedy troupe Freestyle Love Supreme were heavily involved in the production as musical directors, cast members, composer/lyricists and guest stars.

What did Lin do in it? Lin wrote a number of songs and appeared on the show to perform them. He also appeared briefly as a character in season 2.

How do I find it? Here are all the songs and clips I can find:

Hard/soft 'c' Silent 'e' is a ninja Hard/soft 'g' Bossy 'r'

Here’s One Bad Apple parts 1 and 2. (A rap battle between an apple and Lin as a hot dog. Yep.)

Here’s a cute BTS segment with Shockwave and Lin.

House (2009-2010)

What is it? A medical drama that ran on Fox from 2004-2012.

What did Lin do in it? Lin guest-starred in season 6 episodes 1 and 21 as Juan “Alvie” Alvarez.

How do I find it? On DVD, Bluray and streaming, if you are that way inclined. Here is a BTS interview about Lin’s return in which he refers to Alvie as “the other woman” who comes between House and Wilson.

Sad Sad Conversation (2010)

What is it? Hard to explain. Lemme quote from my own masterpost: Sadsadconversation was an experimental Youtube vlog series started by the comedian Michael Ian Black and the actor Josh Malina in which a bunch of semi-famous people trying to make it in the entertainment industry posted videos of themselves, in MIB’s words, “bitching about our careers and how badly everything was going”. The videos gained an interactive element as the “cast” grew - the participants responding to each other’s videos and to comments below the line. It became a bit of a group therapy session between internet buddies.

When was it on? 2011-ish.

What did Lin do in it? Lin was invited by Josh Malina to join and participated enthusiastically for a while, although as the other founder Michael Ian Black later said, “you never really fit in because you’re never sad.“

How do I find it? I have helpfully compiled a masterpost of all Lin’s appearances for your viewing pleasure.

Vivo (2011-)

What is it? An animated movie musical about a “capuchin monkey with a thirst for adventure – and a passion for music – that makes a treacherous passage from Havana to Miami to fulfill his destiny”, originally developed by Dreamworks Animation.

When was it on? Good question. Lin started working on Vivo around 2010, only for the project to flounder in pre-production. It was picked up again by Sony in 2016 and is now slated for a 2020 release, with a script written by Lin’s good friend and frequent collaborator Quiara Alegria Hudes.

What did Lin do in it? He wrote all 11 of the songs.

How do I find it? In movie theaters in late 2020, if all goes well.

Tonys Awards Closing Number (2011)

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What is it? The closing number of the 2011 Tony Awards, a patter verse written by Lin with the help of Tommy Kail which recapped the events of the ceremony itself.

What did Lin do in it? You can see Lin and Tommy writing the thing during the Tonys in this BTS video.

Modern Family (2011)

What is it? A comedy that’s been running on ABC since 2009.

What did Lin do in it? He guest-starred in episode 22 of season 2 as a dodgy salesman named Guillermo. My favourite thing about this whole deal is that he looked way too respectable so they had to give him a dodgy haircut and weird glasses.

How do I find it? On DVD, Bluray and streaming, if you are that way inclined.

Bring It On (2011-2012)

What is it? A musical very very loosely based on the movie of the same name, directed by In the Heights and Hamilton choreographer Andy Blankenbuehler, with a libretto by Jeff Whitty and music and lyrics by Tom Kitt and Amanda Green.

When was it on? Bring It On premiered in Atlanta in 2011 and toured the US before playing a limited engagement on Broadway in 2012.

What did Lin do in it? Lin wrote about half the music and lyrics in collaboration with Tom Kitt and Amanda Green.

How do I find it? There’s a cast recording which is available for purchase and on Spotify. Here is a sizzle reel of clips from the Broadway production. Here is Lin and a few cast alumni doing selections from It’s All Happening at Ham4Ham.

The Odd Life of Timothy Green (2012)

What is it? A Disney fantasy comedy drama film starring Jennifer Garner.

What did Lin do in it? Lin played Reggie, a botanist who was old friends with Jennifer Garner’s character.

How do I find it? On DVD, Bluray and streaming, if you are that way inclined.

Merrily We Roll Along (2012)

What is it? A musical with music and lyrics by Stephen Sondheim that was directed by Hal Prince. It opened in 1981 to disastrous reviews and closed after 16 performances.

When was it on? In 2012 Encores mounted a limited concert production incorporating significant revisions which ran in February of that year.

What did Lin do in it? Lin played one of the main characters, lyricist Charley, at the request of Stephen Sondheim.

How do I find it? Miraculously, there’s a cast recording which is available for purchase and on Spotify. You can see some clips from this production here and here.

Tony Awards Opening/Closing Number (2013)

What is it? Lin teamed up with Tom Kitt to write “Bigger”, the opening number of the 2013 Tony Awards. He also repeated his 2011 trick with the closing number, but this time with a twist - he and Tommy rewrote Empire State of Mind by Jay-Z and Alicia Keys to fit the events of the evening as they happened. (“Bigger” was an enormous success and won Lin his Emmy.)

How do I find it? Here’s the opening and here’s the closing.

How I Met Your Mother (2013)

What is it? A sitcom that ran from 2005 to 2014 on CBS.

What did Lin do in it? He guest-starred in episode 11 of the final season as Gus, a fellow passenger on the bus with Marshall. (Fittingly, an episode written entirely in rhyme.)

How do I find it? On DVD, Bluray and streaming, if you are that way inclined. Here’s a small clip from Lin’s appearance.

Do No Harm (2013)

[Don’t ask me why this photo is the way it is. Let’s just say it made the series look a lot more interesting than it actually was.]

What is it? A very short-lived medical drama that was cancelled by NBC after airing only two episodes due to horrific ratings. There were 13 episodes filmed.

What did Lin do in it? Lin played Dr. Ruben Marcado, a pharmacologist who is friends with the main character (played by Steve Pasquale). In his own words:

Do No Harm was like a writing residency for me. It was a bad NBC show and I was sixth on the call sheet and I took the job because I was like, it shoots in Philly and you’re going to be killed off in the 11th episode. So it was like signing a potential seven-year contract, which I was not interested in doing or going to L.A. I wanted to have time to write. I would have days free in Philly to write.

How do I find it? Should you wish to watch it, the show is available on NBC.com, Hulu and Amazon. Here’s a clip of Lin doing technobabble like he’s been in sci-fi all his life.

200 Cartas / Looking for Maria Sanchez (2013)

What is it? An indie romcom about a struggling Nuyorican comic book writer who falls in love at first sight with a woman named Maria Sanchez and goes on a journey to Puerto Rico to find her. Also starring former Miss Universe Dayanara Torres, and Jaime Camil.

When was it on? Limited release in 2013 in New York, Puerto Rico and the Philippines. The film also played a bunch of festivals.

What did Lin do in it? He played the main character, Raul.

How do I find it? It is available on DVD, although you will have trouble finding it. I have also heard that it is available on HBO Go and would appreciate confirmation. Here’s the trailer with English subtitles.

Aristotle and Dante Discover the Secrets of the Universe (2013)

What is it? An award-winning coming-of-age YA novel about queer Latinos set in Texas.

What did Lin do in it? He read the audiobook.

How do I find it? Here it is on Amazon, Audible and Audiobooks.com. Here is an excerpt of Lin reading it.

21 Chump Street (2014)

What is it? A 15-minute musical based on a true story reported by This American Life, starring Hamilton’s Anthony Ramos.

When was it on? One night only in 2014.

What did Lin do in it? He wrote the musical.

How do I find it? There’s a cast recording which is available for purchase. You can also buy the video of the live performance here. Here’s a taster of the first song. Warning: incredibly catchy.

…tick tick BOOM! (2014)

What is it? An autobiographical one-man musical by Jonathan Larson, adapted into a 3-actor piece after his death.

When was it on? Encores mounted a production starring Lin as Jon in June 2014 with the other parts played by Leslie Odom Jr and (at Lin’s invitation) Karen Olivo.

How do I find it? Unfortunately there is no cast recording. There are a bunch of clips on Youtube from the production though: here and here. And you want to watch this dress rehearsal video.

Hamilton (2015)

What is it? Hamilton: An American Musical began its off-Broadway run at the Public Theater in 2015 and moved to Broadway - you know what, if you’re here, I assume you know.

When was it on? On Broadway at the Richard Rodgers since 2015, in Chicago at the PrivateBank Theater since 2016, on tour in the US since 2017, and at the Victoria Palace Theatre in London starting in November 2017.

What did Lin do in it? He wrote the book, the music and the lyrics and co-arranged the music with Alex Lacamoire. He also starred as Hamilton during the off-Broadway production and the first year of the Broadway run, and in the #andpeggy company for the Puerto Rican stops on their tour.

How do I find it? See above. The cast album is available to purchase everywhere and on Spotify. Here are some clips from the off-Broadway and Broadway productions and from Chicago.

Ham4Ham (2015-2016)

What is it? In hindsight, difficult to explain. Ham4Ham was originally the name for the live Hamilton lottery outside the Richard Rodgers. Due to the number of people who showed up to the first one, Lin and Tommy Kail decided to do a little something for the waiting crowd. The frequency and medium of the performances varied over time and they’ve now stopped being a regularly scheduled thing but there are over 130 for you to enjoy in clip form.

When was it on? The very first Ham4Ham took place before the first preview performance of Hamilton on Broadway. The very last featuring Lin was on the day of his last performance.

What did Lin do in it? He organised and hosted the majority of the Ham4Hams and performed in quite a lot of them.

How do I find it? I’m glad you asked. Here is a comprehensive masterpost for your viewing pleasure.

Star Wars: The Force Awakens (2015)

What is it? Lin jokingly offered to write the cantina music for Force Awakens when he met JJ Abrams in 2015 and JJ Abrams took him up on it. (He did not tell the Moana people that he’d taken on yet another gig while he was starring in Hamilton and writing songs for Moana.) The song, as described by the Star Wars Wiki:

A lyrical song performed in Huttese, "Jabba Flow" was named after Jabba Desilijic Tiure, a Hutt crime lord. It's opening verse began by repeating "Oh, Jabba," followed by a repeated "No bata tu tu, muni, muni," which roughly translated as "No, lover, lover. It wasn't me," in Galactic Basic. The song featured mellow instrumentals, which included a hypolliope horn cluster, a seven-string hallikset, and a xyloxan.

