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hellyeahomeland · 4 years

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Threnody(s) | Directed by Michael Klick, Cinematography by David Klein

Sara: The solitude of Haqqani’s final day continues to remind me of what they did with Brody in season three. No resistance, total acceptance. I still don’t know why the writers went in this direction, as it seems very intentional. Is Haqqani Saul’s Brody?

Gail: Haqqani’s acceptance of his fate is framed so beautifully in this shot of him quietly reading. The colors of this scene are very serene and spa-like as well. All of it together is very calming, which is a little odd given the metal bars that remind us he is in jail.

Gail: The shots into the cells of the other prisoners look much less serene than Haqqani’s adding a layer of unease to Haqqani’s dead man walking.

Sara: I mentioned this moment in my recap. The prisoners banging their cups on the cell walls is a real thing that happens in American prisons on death row. I loved this (horrifying) detail and act of protest.

Sara: These two men, both framed in shadow, but with completely opposite fates. These are such incredible shots.

Gail: The cape is to G’ulom like the separated beard is to John Zabel.

Sara: I would have loved the details of these framed photos on Zabel’s wall but the payoff with Wellington’s line– “for someone who was never in the military, you sure do have a pictures of tanks”–makes me doubly love it!

Gail: Ugh, THAT BEARD.

Sara: This on the other hand… If you read closely (and the show allows for it, as they do several close-ups of the text), this speech actually looks startlingly like what Hayes says at the end of the episode. Right down to the details about Jalal Haqqani being the one responsible for the presidents’ murders. This threw me for such a loop when I watched the episode that I was going full-on conspiracy thinking Zabel was in on it. Then I realized it was probably just a gaffe, albeit a massive one. What say you, Gail?

Gail: Oh weird! Has to be a gaffe since Zabel did not know about Jalal at that point. I do love the details on the speech though!

Sara: Haqqani refuses a hood, just like Brody…

Gail: If I had hair like that, I’d refuse that hood too.

Gail: Saul bearing witness to Haqqani’s death is very similar to when he watched Jalal’s brush with death earlier in the season. I also think it’s important to note that Saul stays to watch it. There is honor in that gesture.

Sara: Saul physically jumping when Haqqani was shot is something I won’t forget.

Sara: The scope of this shot is quite masterful. Saul and G’ulom standing opposite each other, both dressed in black. Haqqani’s dress almost blending in seamlessly with the ground and wall behind him, save for the bright red blood stains on his shirt.

Gail: It feels religious as well.

Sara: This is an incredible (and incredibly sad) sequence. The device of Carrie watching Max die from afar and then running a great distance to close that gap was dramatically stunning. Then the contrast when she arrives and gets as close to him as possible.

Gail: Like Saul, Carrie bears witness to a death. And like Saul, there is nothing Carrie can do to stop it. Like Sara, I thought Carrie’s run to Max was beautifully done. The last shot of Carrie holding him in this tight shot put us right there with her.

Sara: I’ll just say it, Linus looks cute in glasses.

Gail: He’s really grown on me!

Gail: I loved how the light filtered through the windows onto Haqqani. The light feels peaceful, even hopeful. Carrie’s call to Saul breaks through the quiet ritual he is observing. Carrie’s heartbreak over Max is palpable. I love how she was sitting down on the ground next to him. She was on his level and protective.

Sara: The way they shot the scene of Saul observing the preparation of Haqqani’s body is so visually similar to Brody observing Issa in “Crossfire” it must be intentional. That said, this phone call between Carrie and Saul reminds me of a brilliant line from Jacob Clifton’s recap of “The Choice”:

“The first time she says his name, he ignores it. The girl whose heart he tried to break, before she died. The girl who tried to tell him love and loss of self were worth it, before he left for a monster’s funeral. He ignores her voice because he would come apart if he could hear it. But the second time she names him, he turns around. It breaks him open.”

Gail: I blame Tasneem for this one.

Sara: Well, my prediction last week that we don’t need to worry about Jalal because they showed him to be quite stupid didn’t pan out too well! That said, I loved they way they shot this scene.

Sara: This episode has so many standout scenes. The climax here, of Carrie kneeling down beside Max to apologize for taking him for granted, is haunting. I just… fuck, I don’t know. This was so good. This moment feels religious in nature (maybe it’s the kneeling?), some sort of grand shift in Carrie’s personhood.

Gail: This scene illustrates so much growth for Carrie. I love everything about it.

Sara: What’s great about this scene is it serves more than one purpose. Obviously we learn just how much Carrie regrets the way she treated Max all these years. There is also a sizable shift in Carrie and Yevgeny’s relationship, beyond the obvious meaning of Carrie being this emotional and vulnerable in front of another person. Yevgeny’s hesitation to comfort her in such an intimate way, before finally giving into it, suggests a similar openness and vulnerability.

Gail: Ugh, I agree.

Gail: Wellington has the higher ground, but it’s short lived.

