It’s a relief that television is picking up the pace as features slowed almost to a standstill in the early spring.
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The newest hit and hardest ticket to get in London right now is “Paddington The Musical” and rightfully so.
So sit back, grab the popcorn and settle down in front of the TV.
Premieres are streaming year-round, finally fulfilling what broadcast television was never able to do.
“Peaky Blinders: The Immortal Man” is a continuation of “Peaky Blinders,” one of the most outstanding series of recent years, which spanned six seasons in the life of a Birmingham, England, gangster organization known as the Peaky Blinders.
A mash-up of styles, genres and other films, it’s as though Mel Brooks, the Marx Brothers, Busby Berkley and James Whale were poured into a cauldron and came out as a Dada project directed by Salvador Dali.
Jean Davidson has been named as the new executive director and CEO of The Wallis Annenberg Center for the Performing Arts. She steps into the role on May 4.
Continuing on with nominations that were and were not expected, we should finish the Best Picture nominations with the ones that were puzzles to me, along with some surprises and snubs, because there always are disagreements when it comes to “Bests.”
Summer blockbusters followed by fall contenders and holiday hopefuls all have one goal: to score an Oscar nomination.
Sirāt is the razor-sharp bridge that divides hell and heaven, a bridge that all must traverse at some point in life, sometimes repeatedly.