What did Lin do in it? Lin co-wrote the song and sings on it.

How do I find it? The track is available for purchase and on Spotify. There’s also a Rick Rubin remix. Here’s Lin and JJ performing it on Star Wars Day.

Hamilton: the Revolution (2016)

What is it? Hamilton: The Revolution (aka the Hamiltome) contains both an annotated libretto of Hamilton and a moving, engaging account of the making of the show written by Lin’s good friend Jeremy McCarter.

What did Lin do in it? He contributed the annotations (which are not the same as the ones on Genius) and read them in the audiobook.

How do I find it? There is an ebook but I don’t recommend it. (This is a gorgeous book and the ebook doesn’t do it justice at all.) The actual book can be bought wherever you buy books. Here’s the audiobook.

Drunk History (2016)

What is it? A comedy series produced by Comedy Central which features comedians getting sloshed and retelling historical events, and having that retelling simultaneously re-enacted by other famous people.

What did Lin do in it? Unusually, the show devoted the entirety of season 4 episode 9 to Lin telling the story of Alexander Hamilton, being hyperverbal and giggly, singing loudly and drunk dialing people.

How do I find it? You can find the episode on DVD and via various streaming sites. Here are some clips from the episode.

Saturday Night Live (2016)

What is it? An American institution. For fellow non-US people, SNL is a late night TV sketch comedy/variety show which features a different celebrity guest host every episode.

When was it on? Lin hosted the second episode of season 42 which aired in October 2016. His opening monologue, which was built off My Shot from Hamilton and written the night before the show by him with the help of some of the SNL writers, went viral both because of its virtuosity and because it directly attacked one of the presidential candidates. Other notable sketches included one about Stranger Things, a sketch about a Latino immigrant which was almost entirely in Spanish, and an ode to high school cast parties.

How do I find it? If you are in the US you can watch the sketches and opening on NBC’s Youtube channel. I believe the episodes themselves are available for purchase on iTunes. The ode to high school cast parties is also available for purchase as a single.

Hamilton’s America (2016)

What is it? A movie-length documentary about the making of Hamilton and about Hamilton the man, featuring performance footage and interviews with everyone from Obama to Nas.

When was it on? Hamilton’s America premiered at the New York Film Festival and then on PBS in October 2016.

What did Lin do in it? He was one of the producers, featured heavily in the documentary as a performer and interview subject, and conducted some of the interviews in the film.

How do I find it? If you are in the US you can stream it on PBS’ website. Otherwise here are a bunch of clips on YT.

Moana (2016)

What is it? A Disney animated movie musical set in the South Pacific and starring Pasifika/Maori actors in all the speaking roles.

What did Lin do in it? He co-wrote the music with Mark Mancina and Opetaia Foa’i and performs on the track We Know the Way.

How do I find it? The movie’s out on DVD, Bluray and streaming and as someone from that region I really do wholeheartedly recommend it. The soundtrack can be purchased wherever you buy music and it’s also on Spotify.

The Hamilton Mixtape (2016)/#hamildrops (2018)

What is it? A collection of demos, remixes and songs inspired by Hamilton, some with music videos.

What did Lin do in it? He co-produced the album, organised artists and basically oversaw the whole operation. He also contributed some unpublished Hamilton demos and a deeply personal verse to the track Wrote My Way Out. He performs on Found/Tonight and Cheering For Me Now.

How do I find it? The album can be purchased wherever you buy music and it’s also on Spotify. Here is a link to the Hamildrops.

Ducktales (2017-)

What is it? Reboot of the 80s animated series with an all-star voice cast.

What does Lin do in it? Lin plays Gizmoduck, aka Fenton Crackshell-Cabrera — a superhero who protects Duckburg, but also spends his days as an intern for Scrooge McDuck’s personal mad scientist, Gyro Gearloose.

How do I find it? It airs on Disney XD/Disney channel.

Curb Your Enthusiasm (2017)

What is it? HBO comedy starring Larry David.

What did Lin do in it? He guest-starred in 2 episodes of season 9 as an AU mean version of himself, complete with America Ferrera playing Vanessa.

How do I find it? On DVD, Bluray and streaming, if you are that way inclined.

Gmorning, Gnight! (2018)

What is it? Collection of Lin’s good morning / good night tweets, illustrated by Jonny Sun.

How do I find it? Available in all the usual places books are sold. Also available as an audiobook read by Lin.

Mary Poppins Returns (2018)

What is it? A Disney musical fantasy comedy film directed by Rob Marshall adapting more of P L Travers’ Mary Poppins books. (So it’s a sequel to the 1964 classic, not a remake.) The film stars Emily Blunt, Meryl Streep, Ben Whishaw, Emily Mortimer, Angela Lansbury and Colin Firth.

When does it come out? It is schedule for release on 25 December 2018.

What does Lin do in it? Lin plays Jack the lamplighter, a friend of Mary’s. He’s doing a lot of singing and dancing.

His Dark Materials (2019)

What is it? BBC/HBO adaption of the beloved Phillip Pullman trilogy with an all star cast and crew. Already renewed for a second season.

When does it come out? No idea at this stage. Season 1 was filmed in Wales in 2018.

What does Lin do in it? Lin plays the balloonist Lee Scoresby.

Fosse/Verdon (2019)

What is it? Limited series about the famous choreographer and his muse.

When does it come out? No idea at this stage.

What does Lin do in it? He is executive producer. The rest of the Hamilton Cabinet are also heavily involved.

In the Heights (2020)

What is it? The long-awaited movie adaption of Lin and Quiara’s show, directed by Jon M Chu.

When does it come out? June 26, 2020!!!

What does Lin do in it? Lin is co-producing and might possibly write a few new songs. (I say this because he wrote extra music the last time the movie was in development back in 2010.) He has the last word on casting.

Kingkiller Chronicle (?)

What is it? A series of fantasy novels by Pat Rothfuss which are being adapted into films and a TV series. John Rogers has been announced as showrunner for the latter.

When does it come out? No idea at this stage.

What does Lin do in it? Lin is the “creative producer” of the whole enterprise alongside Pat Rothfuss and will be in charge of writing all the music. Rothfuss has expressed a desire for Lin to also be involved as an actor.

The Little Mermaid (?)

What is it? Disney’s live-action remake of the classic animated film.

When does it come out? No idea at this stage.

What does Lin do in it? He’s not quite sure himself, although Alan Menken is going around telling everyone that he and Lin will be writing new songs for the movie. The rest is all rumour-mill stuff.

Tick Tick...Boom (?)

What is it? A film adaption of the musical by Jonathan Larson (the one Lin starred in a production of in 2014).

When does it come out? No idea. Filming hasn’t even started yet.

What does Lin do in it? This will be his directing debut!

Cameos and guest appearances:

The Sopranos (2007)

Legally Brown: the Search for the Next Piragua Guy (2008)

The Polar Bears (2012)

Submissions Only (2012)

Smash (2013)

Studio Heads (2014)

Inside Amy Schumer (2016)

Difficult People (2016)

Love Make The World Go Around (2016) (and video)

Speech & Debate (2017)

My Brother My Brother & Me (2017)

Residente (2017)

BoJack Horseman (2017)

Bartlett (2018)

#lin manuel miranda #masterposts #don't ask me how long this took #anyway #happy almost 2500 followers!#thank you all

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demiserockopera · 8 years

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The Cast

Sam Cieri (Harry) Starting out as a songwriter spending years playing for rent in the NYC subways. Sam has gone from busker to mechanic to Vegas pianist to motorcycle salesman and everything in between. After only joining the theatre world a few short years ago, he is thrilled to be involved in this beautiful and creative world of The Demise for this incredible year at NYMF. Previous credits include: Rock Of Ages (Drew), Once National Tour (Guy), Million Dollar Quartet (Elvis).

Kirsten deLohr Helland (The Guide) makes her NYC debut with The Demise. Favorite regional credits include Seattle Repertory Theatre: Siren (Lizard Boy - World Premiere). The 5th Avenue Theatre: Maria (The Sound of Music), Rizzo (Grease), Ado Annie (Oklahoma!), Jovie (Elf), Penny Pingleton (Hairspray in Concert). Diversionary Theatre: Siren (Lizard Boy). Village Theatre: Eponine (Les Miserables), Amy (Trails), Lachesis (String). Film: Danielle in Laggies. IG:@kiki_dela

Brian Flores (Jesús) National Tours: Pippin (Pippin, dir. Diane Paulus). Off-Broadway/Regional: Othello (New York Theatre Workshop, dir. Sam Gold), Hadestown (New York Theatre Workshop, dir. Rachel Chavkin) The New Yorkers (Encores! City Center, Dir. John Rando) The Ballad of Little Jo (Two River Theater, dir. John Dias). Readings/Workshops: The Sting (dir. John Rando), Prince of Egypt (dir. Scott Schwartz), Secondhand Lions (dir. Scott Schwartz) Pedro Pan (dir. Rachel M Stevens). Education: BFA Musical Theatre, University of Michigan, RADA.