Sara: *chef’s kiss*

Gail: Saul’s life’s work came crashing down along with those helicopters. The fallout from it is coming in waves like aftershocks that follow an earthquake. Saul’s choreography gets more and more dejected with each one.

Sara: I am finally buying into this storyline of Saul’s great professional downfall, Gail. Maybe it’s shots like this? Seeing all his work this season crumble in an instant.

Sara: IJLTP.

Gail: Does she have dry shampoo with her there? IJLTP(s).

Sara: I truly stan these shots and YES it’s because she looks mean and angry!!!

Sara: What I love about the beginning of the scene is the camera stays close in on Carrie. We can’t see that she’s trapped by the special ops team. This, along with the shaky cam filmmaking, leads to a sense of uneasiness and anxiety among the audience that matches her own. I’d also like to note that after a season-long motif of showing Carrie being trapped inside rooms, cars, etc. – she finally becomes literally encircled by this team of men holding automatic weapons.

Gail: As the soldiers begin to fold in around her it felt like she was being ensnared in a spider's web. I agree, Carrie’s uneasiness is accentuated with the shaky cam and the uptick of the musical score woven throughout.

Gail: I find it so interesting that Yevgeny stayed to see what happened. Here he is shot center frame, giving the audience a clue as to his importance in this scene.

Sara: This expression of fear and concern (for Carrie’s well-being, obviously) is everything.

Gail: I love how Carrie couldn’t really bring herself to fully point the gun at Saul. It was very half-hearted and he knows it, given his open arms approach to her.

Sara: This season is giving us a lot to live for on the Carrie/Saul front. I’ve already spoken at length about how this confrontation feels monumental to me. Claire and Mandy were so stellar. The dialogue, the way Claire spat “in fucking handcuffs” at him. It’s all so perfect.

Gail: We’ve seen Carrie turn her back on Saul before, but never like this.

Sara: Iconic.

Sara: These twin shots of Carrie and Saul staring back at each other (again, from a great distance) are so evocative. We have an entire scene of shaky cam and then everything gets incredibly still here, the strings in the score build… We have to wonder whether this is the last time they’ll ever see each other (obviously it’s not but we still have to wonder).

Gail: There is no turning back now and they both know it. The reflection of Saul in the helicopter windows is stunning.

Sara: I love when this show surprises me. The way Claire plays Carrie’s reaction surprised me. It’s less hurt and betrayed and more “what the fuck did I just do?” It’s all over her face.

Gail: Her reaction struck me as child-like. She knows she shouldn’t have just done that, but she did and now what?

Sara: I can’t properly explain how much I love the way this was edited. The close-up of Saul looking out the window, not unlike his expression last season when he left Carrie in Moscow, Yevgeny and Carrie speeding away to God knows where. Again, it feels like something so extremely final has just happened.

Gail: Me too. We are watching the distance between Carrie and Saul grow in real time. It’s powerful.

Sara: … A season’s worth of shots of Carrie looking out a closed car window, and now the windows are down, open-air. Is she finally free?

Gail: Great insight. They’ve been playing all season at Carrie feeling trapped by her circumstances. Now she is creating them.

#homeland #homelandedit #in the director's chair #threnody(s)#*#by: sara #by: gail #michael klick

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mycroft-silently-judges-you · 7 years

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Sherlock, James Bond, and the Frankly Alarming Amount of Skyfall Parallels

(((This is Part 3 of my 18 part meta series (x) analyzing EMP Theory and evidence supporting it in TFP)))

Skyfall release date: November 9th, 2012

Sherlock series 3 release date: January 1st, 5th & 12th, 2014

Starting with series three, Sherlock started to let the Skyfall references fly, the most obvious being one that nearly everyone caught at the time:

Which was the point. Gatiss and Moffat wanted us to catch onto the Skyfall reference because they already knew what they were going to do with series four and this was meant to act as an attention-getter. As for why they would use Skyfall specifically, it’s because it was the last released James Bond movie at the time and it would be the one the public would be most likely to recognize being referenced there’s also the whole Bond faking his death thing but whatever

Does that mean there are no references to other Bond movies? Not at all. Did you wonder why they would go through the trouble and expense of making a metal grill for a bad guy you see for the grand total of two seconds?

Or why a bomb was stopped on an important number reference?

Or why THEY LITERALLY CAST SOMEONE WHO HAD BEEN IN A BOND MOVIE TO HEAD SHERRINFORD???

Coincidence? The universe is rarely so lazy.

Below the cut:

An exhaustive list and picture reference for every Skyfall parallel

References to other James Bond movies

How we know it’s canon Sherlock has seen the James Bond movies

How, in the end, this all circles back to Johnlock

Skyfall Parallels

Skyfall opens with Bond in pursuit of a hard drive containing the identities of intelligence agents

Which the bad guy is stupid enough to wear around his neck

But whatever. M is heading up the operation at MI6, where they are tracking Bond

Who is chasing the bad dude through a bazaar

During the course of which he drives his motorcycle on stairs

Because apparently all MI6 agents have mad motorcycle skills The pursuit ends with Bond chasing the bad guy to the top of a train, where he gets shot

Bond ultimately gets shot again and falls over the side of the train

And into a river that carries him over a waterfall

And pulled under into “deep waters.” Which is basically the essence of EMP theory. During the credits sequence we are given a shot of a woman holding a Walter PPK, the gun model Bond uses throughout the movie. This shot will come back to haunt us later. Until then...