Kalyn West (Natalie) is psyched to join The Demise! Recently appeared as Kat Johnson in "Nikola Tesla Drops The Beat" (ATF). Other credits - NY: Marlie "Gigantic" (Off Broadway); Katie "PopStar" (Alchemy Theater Productions). Regional: Vanessa "In The Heights" (Fulton Opera House); Mimi Marquez "RENT" (Casa Mañana); Aggie "Back Home Again" (Lesher Center); Zaneeta "The Music Man" (Flatrock Playhouse). TV/Film: Rachel "Blue Bloods, Season 6" (CBS); Gabby "Imitation Girl" (Ilium Pictures). @misskurlykay www.kalynwest.com

Hannah Rose DeFlumeri (DeeDee) is stoked to be a part of this show. Most recently seen in Prospect Theater's Lab 'World Views' and in NYTB's reading of 'The Belle Of Tombstone' (Young Josie). Other favorite credits; 'Bullets over Broadway' 1st National (Ellen), and the North American Tour of 'Legally Blonde' (Vivienne). She is represented by Whole Artist Management and Clear Talent. Love and light to her family and Nicasio for being a forever scene partner. Hannahrosedeflumeri.com

Jackie Sanders (Karen) Recent: “The Blacklist” (NBC); The Taming of the Shrew (Shakespeare in the Park/The Public, Dir. Phyllida Lloyd); Remember Me (NY Int’l Fringe Fest); Off-Broadway: Kicking A Dead Horse (The Public, Dir. Sam Shepard), Measure for Measure (Mobile Shakespeare Unit/The Public), Cowgirls (Original Cast), Swingtime Canteen (Original Cast). Tours: A Chorus Line, 42nd Street. Film: Mona Lisa Smile, A Pinch of Salt, She Lights Up Well. TV: “Pan Am” (ABC), “Live from Queens” (Lifetime Network). jackiesandersnyc.com

Richard Crandle (Bucket) is pumped to be back on the NYMF stage after appearing in last season's Dust Can't Kill Me! His recent credits include: Lola Cover - Kinky Boots Australia, C.C. White - Dreamgirls (Milwaukee Rep.), Victor - Smokey Joe's Cafe (STAGES, Saint Louis). Other credits: NBC's The Sing-Off, Black Nativity (Film) Love to family, friends, and agents over at Harden-Curtis. Instagram/Twitter: @RichardCrandle

Esco Jouléy (Ensemble) is thrilled to be a part of the NYMF production of The Demise. NY/Regional: The Marvelous Wonderettes (Betty Jean), Curtains (Bambi), Man of LaMancha (Sancho Panza), The Three Musketeers (Porthos), The Turing Test (PSI), Spoolie Girl (Frankie Frank), Unnecessary Farce (Billie Dwyer), Legally Blonde (Pilar), Avenue Q (Nicky, Trekkie Monster). Love to ze's wife and family for all their love and support. Many thanks to Michael Cassara and the whole Demise family. escojouley.com

Basit Shittu (Ensemble) is a Brooklyn based artist from Dallas, Texas. Basit was most recently seen as Queeg in the punk-rock opera Baby Fat performed at LaMama Experimental Theatre, and Anthony in Next Faggot Nation performed at HERE Arts. Other credits include: Cats: Rum Tum Tugger, and The Wiz: Tin Man. Basit is beyond thrilled to be a part of The Demise, and is grateful for the opportunity to create art. IG and twitter @basitshittu and his drag persona @dionneslay. Honestly, truly.

Alessandra Marconi (Ensemble) calls Harlem ‘home’ but is originally from Trenton, Ohio. She has a BA from Marymount Manhattan in Communications and Journalism and travels often as a dancer and teacher. She is a new leader in the Hustle dance community; teaching weekly and producing a monthly party called Hustle Social (bksd.org). Theatrically, she enjoys collaborating with Andy Blankenbuehler and Cindy Salgado and is grateful to be saying “yes, and..” in Jennifer Jancuska’s The BringAbout. @ali_marco, alessandranyc.com

Jackie Nguyen (Ensemble) is thrilled to be part of this show! A few favorite credits - International Tours: Miss Saigon (Kim), My Fair Lady (Swing), Hair (Crissy US). National Tour - How The Grinch Stole Christmas! (Swing/Dance Captain/Asst. Choreographer) and has played at Flat Rock Playhouse, East West Players, Pasadena Playhouse, and La Mirada Theatre. Thank you to the entire Demise team, Jen Jancuska, Avalon Artists, and her handsome fiancé Nate. www.jackie-nguyen.com

#sam cieri #kirsten delohr helland #richard crandle #jackie nguyen #alessandra marconi #basit shittu #brian flores #esco jouley #jackie sanders #kalyn west #hannah rose deflumeri #the demise rock opera

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northernscruffycat · 7 years

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Tagged by @ishidoshuuji! Thank you for tagging me, because I so rarely get an excuse to talk about Inazuma, even though I love it a lot. Original meme/quiz/whatever they call these now by @revivedandabandonedkids

Also, please forgive me if I slip into the dub names, as I've only actually played the English games and seen the English dub of the anime, not the Japanese original. I'm lame, I know.

- Heya what’s your name :

I'm Sam, with usernames that are variations of three words because apparently that's my thing.

- Favorite character :

Natsumi is my favourite from IE and Kirino is my favourite from GO.

- Favorite arc :

The first games of each IE and GO have a special place in my heart, though as more time goes on the more I appreciate IE2 a lot as well.

- OTP :

Endou/Natsumi, Fubuki/Someoka and Kirino/Shindou are my main three ships. There are others that I like as well, but those are the ones I spend the most time thinking about. Oh yeah, and I secretly ship Kageyama/Hibiki a lot too, but don't tell people. 8D

- BroTP :

Everyone who Endou has ever made friends with x Endou is the best BroTP. Also, any combination of the managers is where I'm at.

- Any ships that everyone ships but you surprisingly don’t (please remember the little // in the ship names so it won’t show up in the tags) :

Gouenji//Fubuki (omg Heather, I thought I was the only person who didn't care for that ship!), Endou//Aki and for some reason I can't seem to get into Endou//Kazemaru as a romantic ship either.

- Favorite hissatsu :

Utter Gutsiness Catch, because I am a five year old apparently. But for real, any special move that Fubuki does will probably be my favourite because they're so pretty.

- What about combination hissatsu :

Wyvern Blizzard, because it's my OTP's special move together! But also Dead Future is weirdly pretty.

- Favorite Keishin:

I have a soft spot for Sousha Maestro, but I don't think I actually have a favourite yet.

- Favorite Mixi-max (I bet you were expecting this) :

A tie between Kirino & Joan and Kinako & Master Dragon

- Favorite Soul (you’re right I don’t have any excuses for this ) :

Since Galaxy was never realised in the UK and I haven't gotten that far in the anime yet I haven't seen any of the souls, so I can't answer this one. ;_;

- Favorite forward (LOL THERE’S MORE) :

There's so many good ones! But I guess if I had to pick just one it'd probably be Tsurugi. Though of course I love Gouenji and Shindou as well.

- Favorite mid-fielder (I know this is getting old okay) :

Kidou and Tenma.

- Favorite defender (Almost done…):

Kirino, Fubuki, Touko and Kabeyama.

- Favorite goalkeeper (Not my fault there are so many positions) :

Well, Endou is a given of course, but I grew to like Tachimukai a lot when I watched the anime as well.

- Favorite manager/girl player (actually, all girls in general) :

Natsumi is my all time favourite, but I basically love all of the girls. If I had to pick out just a few of them then I'd also say Rika, Touko, Akane and, oh yeah, Kazeaki Yone is an unsung hero.

- Favorite team :

All of the main teams are my precious babies, especially when Someoka is there.

- Favorite team uniform :

The one where they're basically just dressed as school girls. You can be damn sure that whenever I unlock that uniform in any of the games I switch them into it as soon as possible.

- Which movie is the best :

I haven't seen any of the movies yet. But I do mean to! Right now I'm rewatching Digimon Adventure 01 & 02 (maybe Tamers as well), but I hope to eventually get back to where I left off with watching Inazuma.

- Prettiest character :

They are all too pretty, it wouldn't be fair for me to- ...okay, Kageyama, because no one can compete with him. 8D

- Most handsome :

Someoka~!

- Best hairstyle:

Natsumi and Kirino. I'm sorry, but I'm biased towards my faves.

- Do you think it takes more hairgel to style Tenma’s, Alpha’s, or Tobitaka’s hair :

Tobitaka, because he's obviously using so many products all the time, given how much he cares about his hair. Also, I believe that Tenma just wakes up in the morning with his hair looking like that and I don't know how he does it.

- Whose hair takes the most time to manage :

I've never put any thought into it, but given how much we see Tobitaka actually managing his hair I'll go for him again.

- Who would you most want to see with their hair down (sorry for all the hair-relatedness) :

Anyone, because I like seeing characters with their hair down.

- That OP/ED that keeps replaying over and over again in your mind :

I've only seen the dub. You understand my pain.

- That character song that is way too catchy for its own good :

Oh cool, I should listen to some of these one day.

- Raimon or Teikoku :

Raimon, because it's Endou's base of operations where he adopts preferred members of other teams into his friendship harem.

- Ultimate Shining or Ancient Dark :

Ancient Dark as a team, but I prefer Shine as a game because it has EnNatsu and also I'm slightly more interested in Hiroto than Kazemaru.

- IE or IE GO:

Honestly, I like both a lot.

- Taiyou or Taiyou (hint: The answer is Taiyou):

Taiyou is amazing! I love his Irish accent in the English games and he's completely the reason why I played Wildfire first out of those two versions.

- Fubuki post-personality-disorder or merged:

Post, because he's happier and at peace with himself. Though I do admit that I found the whole situation leading up to it interesting.

- Hang out with Rika or Touko :

I assume that if you hang out with one then you'll probably end up hanging out with the other anyway, but if I had to pick just one then I'd probably go with Touko. I love Rika, but she seems like a lot of work to hang out with.

- Yank Tsurugi’s ponytail or Fei’s :

Tsurugi’s because he deserves to suffer more.

- Kageyama Tobio Reiji or Kuroiwa Ryuusei :

MY SON IS PERFECT IN ALL HIS FORMS.

- Quick! Kiss Cliff Marry. Shindou, Kariya, Kinako :

I would rather just protect all three of them forever. They are my precious children.

- Which is more amazing, the fact that the ball doesn’t pop or the goal doesn’t get torn through :

The goal not getting torn through! In fact, I always feel a little disappointed that when I do a super powerful move that it doesn't show the goal just getting destroyed.

- Why don’t they ever get yellow/red cards????? :

Either because everyone is actually afraid of them or because no one really understands how the game works in this universe anyway.

- Eat a soda popsicle with Suzuno or plant a tulip with Nagumo :

Either? I'm not that fussed out these two if I'm honest.

- Be a forward with a defense technique or a defender with a shooting technique :

Defender with a long shot technique - stealing this answer, because yes.

- Who do you think Endou should really end up with :

I was totally shipping Endou with Natsumi ever since I finished the first game, because I thought they balanced each other out nicely. So when I found out he does get married to Natsumi in one universe I was pleasantly surprised, usually my OTPs never gets to be canon! But I do also support his marriage to Fuyuka in the other universe too. Other characters I'd be happy for Endou to end up with include Kidou, Gouenji and Touko.

- Yes or No, Afuro Terumi :

Sure?

- Sacca yarouze? :

I'm filthy English dub scum so I dunno what that means.

- Anything you wanna praise the series for :

The English dub of the games bringing in so many different UK regional accents that I rarely see in media is what makes me smile to my soul. But I'm also going to steal the answer that it made me care a lot for a series about a sport I have no interest in and also showed me that I can call many, many fictional characters my children in the same series.

- Anything you wanna complain about the series (don’t worry we all know it’s not real hate here) :

Eh, it has similar problems to a lot of kids' shonen series, but I love it anyway.

- Got any IE merch (yes I’m offering you bragging rights) :

I have a few of the small figure sets that included characters I like, but I did want to get more of them. Maybe I'll get more some day.

- What do you think about Ares no Tenbin :

Cautiously optimistic? On one hand I am a little sad that all the developments I liked are being erased, though I guess they'll still exist in the other universes. But on the other hand I am curious enough to pick up the game anyway, if it actually gets a UK release... I would have also rather that they went with an entirely new cast, but I am hopeful that maybe we might get some more SomeFubu interaction this way. Please let me have that much.

- 3 things you love about the IE fandom :

Sadly, I've not experienced much of the fandom, but from what I have seen I love how creative the fans are, how good their sense of humour is about nothing in this series making sense and how they've held on after so many years - as a Layton fan I understand how difficult that can be!

- 1 thing you would like to say to the IE community (fandom,producers,etc.) :

Please don't bash Natsumi, she is my precious daughter and I love her. ;_;

- What do you think about the creator of this whole post (I know. I’m lame. I’m sorry.) :

You made a super fun ask meme that got me thinking about this series so much that I want to get back to watching the anime again as soon as I can!

#*Inazuma Eleven #This got long so most of it is under the cut

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newyorktheater · 4 years

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Matthew-Lee Erlbach, in less urgent days

Matthew-Lee Erlbach first realized he would become an actor and a playwright when he saw “True West” on Broadway at age 14 – “It was like gods performing rituals to mortals,” he says. It took years before he understood “just how vulnerable those gods are.” Thanks to the COVID-19 pandemic, “our businesses are being eviscerated, and our friends and family are being evicted from their apartments,” Erlbach says, “but we were being left out of meaningful economic relief and even out of the political conversation.” Since June, Erlbach has been a co-organizer of a campaign to save the arts in America, Be An #ArtsHero, with Labor Day actions planned across the country tomorrow — including an 8 a.m. gathering in Times Square limited to 100 participants, including a few original cast members of “Rent,” who will sing “Will I?”

‘Will I lose my dignity? Will someone care. Will I wake tomorrow from this nightmare?”

followed by 100 seconds of silence — one second each for the 100 Senators that the group hopes to convince to pass the DAWN Act (Defend Arts Workers Now) a bill that would create a fund of $43.85 billion to give grants to individuals, cultural spaces, and related businesses. Erlbach wrote the bill.

His journey from writer, actor and filmmaker to, well, lobbyist, was “accidental,” but not a total surprise given his history: He wrote and performed a solo show in 2013 entitled “Handbook for An American Revolutionary,” based on his interviews cross-country with everyday Americans. Three years ago, he wrote an article for the Huffington Post making an economic argument for the arts, The Arts Economy Is Worth Billions. It’s an argument he refined and updated in An Open Letter to the Senators of the 116th U.S. Congress, which asked for economic relief for individual arts workers and arts organizations. The letter was published in American Theatre Magazine’s website on July 25th, and has since gained 10,000 signatures.

“The story the arts have been telling about ourselves has not been working in getting the directly proportionate economic relief that we require,” Erlbach explains his approach. “This is not about ‘the Arts.’ This is about the $877 billion in value the arts and cultural sector add to the economy annually,” according to the Bureau of Economic Analysis.” It’s about the 675,000 small businesses that just happen to be arts businesses. This is about 5.1 million arts workers in your neighborhood who are struggling to survive, because they cannot go back to work because there is no work.

“If coal were an $877 billion industry in America, you bet your bottom dollar that eery senator and every Congressperson would be elbowing each other trying to help.” The request of $43.85 billion is five percent of the total annual value.

Once the letter was published, and so many signed on, the question became: What next? How could the organizers get the Senators to take action? It turns out “the legislative process isn’t as as simple as Schoolhouse Rock! Offices were saying, ‘This is all great, we’re with you, here’s the Senator’s record, you should write some bill language. You don’t have to reinvent the wheel–look for something that exists and send us something back.’ What they are basically saying is, “Make our jobs easier to help us all get the thing done.”

“Lobbyists write bills and this is their process. So, we’ve all become activist-advocate-lobbyists…and we’re doing it all through an incredible team of volunteers working 16-19 hour days.”

What Congress Has Done

Congress passed the CARES Act, the Coronavirus Aid, Relief and Economic Security, which was signed into law on March 27, and provided almost two trillion dollars in economic relief. The National Endowment for the Arts got $75 million to distribute to arts organizations. But arts organizations were also able to get funds through the Paycheck Protection Program, and individual artists were eligible to receive Economic Impact Payments of up to $1,200 per individual, with more for a household with children. And then the states received money to boost pandemic unemployment compensation.

(The Americans for the Arts put together a chart on Funding Opportunies for Arts Organizations and Individual Artists)

What Congress Hasn’t Done

“I don’t want to diminish the great help that CARES was able to give our institutions,” says Erlbach. But CARES wasn’t enough, and some of its provisions have already expired.

“The problem with CARES is they gave $75 million to the arts, but $50 billion (in grants and loans) to the top ten airlines,” says Erlbach. “That $75 million does not address the needs of our constituents. The other problem is that the NEA has to distribute funds evenly across 50 states, but Illinois has a $30 billion arts economy and Wyoming has a one billion dollar arts economy, so the relief needs to be proportionate.”

“Thanks to America’s unique COVID-19 crisis, our entire industry, much of which is centered in New York City, is three breaths from dead,” theater musician Matt Hinkley wrote in the Daily News “We have no curbside pickup; we cannot virtualize everything we do; and the interactive nature of our business means we will be among the very last to return to work. Millions of Americans share our pain — the loss not only of substantive livelihoods, but also our identities, our connection to a purpose and community we treasure.”

A report in August by the Brookings Institution entitled Lost art: Measuring COVID-19’s devastating impact on America’s creative economy estimated that between April 1 and July 31 half of all workers in “the fine and performing arts” lost their jobs ( full report as a PDF)

On May 15, the Democratic-led U.S. House of Representatives voted to propose $3 trillion COVID-19 relief aid package titled the HEROES Act H.R. 6800 (which the Americans for the Arts details here)

“The HEROES Act could add $10 million to the NEA and some of that money directly to state arts agencies and regional organizations.”

The RESTART Act S.3814, introduced a week later, would extend the Paycheck Protection Program, which was established to support small businesses and establish a loan program

On July 22, Senator John Cornyn (R-Texas) and Senator Amy Klobuchar (D-Minnesota) introduced the Save Our Stages Act, S.4258, which would authorize the Small Business Administration to make grants to eligible live venue operators, producers, promoters, or talent representatives. It is a bill promoted by the National Independent Venue Association

A day later, Rep Rob Kind (D-Wisconsin) introduced The Encores Act in the House, which would give a credit to venues for 50 percent of any refund they had to make for canceled shows.

Congress is scheduled to return from its August recess this week and may take up some of these bills.

As for Erlbach’s bill, which has yet to be introduced, he says “The future of DAWN is bright. There is movement in the House nd Senate, things are happening with the bill that I cannot disclose yet. This bill is only a week old, and we have had meeting with 40 Senate offices, and we are moving very quickly.”

The organizers argument seems to gaining ground. “The arts sector includes museums, theaters, opera houses, dance companies, libraries, cultural spaces, theme parks, production sets, and the essential businesses that support them: costume shops, light and sound businesses, scenic shops, PR firms, and the list goes on.” Erlbach says. “If our institutions fail, a highly interdependent commercial ecosystem collapses — retail, hospitality, restaurants, tourism.

“We don’t have the equivalent of a Department of Transportation or a Department of Energy. We are filling a void to be a squeakier wheel and tell the economic story of the arts worker. We wish we didn’t have to do that, but we do.”

Taking Action to Save the Arts: Turning from playwriting to bill writing Matthew-Lee Erlbach first realized he would become an actor and a playwright when he saw “True West” on Broadway at age 14 – “It was like gods performing rituals to mortals,” he says.

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ladystylestores · 4 years

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Nicolas Ghesqui��re Photographs Louis Vuitton’s Fall Campaign – WWD

https://ift.tt/2P0sqK2

Confinement pushed many fashion people to be creative in different ways, to move outside their comfort zone and usual perimeter of expression.

It gave Nicolas Ghesquière the bold idea to shoot Louis Vuitton’s fall campaign, his extensive “portrait gallery” as direct, sharp and carefully considered as his fashions, though with a lighter spirit. He even coaxed some full-on smiles.

“It was something I wanted to do for a long time, in a very humble way,” he said. “I thought it was interesting to add a new point of view for Vuitton, and they were kind enough to agree to take a risk on a very young, new photographer.”

Ghesquière laughed. He’s actually not such a newbie, recalling that he photographed his designs earlier in his career “to try to give them that second dimension,” and for years toted an old Leica to snap personal pics, accumulating boxes and boxes of images. “I think maturity, probably, and experience give you confidence to take positions you never took before,” he mused.

Mariam de Vinzelle Courtesy Photo

His pitch to Vuitton chief executive officer Michael Burke and executive vice president Delphine Arnault was to bring coherence and unity in communication across multiple categories of product. “And I told them, ‘I think I’m ready to do that,’” he related in an exclusive interview.

Indeed, the campaign, slated to run over three months after it breaks Aug. 1 in Le Figaro, amalgamates what would have been several campaigns: showcasing not only the fall runway collection, but also the new Since 1854 range, plus permanent products designed long before Ghesquière arrived at the French luxury house in 2013.