After the shooting at the waterfall, Bond is declared dead

And he lets everyone go right on believing it and for the moment, the audience believes he is as well.

The bad guys, now in possession of the hard drive, hack into MI6 *cough*Mary on her cellphone in TAB*cough* and this message pops up on M’s laptop

“Think on your sins” is what I believe the entire point of TFP is, but that’s a meta all on its own In her rush to get back to MI6, she is stopped on Vauxhall Bridge and is forced to watch as MI6 is blown up

After the terror attack, we are shown that Bond is alive

And sporting a pretty wild array of scars from various missions, some of which are on his back

He goes drinking in a beachside bar where he finds out from a CNN bulletin that there was a terror attack in London and he goes back to take down those who did it

If Mycroft can be Wikipedia he can also be Wolf Blitzer. Upon arriving back in London, Bond decides that his best course of action is to go scare the shit out of M as his way of announcing he’s back and to tell her that his faked death lent “perspective”

M accepts him back on the condition that he passes his physical and mental exams at MI6. Bond goes in and when faced with the psychiatrist, he’s told he’ll have to go through a round of word association

He does fine until he’s faced with the word Skyfall

He freezes when it’s uttered and then walks out of the room. M tells him in her super cool office that he’s passed his exams and is assigned to go after the agent who took the hard drive and find out who he’s working for

Bond meets Q at the National Portrait Gallery where he’s given the papers he’ll need to go after the agent in Shanghai

Once in Shanghai, he follows the agent to a business building where he sets up a perch to assassinate someone in the next building over

Bond then fights the assassin, who pushes him through a glass pane

And you know what’s behind them during this fight scene?

A HUGE BLUE DISPLAY OF JELLYFISH. Bond Sherlock and the assassin trying to kill him Mary in front of a massive display of blue jellyfish wow wow ANYWAY. Bond is still looking a hot mess and after a shave

He gets back in his groove. Next he goes to a crazy beautiful floating casino to cash in a chip he found on the agent he killed. A woman comes down to meet him who he knows is connected to the big bad guy who is behind the terrorist attack on MI6. When he wants to have a conversation with her free from prying ears, he removes his earpiece

She agrees to take Bond to the island where the big bad guy is via boat

It’s an abandoned island based on a real one called Ghost Island

Bond comes face-to-face with the villain, Silva, who was a former agent that went rogue *cough*Mary*cough* Silva tells him a story about how his grandmother had an island and that when it became infested with rats, she set a trap that the rats fell into and for survival, they began eating one another. When there were only two rats left, she released them back into the wild because they only ate rats anymore. He implies that they are the last two rats, that they are alike and should team up. “Eat others or eat each other” *cough*Moriarty*cough* Silva then goes onto use sexuality to faze Bond

The confrontation continues and Silva says that he hacked MI6′s system and pulled up Bond’s file. It revealed that M lied when she said Bond passed his tests and that the psychiatrist determined he had a substance abuse problem and authority issues traced back to “unresolved childhood trauma.” He taunts Bond’s dedication to Queen and country, saying he needs a hobby. Bond says his is ”resurrection.” This all ends with Silva being taken into custody and back to London. He’s contained in a “prison inside a prison” type cell

Silva confronts M when she comes to see him for turning him over to the Chinese who tortured him for five months before he managed to escape Ajay is that you? M leaves for a meeting that could determine the fate of the 00 section of MI6. During this meeting, she quotes Tennyson’s Ulysses, a poem the late poet described as being about his "need of going forward and braving the struggle of life" after the loss of a friend Sherlock post-wedding anyone? Meanwhile, Q is shown to be examining Silva’s computer and in doing so inadvertently releases a program that hacks MI6′s systems to open every door, allowing Silva to escape and go after M to kill her for her perceived betrayal. Bond chases him into the Underground

Into a station

And exits at Westminster

I am literally setting this show on fire Bond gets to the meeting and manages to extract M before Silva can kill her. He says they need to ditch the government car because of its tracking system and he takes her to his storage unit where his Aston Martin is stored

Bond proceeds to take her to a place where he believes he’ll have the upper-hand against Silva: Skyfall, his ancestral home

Which even comes with a creepy graveyard and everything

When they are approaching it, he remarks that a east wind “storm is coming.” With the help of M and the old groundskeeper, Bond sets up defenses inside Skyfall. At sunset, Silva arrives with his goons in a helicopter

Blasting Boom Boom by The Animals

Which Bond calls out by saying “Always got to make an entrance.” Silva then proceeds to fuck shit up. He opens fire on Skyfall, throws explosives, the works. Skyfall burns to the ground