Ghesquière acknowledged that one of the most challenging aspects was photographing the leather goods. “You know how essential handbags are at Vuitton, and we love handbags, but it is so hard to give handbags a great visual effect,” he said.

French actress Léa Seydoux, in perhaps the most joyful of the images, found a way to suspend a monogram Dauphine bag over her forearm and elbow as she folds her arms behind her head and lets out a laugh.

“There are so many things that I like about this picture: the attitude, the fact that he captured a genuine moment where I was laughing. He didn’t ask me to laugh on purpose,” Seydoux marveled. “As with everything he does, Nicolas was a pro. He knew exactly what he wanted, talked me through the brief and took the time to explain what he wanted to achieve. He guided the team and me throughout the session, creating a really relaxed atmosphere, so we got the shot very quickly.”

Léa Seydoux Courtesy Photo

Ghesquière said his motivation to shoot a campaign was to “show that I could have a point of view.”

To be sure, the French designer said he has long been inspired by fashion photography “so it was interesting to be on the other side of the camera,” he said. “Some people have this crazy capacity to be so photogenic, and some other people that are so gorgeous in real life are not that easy to photograph. I mean, it is the reality and this is a discussion I have had with many photographers.”

He’s worked with the crème de la crème: Annie Leibovitz, Bruce Weber, Steven Meisel, David Sims, Juergen Teller, Collier Schorr, Inez van Lamsweerde and Vinoodh Matadin among them. What’s more, Irving Penn has shot the designer’s portrait, and he attended a Penn fashion shoot for American Vogue featuring model Gemma Ward.

All have different working methods, and Ghesquière gleaned many insights.

“Some people can catch the moment very quickly, and the first picture will often be the right one. Bruce catches that moment of emotion that is very raw, and David has that gift, too,” he said. Penn, meanwhile, was all about building up the image slowly and methodically. “The way he was putting the girl and the clothes and the composition together was exactly like what you can imagine a painter would do, and the time for him was limitless,” Ghesquière said. “He could take days to do one shot.”

During his debut Vuitton shoot, “what I was looking for was the direct emotion,” Ghesquière said. “So I was the more quick type. I was trying to get something right at the beginning of this session.”

A heritage trunkmaker still closely associated with travel, Vuitton campaigns have been shot all over the world, from the swamps of Cambodia and downtown Moscow to Pompano Beach, Fla., and the storied Île Saint-Louis in Paris.

Yet Ghesquière decided to stay put, inviting the entire cast and crew to his Paris apartment, where he could closely follow all safety precautions to protect everyone from the coronavirus.

“I wanted to welcome people at home, to make them comfortable, and to set up a relationship of trust,” he said, also describing the space as very feng shui. “Today I think home means a lot to people. In the moment we all just went through, going home, being at home, is even a stronger symbol than before. So that was why I wanted to do it there.”

Dina Asher-Smith Courtesy Photo

The designer assembled a large and diverse cast for the shoot. They include British sprinter Dina Asher-Smith, transgender model Krow Kian, actress Stacy Martin and the Congolese-Belgian singer known as Lous and the Yakuza. Ghesquière said he was often sneaking off to the makeup area to listen in on conversations, always curious to know about the personalities he recruits, their artistic expressions, and their interests.

“You have to try to shoot models for who they are in real life, not because they are models,” he said, noting, for example, that sleepy-eyed Mariam de Vinzelle is studying engineering and talks science as fluently as the designer does fashion history. “She’s a model, but I see her more as the student she is,” he said.

For Seydoux, who will be seen late this year in the James Bond film “No Time to Die” and in Wes Anderson’s “The French Dispatch,” the designer “wanted to catch that sense of humor she has in real life and this lightness,” not forgetting her inimitable mix of French beauty and Hollywood glamour.

Martin, who stars in the acclaimed sci-fi film “Archive,” said Ghesquière approached the shoot with a “precise eye” and clear intentions.

“Nicolas always seems to see beyond the clothing — he creates not only a silhouette but also a character in a distinctive world. I think that’s why I respond to it so much, it echoes cinematic worlds,” she said. “He looks for what magnifies women and makes them feel unique by going past the conventions of beauty and fashion.”

French actress Marina Foïs lauds Ghesquière’s bold use of color and mash-up of references in his fashions, and yet “no one disappears behind what they wear,” she says. “What strikes me about these photos, mine and the others, is the directness, the strength of the gazes and the truth of the smiles. It’s simple and sophisticated.”

Ghesquière worked with professional crews to achieve the lighting and framing he had in mind, leaving him free to conjure moments he described as simple, positive and at times joyful. “It’s also the message I wanted to give,” he said.

“Probably my work when I do fashion shows is much more about drama, because the fashion show is usually quite dramatic. And I thought the campaign would be interesting if I could achieve a different kind of emotion,” he said.

Ghesquière acknowledged that he had to occasionally resist the urge to drop the camera, and jump onto the set to adjust the clothes, leaving that job to stylist Marie-Amélie Sauvé, who draped a hoodie over Asher-Smith’s head, a wink to her athleticism.

He said it was inspiring to see how “all these elements came together with great coherency. There is a strong proposition at Vuitton that says a lot about how much people are working together in that brand.”

The designer also felt a strong sense of accomplishment having followed his clothes from their creation to the “final point,” which is the campaign. “It was interesting to take control of that and to really go through the whole process until photographing the clothes,” he said. “I took so much pleasure to do it. It was a joyful experience, and safely done. I shot the different talents one by one.”

Very few designers pick up a camera themselves, with the late Karl Lagerfeld perhaps the most accomplished of them all, having lensed campaigns for Chanel, Fendi and his own brand for decades, along with advertisements for Dom Pérignon, Adidas and Coca-Cola. Hedi Slimane followed in his footsteps and shoots all brand imagery for Celine.

Recently, Valentino’s Pierpaolo Piccioli and Balmain’s Olivier Rousteing picked up a camera to shoot their resort campaigns.

Ghesquière made it clear his expansive fall campaign is not a one-off.

“Yes, I hope to continue shooting,” he said, “but I also want to keep working with great talents. Vuitton is so large and we always need different images.”

Ghesquière suggested to Burke and Arnault that he could do a “working session” just to reassure them he was up to the task, but they did not insist.

“They were very supportive right at the beginning, they never saw any picture that I did before. And they really trust my vision from in the first minute I shared the idea of this project with them. It was really great to explore a new artistic expression I could add to the Vuitton story we’ve been telling over the last years,” Ghesquiere said, describing himself as “someone that could really put together this message with a lot of unity, a universal message about what is Louis Vuitton today and how it can reflect the world of today.”

According to Burke, Ghesquière offered “a more focused point of view” for Vuitton at a time when new media is exploding. “There are very few global buys anymore,” he said. “We’ve empowered completely all our countries and regions.”

Also, Vuitton is forgoing the past impulse to dedicate campaigns to certain seasons or product categories. “People want to see Nicolas’ point of view on the Vuitton woman,” he said. “There’s more movement, more attitude, more inclusivity — all the things that resonate with digital media platforms.”

While he didn’t give numbers, Burke said Vuitton would spend more on advertising in the second half of 2020 than the same period last year, reflecting a rebound in business in many markets, and unspent monies carried over from the first half. It is also to support a stronger pipeline of new products, headlined by Since 1854, a range of clothes and leather goods featuring a new jacquard.

Burke said the new campaign would lead to a sequel, done with the same dedication to diversity and inclusion, and a reliance on local casting. While the latter was a necessity this year due to travel restrictions, Burke said “that’s also the future.”

While he didn’t rule out campaign shoots in cities other than Paris, Burke said Vuitton would rely on talents in town at the time rather than flying in models, singers and actresses from all over the world. “It makes for a much more authentic set,” he said.

Vuitton will also run separate campaigns for its men’s product universe and high jewelry in the second half, he noted.

Deciding to shoot the women’s campaign was not the only new idea Ghesquière had during lockdown.

“I took that opportunity to step back, to think more deeply about how I do things,” he said. “I want to be an actor of change. To change in everyday actions, in everyday decisions is important.”

In lieu of a destination cruise show — Vuitton has shown as far afield as Brazil and Japan — the designer created a more concise collection of about 20 looks, pouring a lot of energy into fabric development, including a new monogram toile incorporating playing-card motifs.

“It is a very strong statement in fashion, I did it with the same honest message, the same conviction, with no compromise,” he said. “It pushed us to go straight to the essentials, maybe to do fewer prototypes, to waste less maybe, to be more focused on the message.”

He said he was heartened by the positive feedback, though he still plans to do a physical show in October,

“I’m going to do digital stuff like everyone, I’m working on different projects that can reach the people who will be far away from us unfortunately,” he said. “But I need a physical, live event that will take place in Paris and I’m doing everything to make it happen, limited obviously by the sanitary conditions. I really hope the fashion week will exist. Everyone has a responsibility and the big brands are important in this calendar.”

He allowed that the show is likely to be smaller, “more adapted to what we’re going through.”

More from WWD.com:

Louis Vuitton Switches to a New Model for Men’s Shows

Coronavirus Crisis Hits Fall 2020 Advertising Campaign Productions

The Best Fashion Ad Campaigns of Spring 2020

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learningrendezvous · 4 years

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Health, Illness, and Society

OVERLOAD: AMERICA'S TOXIC LOVE STORY

Directed by Soozie Eastman

Before she starts a family, Soozie Eastman wants to discover whether it's possible to reduce her body's--and by extension everybody's--toxic burden.

Before starting a family, Soozie Eastman, daughter of an industrial chemical distributor, embarks on a journey to find out the levels of toxins in her body and explores if there is anything she or anyone else can do to change them. Soozie has just learned that hundreds of synthetic toxins are now found in every baby born in America and the government and chemical corporations are doing little to protect citizens and consumers.

With guidance from world-renowned physicians and environmental leaders, interviews with scientists and politicians, and stories of everyday Americans, Soozie uncovers how we got to be so overloaded with chemicals and explores whether there is anything we can do to take control of our exposure.

Just as she feared, extensive blood testing reveals alarming levels of chemicals such as organophosphates and PBDEs in her body, so she undertakes a rigorous detox regimen of dietary changes, exercise and informed product choices designed to manage and minimize her toxic body burden.

She's determined to find out: Can we hit the reset button, or is it too late?

DVD / 2019 / (Grades 7-12, College, Adults) / 71 minutes

TO BE OF SERVICE

Director: Josh Aronson

To Be Of Service is a feature-length documentary directed by Academy Award nominated Josh Aronson about veterans suffering from Post Traumatic Stress Disorder (PTSD) who are paired with a service dog to help them regain their lives. Returning home for these vets is often wrought with depression and a painful disconnect from the world they once knew. Family, old friends and jobs seem foreign, and newly returned warriors struggle to function and return to a normal civilian life. "To Be Of Service" follows these warriors after they get their dog to see how a deeply bonded friendship restores independence and love for the men and women who have been so traumatized by war. The film features an original song, "Unbroken," written and performed by Jon Bon Jovi.

DVD / 2019 / 88 minutes

MEDICINE IN MARIJUANA, THE

Directed by Ben Daitz, Ned Judge

What we know, and what we don't know, about the most popular new medicine in the U.S.

This year, 55 million Americans will spend about 55 billion dollars on the medicine in marijuana. In 32 states and the District of Columbia, they will use it for a myriad of medical conditions, depending on anecdotal advice about the frequency and dosage of cannabis, a plant with over 400 different chemical molecules. It's a messy mix of medicine, policy and politics--while cannabis is still federally classified as a Schedule 1 drug.

Based on the 2017 National Academy of Sciences report about the effectiveness of cannabis for treating the side-effects of chemotherapy, chronic pain, epilepsy, and PTSD, The Medicine in Marijuana tells patients' stories, and those of the practitioners and researchers involved in their care: an infant with unremitting seizures; a man with an inoperable cancer; a woman with chronic pain; a veteran of 5 tours of duty with PTSD.

Across centuries and cultures, people have told stories about the healing powers of cannabis, but the plural of anecdote is not evidence. Now, the science is catching up with the stories, and The Medicine in Marijuana tells it like it is.

DVD / 2018 / (Grades 6-12, College, Adults) / 35 minutes

POWER TO HEAL: MEDICARE AND THE CIVIL RIGHTS REVOLUTION

Directed by Charles Burnett & Daniel Loewenthal

The untold story of how the twin struggles for racial justice and healthcare intersected: creating Medicare and desegregating thousands of hospitals at the same time.

POWER TO HEAL tells a poignant chapter in the historic struggle to secure equal and adequate access to healthcare for all Americans. Central to the story is the tale of how a new national program, Medicare, was used to mount a dramatic, coordinated effort that desegregated thousands of hospitals across the country in a matter of months.

Before Medicare, disparities in access to hospital care were dramatic. Less than half the nation's hospitals served black and white patients equally, and in the South, 1/3 of hospitals would not admit African-Americans even for emergencies.

Using the carrot of Medicare dollars, the federal government virtually ended the practice of racially segregating patients, doctors, medical staffs, blood supplies and linens. POWER TO HEAL illustrates how Movement leaders and grass-roots volunteers pressed and worked with the federal government to achieve justice and fairness for African-Americans.

DVD / 2018 / (Grades 9-12, College, Adults) / 56 minutes

PROVIDERS, THE

Directed by Anna Moot-Levin, Laura Green

Three healthcare providers bring care to a rural American community, showing the transformative power of providers' relationships with marginalized patients.

Set against the backdrop of the physician shortage and opioid epidemic in rural America, THE PROVIDERS follows three healthcare providers in northern New Mexico. They work at El Centro, a group of safety-net clinics that offer care to all who walk through the doors, regardless of ability to pay. Amidst personal struggles that reflect those of their patients, the journeys of the providers unfold as they work to reach rural Americans who would otherwise be left out of the healthcare system. With intimate access, the documentary shows the transformative power of providers' relationships with marginalized patients.

DVD / 2018 / (Grades 10-12, College, Adults) / 82 minutes

QUIET HEROES

Directors: Jenny Mackenzie, Jared Ruga, Amanda Stoddard

In Salt Lake City, Utah, the religious monoculture severely complicated the AIDS crisis, where patients received no support from-or were cast into exile by-the political, religious, and medical communities. Further, Mormon culture encouraged gay men to marry women and have a family to cure themselves of their "affliction," counsel which led to secret affairs and accidental marital transmissions of HIV. In the entire state and intermountain region there was only one doctor to serve all HIV/AIDS patients. This is the story of her fight to save the lives of a maligned population everyone else seemed willing to just let die.

Dr. Kristen Ries came to Salt Lake City with the hope and ambition to set up a medical practice of her own. By chance, she arrived on the exact same day the CDC released a report about a new infectious disease affecting populations of gay men. This intrigued Dr. Ries and she launched her long career as the premier specialist who treated HIV/AIDS patients. What started as hospice care for highly stigmatized individuals became a model for compassionate care at the height of the AIDS epidemic. She faced stigma and blame in a repressive religious culture and had to find creative ways to serve her patients. She and her Physician's Assistant, Maggie Snyder, developed backdoor patient policies, underground drug markets, and status confidentiality policies to give their patients the best possible chance at prolonging their lives-or at worst, dying comfortably. When their families, their churches and social circles, their politicians, and even other doctors had abandoned them, Kristen Ries and Maggie Snyder created a safe haven amidst a sea of hate and fear for those who had nowhere else to turn.

DVD / 2018 / 68 minutes

BREAST ARCHIVES, THE

Director: Meagan Murphy

Real women reveal their breasts and uncover personal truths in this gently provocative documentary exploring embodiment, womanhood, and the power of being seen.

The Breast Archives features nine women's personal stories of empowerment. Baring their breasts and their hearts, the women share the unique journeys they've made with their bodies, from their formative years of hiding, shame, and disconnection to adulthood and the discovery of what it means to be a powerful woman. As the women slowly reconnect with their body-based stories they find a reservoir of strength and wisdom that lies within their breasts.

DVD / 2017 / 57 minutes

CRACKING CANCER

Directed by Judith Pyke

A clinical research trial at the Personalized OncoGenomics Program is changing the way scientists think about the future of cancer care.

Six years ago Zuri Scrivens, the mother of a toddler, was very ill with incurable breast cancer that had spread to her liver and lymph nodes. Today Zuri has no signs of cancer, not because of a miraculous new cancer drug, but thanks to a diabetes medication.

CRACKING CANCER follows a group of patients with incurable cancer on a trailblazing journey through a highly experimental clinical trial at the BC Cancer Agency in Vancouver called POG -- Personalized OncoGenomics.

The trial compares patients' normal DNA -- each cell's complete set of instructions -- with that of their tumors, to find the genetic mutations causing their cancer. Zuri's cancer driver was a mutation that caused a very high growth factor. The team plowed through decades of data to isolate which drug in all of medicine, not just cancer, might block that growth factor. They zeroed in on a diabetes medication. Zuri received the drug and standard hormone treatment. Within 5 months, her cancer became undetectable.

POG offers a radical new way of treating cancer, not according to where it originates in the body, but rather as a disease of genetic mutations. Thousands more will join the trial, all hoping for their own salvation, all helping science to crack the cancer code.

DVD / 2017 / (Grades 10-12, College, Adults) / 44 minutes

COMPLICIT

Directed by Heather White, Lynn Zhang

Benzene-poisoned, Foxconn factory worker takes his fight against the global smartphone industry from his hospital bed in China to the international stage.

Yi YeTing is struggling with occupational leukemia and trying to obtain compensation from his employer. Wanting to help others, he begins working for a non-profit that assists workers with occupational illness and injuries.

He discovers there are dozens of workers in his local area who were poisoned while making smartphones. Through research in the community, he discovers a leukemia cluster in the neighborhood surrounding Apple's main supplier Foxconn. Yi's research leads him to several workers and their families trying to survive while burdened with their health care costs. Powerful forces are unleashed as he confronts local factories, putting his own safety at risk.

DVD / 2016 / (Grades 10-12, College, Adults) / 89 minutes

DR. FEELGOOD: DEALER OR HEALER?

Directed by Eve Marson

The case of Dr. William Hurwitz educates audiences on the complexities involved in opioid painkiller prescriptions.

The story of Dr. William Hurwitz - a preeminent pain specialist sentenced to 25 years in prison for drug trafficking - provides a window into the ethical dilemma of opioid prescriptions. Painkillers give doctors tremendous power to relieve pain, a primary goal of any physician. But this power begets trouble when the same drugs can lead to addiction, abuse and death.

In 2004 Dr. William Hurwitz was convicted of over 50 counts of narcotics distribution and handed a 25-year prison sentence. DR. FEELGOOD traces Dr. Hurwitz's trial and eventual appeal, detailing the events that led to his arrest.

Testimonies from the witnesses in Dr. Hurwitz's case contradict one another - some revere him, while others condemn him. Taken together, their accounts reveal a profile of a compassionate yet flawed doctor. The film, in telling his story, underscores the tension between every patient's right to pain relief and the lawful need for drug control. There could not be a more critical time to spark discussion on the topic, and call for careful thought and action.

DVD / 2016 / (Grades 10-12, College, Adults) / 84 minutes

FINDING JOSEPH I: THE HR FROM BAD BRAINS DOCUMENTARY

Directed by James Lathos

"Finding Joseph I" is a documentary film chronicling the eccentric life of punk rock reggae singer, Paul "HR" Hudson from Bad Brains. The charismatic front-man's explosive live performances helped pioneer hardcore punk while delivering an enlightening message of positive mental attitude.

HR's heavy devotion to the Rastafarian faith guided him in a spiritual direction, leaving the band several times to explore his love for reggae music.

Over the years HR's increasingly unpredictable and abnormal behavior has many convinced that he his suffering from mental illness. Finding Joseph I illustrates the true story behind the legendary lead singer's life, career and struggles with never before seen archival footage, photography and exclusive interviews.

DVD (Color) / 2016 / 91 minutes

HILLEMAN: A PERILOUS QUEST TO SAVE THE WORLD'S CHILDREN

Director: Donald Rayne Mitchell

The 20th century was a dangerous time to be young: a multitude of diseases too often kept children from reaching even their teenage years. Millions suffered and died. From that environment one man would emerge to lead a revolution in vaccine innovation that would save many millions of young lives every year; the greatest scientist of the 20th century, and no one knows his name.