Have you set everything you own on fire yet? I have Bond escaped Skyfall through a hidden tunnel (after remarking that he hated the place), but Silva and one of his men manage to catch up with him as he’s running across the frozen lake Musgrave Hall had a lake too LORD HAVE MERCY Bond struggles with Silva’s dude behind him for his gun and shoots a circle into the ice below them, making them fall into the freezing water where they fight

And Bond kills him. Bond makes it to Skyfall’s chapel, where M and the groundskeeper are hiding, and kills Silva with a knife in the back, saying, “Last rat standing.” When M sarcastically asks what took him so long he replies, “Got into some deep water.” FUCKING SHOOT ME M sadly dies from a gunshot she got during the assault on Skyfall, which devastates Bond. Bond returns to London, which is when we get the shot we all know and love:

Now what’s interesting about Skyfall is that, unlike most Bond movies, the iconic gun barrel shot is at the end and not the beginning

With the red bleed shot differing greatly in shade

Now remember that shot at the beginning I said would come back to haunt us? The one comparing Norbury and the woman in the credits sequence holding a Walter PPK, which is traditionally Bond’s gun?

It’s especially interesting here because when compared to the ending of TLD, it is the gun used in the gun barrel shot, but the gun Eurus’ was using and fired at John is clearly not a Walter PPK

It’s a Sig Pro SP2022. So what’s the significance of the change? Why flash back to a Walter PPK?

BECAUSE MARY USED A SUPPRESSED WALTER PPK WHEN SHE SHOT SHERLOCK. If I’m right in thinking everything we’ve seen since Mary shot Sherlock has taken place entirely in Sherlock’s head, him flashing back to Norbury’s/Mary’s gun is further proof that the simulation he’s running is breaking down.

That, and he wasn’t willing to let a pesky detail like the type of gun Eurus used get in the way of him fulfilling his Skyfall Bond movie fantasy simulation because he loved that fucking movie so much. LOVED IT. Him and John have watched it at least 10 times.

It’s also not the only wonky detail about the gun barrel shot ending. You know how I said the blood color was different? Well, the red used in TLD closely resembles the red used in The Living Daylights gun barrel shot

You know, the one that featured a character named Kamran Shah played by Art Malik

Who played the governor of Sherrinford in the next episode. AMAZING

Other James Bond Movie References and Notes of Interest

Diamonds Are Forever (specifically mentioned on John’s blog (x))

The villain has faces crafted like his own and recruits body doubles to fake his death in case people like Bond or others come to kill him hello Irene/Moriarty hired Sherlock imposter in TRF When Bond “kills” him he says “Welcome to Hell” which will come to play later in another meta

A wallet being used to falsely identify someone (John as Sherlock in TBB)

This bullshit

During a scene when Bond implies that the diamonds are hidden in the dead guy’s ass. A guy who was falsely identified as Bond. Wow. Just wow.

When the dead “James Bond” was found, Bond says “Just proves no one is indestructible.” A mirror of Sherlock saying “I’m known to be indestructible” in TEH

The dead “Bond” is carried off in a hearse. Kind of like how the title TEH implies Sherlock’s body wasn’t in the hearse because he was alive, which is the case here

Two assassins trying to kill Bond, Mr. Wint and Mr. Kidd, are a gay couple

“I’m afraid you’ve caught me with more than my hands up.” A nice dick pun that plays nicely into the 8,000 dick puns on Sherlock

The chick Bond works with only has communication with her connection to the diamond smuggling ring over the phone. Moriarty stays disconnected from his crimes, except for when he talks to the old lady hostage on the phone and Irene

Bond goes into a subterranean lab to find the diamonds. Reminiscent of the subterranean lab in HoB

The Spy Who Loved Me

First of two movies featuring Jaws, a villain who tries to kill Bond

He has metal teeth (like one of the guys who tortured Ajay in TST) and is extremely tall (like the Golem in TGG). One of the more memorable Bond villains

The title could be taken literally as being about Mary loving John it’s a selfish love but you get the gist

“I need you.” - woman to Bond (”Who needs me this time?” - Sherlock to Mycroft in HLV) “So does England.” - Bond to woman (”England” - Mycroft to Sherlock in HLV)

Woman Bond works with drugs him with powder in her cigarette so he’ll pass out, like Mary drugging Sherlock with powder in the letter in TST

Villains lair is aquarium-like and has sharks, which he points at and says “There’s death.” The pane you see the shark through is like the circle ones in the aquarium in TST and the death comment over the shot of the shark was like when Sherlock recites the Merchant of Samarra over shots of sharks in the beginning of TST

The Living Daylights (featuring Art Malik)

The woman Bond helps has a Stradivarius cello named Lady Rose, which was assembled in 1724. Eurus is said to have a Stradivarius violin in TFP. And Lady Rose, they call John’s baby Rosie

Once the crisis is averted and the woman saved, Bond sees a sign that gives the miles to Karachi. When he sees it he says to her, “I know a great restaurant in Karachi. We might be in time for dinner.” Sherlock saved Irene in Karachi

Various Other References

The numerical significance of a bomb time stop in Goldfinger (bomb in TEH)

A media mogul who uses blackmail to manipulate world leaders in Tomorrow Never Dies (Magnussen in HLV)

“James Bond is a blunt instrument wielded by a government department.” - Ian Fleming (James Bond creator). M refers to Bond as a “blunt instrument” in Casino Royale. There was also a song titled “Blunt Instrument” on the Casino Royale soundtrack composed by David Arnold. YES, THAT DAVID ARNOLD. The one who does the Sherlock soundtrack with Michael Price. Mycroft refers to Sherlock as a “blunt instrument” in HLV

Sherrinford has the sleek glass and stone appearance that is reminiscent of several Bond villain lairs

Mycroft’s insane umbrella sword/gun would fit right in with all the other crazy contraptions that come out of MI6 development

There are two Bond movies literally titled You Only Live Twice and Die Another Day, a theme Sherlock has been fucking around with since forever

BTW I think it’s hilarious that when a critic put Sherlock on blast after TST for “slowly morphing into James Bond” (x), Gatiss wrote a poem that basically said “fuck you Sherlock can be physical too” (x). Like, that review wouldn’t have gotten nearly as much attention as it did if Gatiss didn’t respond to it. This was basically cannon fire intended for us to take notice of. Like, bro, I’m already here. I see you.... and all your James Bond references.

James Bond in Sherlock’s Canon

Between the case write-ups of ASiP and TBB, John makes a blog post titled Diamonds are forever (x) where he bemoans Sherlock not taking a case about a missing diamond because he found it “boring” shout out to John for being all excited and ready with a blog title for a prospective case Things get interesting in the comments section when Sherlock asks where he’s heard the phrase “diamonds are forever.” John responds that it’s a James Bond movie and that they’re doing a “Bond night.”

Even though Sherlock acted salty in the comments, we do know from his own blog (x) that he did watch a Bond movie with John, potentially Diamonds Are Forever since that is the one John referenced

While James Bond is not mentioned on the blog again, it is featured in ASiB when Mycroft says “Bond air is go” and Sherlock later figures out that it is connected to flight 007. We can now assume that it is because John made him watch Bond movies that Sherlock understood the references

Johnlock

Something every Bond movie features is a Bond Girl. Ever since the early Bond movies, actresses have vied for the role. There is a massive amount of publicity surrounding whoever is being considered for the role and ultimately whoever gets it. It’s a huge deal. The name of the girl always changes and so does her role, but there is one constant:

Bond always, ALWAYS, gets the girl

If Sherlock is imagining his life right now as one big Bond movie, the huge aspect of romance is currently missing, which John said in TLD would complete him. It’s not so far-fetched to think that Sherlock will also get the girl in the end

Or, since Sherlock is gay, get the guy

When Johnlock happens, Gatiss and Moffat will have, in a sense, created not only the first explicitly confirmed gay Sherlock, but Bond as well. Even for them, that’s pretty audacious. Cheers to you sirs!

tl;dr

There are a shit ton of Skyfall references in Sherlock starting in series three, reaching a crescendo in series four, and Gatiss and Moffat are creating the first explicitly confirmed gay Sherlock and Bond.

PS - A special thank you to my boyfriend who, much like John, made me watch the James Bond movies, which is how I picked up on all these references. I thought they were ridiculous but, much like Sherlock, I enjoyed the time with my boyfriend.

#tjlc #johnlock #sherlock #james bond #skyfall #bbc sherlock #mark gatiss #steven moffat #emp theory #my meta #sherlock meta

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mrmichaelchadler · 6 years

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Thumbnails 8/28/18

Thumbnails is a roundup of brief excerpts to introduce you to articles from other websites that we found interesting and exciting. We provide links to the original sources for you to read in their entirety.—Chaz Ebert

"Miranda Harcourt on 'The Changeover' and Whānau Values in New Zealand": At Indie Outlook, I interview the acclaimed actress and acting coach about her terrific new feature that she directed with her husband, Stuart McKenzie. We also discuss her ingenious coaching techniques, clients such as Melanie Lynskey and Nicole Kidman, and her daughter, "Leave No Trace" star Thomasin Harcourt McKenzie.