Maurice Hilleman had a singular, unwavering focus: to eliminate the diseases of children. From his poverty-stricken youth on the plains of Montana, Hilleman came to prevent pandemic flu, invent the measles-mumps-rubella (MMR) vaccine, and develop the first-ever vaccine against human cancer. Responsible for more than half of the vaccines children receive today, he is credited with saving more than eight million lives every year. Now through exclusive interviews with Dr. Hilleman and his peers, rare archival footage, and 3-D animation, this documentary puts a human face to vaccine science, revealing the character that drove this bold, complex, and heroic man.

When parents began choosing not to vaccinate their children in the 1990s, a cruel irony became clear; Hilleman's unprecedented successes have allowed us to forget just how devastating childhood diseases can be.

DVD / 2016 / 67 minutes

HUSH

Director Punam Kumar Gill

The conspiracy has been coined as the biggest health cover up since cigarettes.

Hush is a liberating conversation about abortion and women's health. It additionally explores a conspiracy relating to the withholding of the information required for solid decision making.

When director Punam Kumar Gill and producers Drew and Joses Martin heard that the health information being given to women prior to an abortion was subject to the politics of the people involved, they determined to put aside individual ideology and take an honest, scientific look at the highly disputed and politicized information around abortions' long-term effects on women's health. What Punam discovers in the process is not just vital to the subject of reproductive health, but also critical to her own life and integral to the ongoing progress of women everywhere.

DVD / 2016 / 101 minutes

I, PEDOPHILE

By Matthew Campea

Pedophiles have long been the most demonized people in society. New research is showing that understanding the condition is the first step in lowering instances of child sexual abuse. Pedophilia expert Dr. James Cantor's ground-breaking and controversial hypothesis that pedophilia is a developmental disorder in the brain resulting in sexual attraction to children, attempts to demystify the cause of pedophilia.

Some of the characters appear as themselves, but due to the stigma and possible legal repercussions of coming out as a pedophile, the film uses dramatic re-creations to tell their stories, and actors speak the words of those who fear to appear on camera.

DVD / 2016 / 51 minutes

NO MATTER WHERE: THE HEALTHCARE DOCUMENTARY

It is the challenge of these United States to develop and maintain advanced infrastructure on all fronts including superior medical technology and healthcare, but people don't ask for it, not all clinicians believe they need it and there is a lack of will to invest in it. The result is that an estimated 200,000 people die from medical errors in American hospitals annually.

It might be an obvious conclusion that since many medical practices use computers to record patient information, and since hospitals also use computers for such information, that these two worlds must be exchanging that information.

Unfortunately, while this has been a dream for many decades, it has yet to be realized in this country.

When co-Directors Kevin B. Johnson, MD, MS and Barry Simmons first started exploring the work being done to make The Health Information Exchange come together... about the pace of that work... they were astonished. As they went through the reasons why, it became clear what a difficult challenge the exchange of information was, although not the least bit because of technical issues.

The development of a true Health Information Exchange is a major challenge of the 21st century, one that needs to be overcome both technically and politically.

"No Matter Where" explores the complexities of the numerous issues that have to be addressed from the technology involved to the adoption of practice by participants all along the informational path. It is an overwhelming challenge and "No Matter Where" sheds great light on the status of the effort.

"No Matter Where" is the result of a few voices out of Nashville and the home of Vanderbilt University Medical Center; one of the top 15 ranked medical schools in the country.

DVD / 2016 / 77 minutes

ANTIBIOTIC HUNTERS, THE

Directed by Bruce Mohun

Scientists are hunting urgently for new antibiotics - a challenge that is taking them to some remote and unusual places.

Increasing resistance to antibiotics has been called the most pressing global health problem of our time. Medical experts are predicting a post-antibiotic era, in which people will die of infections easily treated just a few years ago -- unless we find more of these miracle drugs.

THE ANTIBIOTIC HUNTERS follows drug researchers as they investigate the slimy green fur of sloths, the saliva of Komodo dragons, the blood of alligators, and the bacteria in British Columbia caves and on the ocean floor off the coast of Panama -- all part of the urgent hunt to find the building blocks of new antibiotics.

DVD / 2015 / (Grades 7-12, College, Adult) / 44 minutes

AUTISM: A FAMILY'S JOURNEY

By Michael Terrill

How would you feel if your two-year-old child was diagnosed as autistic and mentally retarded? That he would go into his room and never come out, and would be institutionalized by age 17?

This was the grim life sentence handed down to Lori and Jim Cairns regarding their son, JR. The diagnosis was made in 1996-when little was known about autism, governments offered few helpful resources, and hope for recovery was disregarded as a myth, and urban legend.

Today many people still dismiss hope of recovery from autism. And yet it can happen. JR is living proof.

Now, for the first time ever, the Cairns family and JR's therapists unite to celebrate his recovery and share their story of hope.

DVD / 2015 / 52 minutes

FAREWELL PARTY, THE

Director: Tal Granit & Sharon Maymon

The Farewell Party is a unique, compassionate and unlikely funny story of a group of friends at a Jerusalem retirement home who decide to help their terminally ill friend. When rumors of their assistance begin to spread, more and more people ask for their help, and the friends are faced with a life and death dilemma. Co-directors Sharon Maymon and Tal Granit have tackled an extremely sensitive issue in a vibrant and unique way.

DVD (Hebrew with English subtitles) / 2015 / 95 minutes

OCD AND ME

Most people have heard of OCD but what exactly is Obsessive Compulsive Disorder? It presents itself in many unusual guises. People are often surprised to learn that OCD goes far beyond the common perception of excessive hand washing or the repetitive checking of light switches.

OCD is an extreme anxiety-related condition where a person experiences frequent, intrusive and unwelcome obsessive thoughts, often followed by repetitive compulsions, impulses or urges.

In an attempt to get an understanding of disturbing mental illness we spend time with some people who have agreed to come forward and talk about their OCD. We also feature experts in the field while spending time in St Patrick's Hospital in Dublin and an anxiety support groups in Sligo town.

OCD is the third most common concern reported to St Patrick's mental-health support services and The World Health Organisation lists it as one of the 10 most debilitating illnesses on the planet. OCD and Me gives us a greater understanding of this secretive and often misunderstood condition.

DVD / 2015 / 53 minutes

BABY MAKERS

The Baby Makers is an observational 4-part documentary series about the science, pain and joy of fertility treatment as couples strive to conceive a baby.

The series presents the work of embryologists, doctors and nurses who specialize in fertility treatment, hoping to make their would be parent's dreams come true. Viewers get to see the step-by-step process of IVF and the delicate scientific procedures which takes place in the fertility clinic laboratory.

The documentary covers every step of the journey of IVF:

1. Pre-treatment screening and advice to increase the chance of the treatment working 2. Obtaining the sperm and egg 3. Cleaning and maturing the samples for selection of the most suitable cells 4. The actual fertilization of the egg, be it by direct fertilization, where the sperm is chosen, or putting both sets of cells in the same dish and allowing natural selection to take effect. 5. The incubation and monitoring of the fertilized egg, to see which one should be used for the IVF 6. Finally the actual attaching of the fertilized egg onto the wall of the uterus 7. At the end of the program it goes to each couple and shows whether the treatment has been successful.

DVD / 2014 / 56 minutes

DARK SIDE OF THE FULL MOON

Having a baby is supposed to be the happiest time of one's life. But what if it's not and no one is helping?

1 in 7 women suffer from perinatal mood and anxiety disorders. 1 in 1000 will get postpartum psychosis. Affected are 1.3 million mothers annually and the system is failing them.

Dark Side of the Full Moon delves into the unseen world of maternal mental health in the U.S and investigates the disconnect within the medical community to effectively screen, refer, and treat the 1.3 million mothers affected each year, giving a face and voice to the countless women who have suffered in silence.

In Dark Side of the Full Moon, two mothers take on the American healthcare system when new motherhood crashes into mental illness.

DVD (Color) / 2014 / 74 minutes

MAKING ROUNDS

Director: Muffie Meyer

We spend almost a trillion dollars a year on high-tech tests and yet almost one fifth of patients are misdiagnosed. In Making Rounds we are introduced to the power and superiority of methods of traditional diagnosis based on decades of experience, doctor-patient discussions, physical touch, and personal observation. We follow two prominent cardiologists getting it right, teaching future doctors the 'old-fashion' art and science of a thorough bedside physical exam. "A great many diseases may be diagnosed," they tell us, "just by looking at a patient's hand."

Filmed over one month in the cardiac care unit of a top New York hospital, we see the doctors in action, correcting previous misdiagnoses, predicting outcomes, saving lives, demonstrating - in dramatic real-world situations -that simply looking at and listening to patients remains medicine's most indispensable tool.

DVD / 2014 / 63 minutes

MOBILIZE

By Kevin Kunze

MOBILIZE is an explosive investigative documentary that explores the potential long-term health effects from cell phone radiation, including brain cancer and infertility.

This politically charged film examines the most recent scientific research and the harsh challenges politicians face trying to pass precautionary legislation. Featuring interviews with expert researchers, mobile phone industry representatives, and prominent politicians, MOBILIZE illuminates how industry's economic and political influence can corrupt public health.

Featuring Gavin Newsom Lt. Governor of California, Lawrence Lessig, Esq., Steve Wozniak, Richard Branson, Devra Davis, PhD, MPH and many more...

DVD / 2014 / 84 minutes

ADDICTION INCORPORATED

Directed by Charles Evans Jr.

The true story of the tobacco companies' commitment to addicting the human brain and how the world came to know about it.

DDICTION INCORPORATED tells the true story of how former Philip Morris scientist Victor DeNoble's unexpected discovery of an addiction ingredient in tobacco led to more addictive cigarettes, and how his Congressional testimony forever changed how tobacco is sold and marketed.

The public revelation of long-held tobacco industry secrets leads journalists, politicians, attorneys and whistleblowers into an unexpected alliance that achieves the first-ever federal regulation of the tobacco industry.