“I was coaching a few actors via Skype for the role that Thomasin ended up playing in ‘Consent,’ and she was reading a book while listening to our session. After I hung up, Thomasin said in her little voice, ‘I’d like to audition for that role,’ and I went, ‘What? But you hate acting.’ She replied, ‘No, it sounds like a really great story to tell,’ so we did a little read-through of the script right here, exactly where I am sitting right now. I was like, ‘Oh my god, you are amazing.’ It was a great performance, and when she went in for the audition, she got the role. The film was directed by Robert Sarkies, who also made another great New Zealand movie, ‘Out of the Blue.’ Even now, I don’t think Thomasin has seen all of ‘Consent,’ because she wasn’t even allowed to see the bits that she was in. She’s only in the first 17 minutes, but it’s a very intense journey. It took a lot of courage for her to portray a girl who is raped. Francis Biggs, one of my students I taught at Toi Whakaari: New Zealand Drama School, portrayed the rapist with whom Thomasin had to play that scene in ‘Consent.’ We’re both really grateful to Francis because he and Thomasin did ‘hug to connect’ before they played that scene. It enabled Francis and Thomasin to play quite an intense rape scene together so that they are in the flow of telling that story together. They weren’t in opposition, which would’ve been very psychologically damaging, not only to Thomasin, who was 13 at the time, but also to poor old Francis, because it was not a happy job for him. I’ve got a collection of great photographs chronicling the interactions that Thomasin and Francis had in order to build that relationship over a couple of weeks while preparing for the scene. Over the couple of weeks after they did that scene, Thomasin would consistently check in with him and say, ‘Hey Francis! I’m really proud of the work we did together, and I hope you feel good about it too. Just remember—it’s only acting!’”

"Call it a Comeback: The Inside Story of Elvis Presley's Iconic 1968 Special": As remembered by our contributor Donald Liebenson at Vanity Fair.

“Elvis looms large in the singer’s legend. The live-wire special is featured prominently in two 2018 documentaries, Eugene Jarecki’s ‘The King’ (now in theaters) and Thom Zimny’s ‘The Searcher’ (on HBO). It capped a decade in which Elvis could mostly be seen only in the movies, and, increasingly, not very good movies at that. Taped in June and broadcast on December 3, 1968, it was his first television appearance since 1960, when he guest-starred on ‘Frank Sinatra’s Welcome Home Party for Elvis.’ At the time, he hadn’t performed in front of a live audience in seven years. But Presley and Binder’s creative team delivered. [Steve] Binder, a self-professed ‘West Coast guy into surf music,’ finished the special feeling in awe of Presley. ‘For me, the ‘68 special is seeing a man re-discover himself,’ Binder said. ‘I saw it on his face and in his body language as we progressed.’ Susan Doll, author of Elvis for Dummies, agreed. ‘I think it’s the peak of his career,’ she said. Col. Tom Parker, Presley’s infamously controlling manager, had promised NBC a one-hour special if the network financed Presley’s next film—‘Change of Habit,’ Presley’s screen swan song, released in 1969. He never told Presley about the deal, with good reason: ‘Elvis didn’t want to do television,’ Binder said. ‘He felt he had been burned by it.’ Even Steve Allen, the talk-show host hip enough to give Lenny Bruce a shot on prime time, forced cheese on Presley, putting him in a tuxedo to sing ‘Hound Dog’ to an actual hound dog.”

"'It Was No Gang, It Was One Guy, And He Wasn't Really a Killer': Producer and Star Edward James Olmos on 'The Ballad of Gregorio Cortez": In conversation with Jim Hemphill of Filmmaker Magazine.

“When Bob [Young] agreed to do the picture and rewrite the screenplay from scratch, he and I went to the real locations where it all happened. We went to Gonzales, Texas, where they captured and imprisoned Gregorio Cortez, and we found the exact prison. We found his cell. The jail and the courthouse were exactly how they were in 1901, it gave us an authenticity unlike anything I had ever experienced before in film. We had to talk the district court judge in Gonzales into letting us use the courthouse, and when he asked us what kind of movie we were doing, Bob kept speaking in general terms of how important our subject was to Mexican-American people and to the Latino culture, but he wouldn’t say the name because at that time no one knew who Gregorio Cortez was. The judge kept asking, ‘What’s his name?’ and finally Bob says, ‘His name is Gregorio Cortez, but he’s a really important—‘ and this guy says, ‘Stop, stop. I’ve been waiting for you guys for 35 years.’ He opens his filing cabinets, and in these cabinets is every single piece of testimony and every single newspaper article from around the country related to the trial. This judge was the foremost authority on the case in the world, bar none. He felt it was one of the most important cases in U.S. history because it was the first time a Latino had been tried in an American court of law, and with an interpreter, which was unheard of in 1901. This guy had filing cabinets filled with material, because the case was followed all over the country – it involved something like 600 Texas Rangers in hot pursuit of what they thought was a Mexican gang of killers. And it was no gang, it was one guy, and he wasn’t really a killer – it was self-defense. Anyway, discovering all that material was just unbelievable. It was magical. And it allowed us to make what the United States Historical Society claimed to be the most authentic Western ever made in American film, ever.”

"John McCain, War Hero, Senator, Presidential Contender, Dies at 81": Robert D. McFadden of The New York Times reflects on the honorable legacy of the late politician.

“In a 2018 memoir, ‘The Restless Wave: Good Times, Just Causes, Great Fights and Other Appreciations,’ he defended Ms. Palin’s campaign performance, but expressed regret that he had not instead chosen Senator Joseph I. Lieberman, a Democrat-turned-independent. At some McCain rallies, vitriolic crowds disparaged black people and Muslims, and when a woman said she did not trust Mr. Obama because ‘he’s an Arab,’ Mr. McCain, in one of the most lauded moments of his campaign, replied: ‘No, ma’am. He’s a decent family man, a citizen that I just happen to have disagreements with on fundamental issues.’ Analysts later said that Mr. Obama had engineered a nearly perfect campaign. And Mr. McCain confronted a hostile political environment for Republicans, who were dragged down by President George W. Bush’s dismal approval ratings amid the economic crisis and an unpopular war in Iraq. On Election Day, Mr. McCain lost most of the battleground states and some that were traditionally Republican. Mr. Obama won with 53 percent of the popular vote to Mr. McCain’s 46 percent, and 365 Electoral College votes to Mr. McCain’s 173. ‘Few of us have been tested the way John once was, or required to show the kind of courage that he did,’ Mr. Obama said Saturday. ‘But all of us can aspire to the courage to put the greater good above our own. At John’s best, he showed us what that means.’”

"Inside Patricia Clarkson's brutal 'Sharp Objects' performance: 'It's dark and nasty and twisted and beautiful'": The actress chats with The Washington Post's Jessica M. Goldstein about her role in HBO's excellent miniseries.

“In Wind Gap, poison is poured down the throats of unsuspecting children. Baby teeth are pried from little girls’ gums, and skin is sliced until it scars. Yet the most transgressive act of violence in town is the low, almost-whispered delivery of four small words. Over a drink, by candlelight, a mother tells her daughter: ‘I never loved you.’ There’s no shortage of cruelty in ‘Sharp Objects,’ the eight-part HBO miniseries based on Gillian Flynn’s 2006 debut novel, whose women pass trauma from generation to generation like a haunted heirloom. But no one cuts quite like Adora, played by Patricia Clarkson. She’s a matriarch [...] who coolly tells her wayward eldest daughter, Camille (Amy Adams), that she feels nothing for her, save for disappointment and disgust. Clarkson, the 58-year-old New Orleanian actress who sees glimmers of her own grandmother in the best parts of Adora, knows these scenes appear brutal. ‘But I think why they have the impact they do is that I don’t think Adora ever thinks of them as brutal,’ she said by phone from her apartment in New York. ‘I think that was what was essential. When I tell her I never loved her, I think it’s just Adora feeling connected to her for a moment to be as honest as she can be. … Sometimes she was just openly cruel. But other times, I think, when she speaks, she’s actually revealing the truth.’ ‘This is the most violent line in the series,’ said director Jean-Marc Vallée. ‘It’s not something you say to your child. … You just destroyed her! And she’s not realizing that. Or maybe she does, and she’s that cruel, that evil. But we’re not sure. And that’s what’s great about the character: that you try to understand, and you’re not sure.’”

Image of the Day

Robert Redford and Jane Fonda starred in "Barefoot in the Park," the 1967 screen adaptation of the 1963 play, one of four works by the late Neil Simon selected by Vox's Aja Romano to illustrate why he was one of America's greatest playwrights.

Video of the Day

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Stella McCartney's profile of David Lynch is a stirring ode to the role intuition plays in one's creative process. Look for cameos by "Moonlight"'s Ashton Sanders and "American Honey"'s Sasha Lane.

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Globe, October 5

You can buy a copy of this issue for your very own at my eBay store: https://www.ebay.com/str/bradentonbooks

Cover: Jeffrey Epstein’s assistant Sarah Kellen Vickers’ shocking deposition and why Ghislaine Maxwell is terrified of her testimony

Page 2: Up Front & Personal -- Anne Heche laughing, Serena Williams on the court at the U.S. Open, Justin Theroux cleans up after his dog in NYC

Page 3: Josh Duhamel in a sling, A.J. McLean bald and wearing a mask and sporting a nasty scalp scar, Julianne Hough drinking in Studio City

Page 4: Fox News’ popular pundit Andrew Napolitano who is a former New Jersey Superior Court judge is accused in a civil suit of forcing a male defendant to give him oral sex in exchange for a light sentence, David Bowie lured Tina Turner into a steamy tryst by dancing naked in front of her wearing one of her wigs and mimicking her singing Rolling on the River in 1985

Page 5: Furious mom of eight Kate Gosselin is determined to win back custody of son Collin after the teen sparked a child abuse furor by publicly claiming his raging dad Jon Gosselin kicked him for denting their car, Kelly Clarkson is keeping her lips zipped about her heart-shattering divorce from Brandon Blackstock so their young kids won’t be wounded by an ugly public fight

Page 6: TV’s queen of mean Ellen DeGeneres isn’t just despised by her staff and crew she’s also hated by her housekeepers who she treats like dirt