Victor's unwavering determination to "do some good" leads to a career as an educator that informs kids about the world's only industry where success is measured by a corporation's ability to addict.

DVD / 2013 / (Grades 8-12, College, Adult) / 76 minutes

BEFORE I KICK THE BUCKET

What would you do if you were told you only had months to live? In this heart-warming, heart-breaking, and ultimately life-enhancing documentary, the extraordinary Rowena Kincaid, a terminally ill young woman with a wicked sense of humor goes in search of a bucket list.

The BBC Wales picture editor, at the age of 39, was diagnosed with secondary breast cancer and given six months to live, shows in this inspirational production that life is definitely for living and that even if you don't have a so-called "bucket list", it really doesn't matter at all.

The messages which ultimately make Before I Kick The Bucket a wonderfully honest and beautiful film is that making memories, doing things which make you feel better, experiencing life with your family and friends, are what really matter.

DVD / 2013 / 59 minutes

CODE BLACK

Directed by Ryan McGarry

Unprecedented access to the ER at Los Angeles County Hospital provides a doctor's-eye view into the heart of our complex and overburdened healthcare system.

In his vivid and thought-provoking filmmaking debut, physician Ryan McGarry gives us unprecedented access to America's busiest Emergency Department. Amidst real life-and-death situations, McGarry follows a dedicated team of charismatic, young doctors-in-training as they wrestle openly with both their ideals and with the realities of saving lives in a complex and overburdened system. Their training ground and source of inspiration is "C-Booth," Los Angeles County Hospital's legendary trauma bay, the birthplace of Emergency Medicine, where "more people have died and more people have been saved than in any other square footage in the United States."

CODE BLACK offers a tense, doctor's-eye view, right into the heart of the healthcare debate - bringing us face to face with America's only 24/7 safety net.

DVD / 2013 / (Grades 10-12, College, Adult) / 81 minutes

EVERGREEN: THE ROAD TO LEGALIZATION

Director: Riley Morton and Nils Cowan

Evergreen: The Road to Legalization is the definitive feature documentary film on Ballot Initiative 502, which made Washington the first American state to legalize possession of recreational marijuana for adults 21 and older, when it went into effect on December 6, 2012. Evergreen: The Road to Legalization captures this historic time, providing a balanced view of the issues surrounding Initiative 502 by going inside both proponent and opponent camps to see how citizens are working to change cannabis prohibition policy.

This documentary serves as a case study to demonstrate how Washington State citizens have dealt with the complex politics surrounding marijuana prohibition. What are the local, federal and cultural implications of the first U.S. state voting to approve recreational marijuana possession by a 56 percent to 44 percent margin? How did Washington State get a marijuana reform law passed while Proposition 19 failed in California? Why are many medical marijuana patients, dispensaries and care providers strongly opposed to I-502?

Evergreen answers these questions while tracking the behind-the-scenes efforts of both campaigns - from initial grassroots fundraising efforts, to tense exchanges and conflict-filled campaign stops, to the historic vote by Washington state citizens that effectively ended 75 years of cannabis prohibition policy and its future implications.

DVD / 2013 / 86 minutes

TROUBLE WITH BREAD, THE

Directed by Maggie Beidelman

A gluten intolerant filmmaker's quest for the perfect loaf leads to unexpected discoveries about modern bread.

Michael Pollan (author of "Cooked: A Natural History of Transformation") told the filmmaker, Maggie Beidelman, that her gluten intolerance could all be in her head. She half agreed with him, because the number of Americans buying into the $10.5 billion "gluten-free" industry is disturbing. There is so much more to learn about wheat - and how it has changed in just the last couple of generations - before we completely sign it off.

In this film, Ms Beideman journeys from farm to mill to table on a quest for answers about gluten intolerance and a hunt for the perfect loaf, one she can eat without getting sick. Along the way, she makes some unexpected discoveries about crucial changes to the wheat itself and how it is processed and fermented. Let's just say that bread as you know it, is not what you think.

DVD / 2013 / (Grades 7-12, College, Adult) / 27 minutes

MONEY & MEDICINE (NEW EDITION)

Directed by Roger Weisberg

An investigation of the dangers the nation faces from runaway health care spending as well as the dangers patients face from over-diagnosis and over-treatment.

As rising health care costs threaten to bankrupt the country, MONEY & MEDICINE tackles the medical, ethical, and financial challenges of containing runaway health care spending. In addition to illuminating the so-called waste and overtreatment that pervade our medical system, this timely documentary explores promising ways to reduce health care expenditures and improve the overall quality of medical care.

MONEY & MEDICINE was filmed at UCLA Medical Center in Los Angeles and Intermountain Medical Center in Utah. While UCLA ranks among the nation's top academic medical centers, it spends considerably more than the national average on patient care. In contrast, Intermountain spends about a third less than the national average and is a model for low cost/high quality medical care. The dramatic doctor/patient stories filmed at these two hospitals illuminate the powerful forces driving soaring health care costs as well as proven strategies that effectively reign in excessive medical spending.

With remarkable candor, MONEY & MEDICINE captures the painful end-of-life treatment choices made by patients and their families, ranging from very aggressive interventions in the ICU to palliative care at home. The film also investigates the controversy surrounding diagnostic testing and screening as well as the shocking treatment variations among patients receiving a variety of elective procedures.

As the focus of health care reform shifts from the access crisis to the cost crisis, MONEY & MEDICINE makes a timely contribution to the debate over cost containment and deficit reduction that is heating up as we approach the 2012 presidential election.

DVD (Closed Captioned) / 2012 / (Grades 10-12, College, Adult) / 83 minutes

WAITING ROOM, THE

Directed by Peter Nicks

A day in the life of a public hospital's ER waiting room captures what it means for millions of Americans to live without health insurance.

The Waiting Room is a character-driven documentary film that uses extraordinary access to go behind the doors of an American public hospital struggling to care for a community of largely uninsured patients. The film - using a blend of cinema verite and characters' voiceover - offers a raw, intimate, and even uplifting look at how patients, staff and caregivers each cope with disease, bureaucracy and hard choices.

The ER waiting room serves as the grounding point for the film, capturing in vivid detail what it means for millions of Americans to live without health insurance. We witness the minute-by-minute Sisyphean struggle that plagues public hospitals, where emergency rooms have to field the overwhelming health care needs of the inner city. Young victims of gun violence take their turn alongside artists and small business owners who lack insurance. The film weaves the stories of several patients - as well as the hospital staff charged with caring for them - as they cope with the complexity of the nation's public health care system, while weathering the storm of a national recession.

The Waiting Room lays bare the struggle and determination of both a community and an institution coping with limited resources and no road map for navigating a health care landscape marked by historic economic and political dysfunction. It is a film about one hospital, its multifaceted community, and how our common vulnerability to illness binds us together as humans.

DVD / 2012 / (Grades 10-12, College, Adult) / 82 minutes

COCAINE UNWRAPPED

Directed by Rachel Seifert

Documents the devastating effects of the war on drugs and suggests realistic alternatives.

COCAINE UNWRAPPED tells the story of cocaine: coca farmers in Colombia, drug mules in Ecuadorian prisons, cocaine factories in the Bolivian jungle, dealers on the streets of Mexico, law enforcement officials on the streets of Baltimore -- and the everyday consumers around the dinner tables of the West.

It's a story of politics, death, economic and environmental devastation and human suffering, and explores realistic alternatives to the war on drugs.

The film features front line reportage, exclusive access to the political leaders of Latin America, such as Evo Morales of Bolivia and Rafael Correa of Ecuador, as well as revealing interviews with drug czars. Watch this film and you will never think the same way again about the "War on Drugs".

DVD / 2011 / (Grades 10-12, College, Adult) / 83 minutes

EYES OF ME, THE

By Keith Maitland

How do you see yourself, when you can't see at all?

THE EYES OF ME presents an extraordinary look at four blind teenagers. The parallel stories of two freshmen and two seniors unfold over the course of one dynamic year at the Texas School for the Blind in Austin.

Distilled from over 250 hours of footage, this experiential documentary captures a textured portrait of its characters' lives. Director Keith Maitland worked closely with the film's subjects to produce sequences of stylized rotoscopic animation to complement the film's observational aesthetic.

The stories of the film's central characters offer a fresh perspective on growing up, fitting in, and preparing for the future. Forced to confront the world without sight, they share their thoughts, their perceptions, their inner-visions of the outer world. Ultimately, you cannot understand their perceptions without challenging your own.

DVD (Color) / 2009 / 72 minutes

I'M NOT NUTS: LIVING WITH FOOD ALLERGIES

Exploring food allergy information and solutions.

I'm Not Nuts explores the misinformation many have about food allergies through the experiences of several families. The term "food allergy" has been misinterpreted as anything from stomachaches to rashes but is most often confused with the condition of food intolerance. However, food allergies are a serious medical condition and can be life-threatening. That is why having the facts is essential to healthy, quality living.

This documentary features interviews and insights from several noted medical professionals alongside representatives from worldwide food allergy support and advocacy groups. They discuss the possible causes of food allergies, the coping challenges and strategies, and the medical, emotional and social impact these allergies have on families.

I'm Not Nuts is a positive, solution-based exploration of food allergies designed to educate and inform. It shows the simple, educated steps that can be taken to effectively live with this condition so that a rich, productive life can be enjoyed.

DVD / 2008 / 84 minutes

IS SUGAR THE NEW FAT?

Interviews with scientists and the food industry reveal the link between obesity and sugar.

Sugar! What's not to like? It's being touted as highly addictive and the biggest contributor to the current worldwide obesity epidemic. We used to think high in fat diet was to blame so who's the real bad guy? This series takes on world-leading scientists and the food industry in an attempt to understand the truth about sugar.

Hosted by noted psychologist and New Zealand TV presenter Nigel Latta, with commentary by USC professor of childhood endocrinology Robert Lustig, author of Fat Chance: Beating the Odds Against Sugar, Processed Food, Obesity, and Disease, the documentary presents a compelling argument that added sugars should be treated with the seriousness accorded to the negative dietary impact from fats.

The documentary features Latta as he sets out on a journey to peel back the sugar coating and see what truth lies beneath the global debate that is consuming nutrition experts.

DVD / 44 minutes

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