Page 7: Accused sex fiend Prince Andrew is a disgrace and the monarchy is erasing him from official family photos and banning him from all major events -- tarred by his dozen-year friendship with convicted pedophile Jeffrey Epstein and charges he bedded one of the billionaire’s teen sex slaves Andrew was just eliminated from his father Prince Philip’s 100th birthday celebration set for June 10

Page 8: Glee star Naya Rivera didn’t have to die -- the 33-year-old actress drowned on a boating trip with her son and her death was ruled an accidental drowning but a renowned forensic pathologist says the tragedy could have been prevented because she had vertigo and it may have triggered a panic attack as she struggled to get back in the boat -- if she had been wearing a life jacket she’d probably still be alive

Page 10: Former president Jimmy Carter has come clean about Willie Nelson getting high on the White House roof with his son Chip, Lisa Marie Presley reveals she divorced Michael Jackson after he pressured her to have a baby -- Michael already had his dermatologist’s assistant Debbie Rowe lined up to be his baby mama and he sucker-punched Lisa Marie with an ultimatum have my child or Debbie would do it

Page 11: Tiger Woods’ worst nightmare is coming true as ex-galpal Rachel Uchitel is finally dishing the dirt on their steamy affair that destroyed his marriage and put his golf career in a tailspin -- Rachel is in talks to join The Real Housewives of New York City and finally wants to set the record straight

Page 12: Celebrity Buzz -- Miles Teller wearing his mask wrong and wearing two caps (picture), Candace Cameron Bure barked back at fan backlash blasting the wholesome TV star for posting a cheeky snap of husband Valeri Bure cupping his famous wife’s breast, Jessica Alba sobbed like a baby after discovering her 12-year-old daughter Honor is taller than she is, Zac Efron apparently has a thing for brunette beauties named Vanessa -- having once famously romancing his High School Musical co-star Vanessa Hudgens he’s now head over heels for a 25-year-old Aussie waitress named Vanessa Valladares, Tampa Bay Buccaneers quarterback Tom Brady is done with cold weather forever -- after spending two decades with the New England Patriots Tom has really warmed up to Florida’s balmy year-round weather and his new team but his daughter Vivian doesn’t like it hot all the time

Page 13: Britt Ekland (picture), Jason Sudeikis at the beach (picture), Selma Blair’s hair has grown back after chemo treatment for MS (picture)

Page 14: Reese Witherspoon lives in a newly renovated multimillion-dollar Nashville mansion but it’s her closet that’s a priceless showstopper because she turned a massive walk-in closet into a museum with wardrobe treasures from her iconic gigs like Legally Blonde and Walk the Line as well as lavish gowns and accessories she’s donned on the red carpet, Selena Gomez’s gourmet kitchen got too hot for the culinary novice to handle so she got herself an HBO show she shoots at home called Selena + Chef where the star invites renowned chefs to give her cooking lessons via remote video, Fashion Verdict -- Joy Bauer 7/10, Katherine Waterston 4/10, Nathalie Emmanuel 3/10, Vanessa Kirby 10/10, Maya Hawke 2/10

Page 16: Jane Fonda’s great regret was skipping some Sexual Healing from singer Marvin Gaye who was gaga over her, Bar Refaeli barely escaped jail after being convicted of cheating her native Israel out of a fortune in taxes but she did get nine months of community service plus a $1.5 million fine and was ordered to pay back taxes on $7.5 million in earnings

Page 17: Chris Evans was red-faced after accidentally posting fully nude social media selfies showing the Captain American hunk standing stiffly at attention

Page 18: 10 Things You Don’t Know About Liam Neeson, Jay Leno has a new gig hosting the iconic game show You Bet Your Life, drama-plagued Denise Richards won’t be returning to The Real Housewives of Beverly Hills after a stormy two-season stint on the show

Page 20: True Crime

Page 24: Cover Story -- Murdered pedophile Jeffrey Epstein’s accused madam Ghislaine Maxwell is shaking in her prison cell terrified the billionaire pervert’s former personal assistant Sarah Kellen Vickers will rat her out to the federal prosecutors who’ve charged her with sex crimes -- the feds could get a slam-dunk case against Ghislaine by making a deal for Sarah to squawk but so far she’s not talking

Page 26: Health Report

Page 30: Hoda Kotb is moving fast to have baby No. 3 with fiance Joel Schiffman at age 56 -- the two are in seventh heaven raising her adopted daughters Haley and Hope and want to add a boy to their brood

Page 38: Real Life

Page 44: Straight Talk -- in a desperate bid to get attention and return to relevance forgotten celebrity Paris Hilton has joined the crusade to help Britney Spears gain control over her $59 million fortune

Page 45: Caitlyn Jenner is feeling smug about Keeping Up With the Kardashians ending its run after 14 years on TV but she’s upsetting her reality star relatives by reveling in their misery plus Caitlyn who appeared on the E! show for several seasons as Kris Jenner’s husband Bruce believes things would have been different had they not iced her out of the series

Page 47: Hollywood Flashback -- John Candy in 1989′s Uncle Buck, Bizarre But True

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