#daniel brühl doc

[daniel-bruhls]

Daniel Brühl on his ‘Inglorious Basterds’ audition

Daniel Brühl - A European in Hollywood

#daniel brühl #daniel bruhl #a european in hollywood #inglourious basterds #daniel brühl doc #my content #doc gifs

[lorna-d-m]

Drabble: Western Danny

Lately I've been thinking a lot about mustachioed slightly blonde Daniel Brühl in a like 1860s transcontinental railroad brooding widow with a heart of gold kind of way...

Like keep his name Danny, there's something about that that suits him. He's widowed, maybe carrying the burden of his wife and son's deaths and looking to go west, build a new life.

And she's married to a horrible man, oh so charming at first, but awful as time goes on. At best, she's invisible to him. At worst, she's a target. And it's not until she meets Danny that she realizes how strong the ties that bind can be, how pure and hopeful love can be. Danny cares for her and her young daughter, protects them.

This is just a ramble, but it's being tucked away somewhere in a google doc

#daniel brühl #rambling #this is not very detailed #but I have many thoughts

[lettalady]

For the fic writer ask game! 😊

🔮, 🚀, 🍬, 💕, and 💛

[ Fanfic Writer Ask Game ]

ooooh sorry darling I didn't see this ask last night! I'll take a stab at it today!

🔮 Any advice for writers working through burnout or writer’s block?

Oh I'm so very probably not the person to ask this.... Nobody look at the pile of WIPs sitting in the corner booth casting accusatory looks my direction as I play with a new cast of characters. Ooooh. But maybe being willing to play with new WIPs and concepts and characters is the way to battle back against a blockage? (I've also taken to muttering: holy shit two cakes.)

🚀 Do you like to outline your fic first or create as you go?

I tend towards a mixture of both, at least when I've gotten something that's gripped me in a way that pulls me towards something more than a blurb or (ahem, extended) oneshot. Usually the case is that I'll have these moments of dialogue or plot points that establish the arc, and I'll scribble those down in a doc or notebook just to see if sleeping on it will change the sequencing. From there I tend to let the characters take the wheel and see if they'll cooperate or venture off on a plot of their making. (... this is not necessarily a path to being sane/ method I would recommend if you need structure and for the characters to follow it exactly as you maneuver towards the middle and end, but it's fun all the same.)

🍬 Do you write for multiple fandoms? If yes, what is your favorite fic of yours for each fandom?

I live in fear of the form of media I consume that pulls characters from the screen or page and they set up camp in my head. That being said, it's so much fun to greet new characters and figure out what story I want to tell from them/that particular fandom. Currently still have running ... we'll call them major WIPs... in the following fandoms: Tom Hiddleston (including characters/ AU versions of the actor), Chris Evans (including characters/ AU versions of the actor), Daniel Brühl (including characters/ AU versions of the actor, two of which haven't been posted yet). *I do play in other fandoms with little blurbs but haven't been sucked into creating full stories... yet*

Fav TWH fic is a tough one cause I adore the various works for different reasons. I'm in an angsty mood today so let's go with Unsettled. Fav CRE fic is A Turn of the Knife, cause Ransom is a menace. Fav posted DB fic is LJH... The Baron & The Dove? No... wait... Who We Were Before. Cause reasons.

💕 What is your favorite fic that you’ve written?

I could sooner pluck a star from the heavens than point at any single one and say that one above all others. There's too much of me in each of them.

💛 What is the most impactful lesson you’ve learned about writing?

Forever and always learning, but I think thus far it's: enjoy the journey. Do the research, make the gifsets, compile the photos and songs that inspire words or just remind you of the characters. It's not time wasted because it brings you joy.

oh oh oh, also: don't trust your brain to remember. WRITE IT DOWN

[ honorary mention to: don't delete, just move the idea to *unused, as of yet* and move on ]

#ask games #ask games: fanfic writer #thank you for the questions!! fun way to spend Sunday morning!

[bensolosbluesaber]

It's a proven fact that if your school's antibullying program used the "bullies are struggling with their own insecurities" curriculum you are now attracted to morally gray fictional characters

#kylo ren #ben solo #baron zemo #bucky barnes #the winter soldier #druig #wenwu #wanda maximoff #scarlet witch #haymitch abernathy #doc ock #alfred molina #Adam driver #Sebastian stan #yelena belova #daniel brühl #draco malfoy

[ice-queen-007]

Smart, misunderstood, deep voice, european accent, over 40... ❤️

#daniel brühl #mcu #tfatws #baron zemo #benedict cumberbatch #what if #doctor strange supreme #alfred molina #spiderman 2 #doc ock #star trek #star trek into darkness #khan #marvel #marvel series #disney plus #moon knight #steven grant #mr knight #his accent #oscar isaac #tom hiddleston #loki #loki series #glorious purpose

[queenlyfae]

Someone on Twitter suggested that the reason why Daniel Brühl does that thing with his hands™️ is because he has stomach pains and so I’m sitting here just like ‘am I going to have to drag this man to a gastroenterologist to find out if he has ulcers or something?’

The man is in Europe where going to go the doc is ACTUALLY affordable come on Daniel get it together

#daniel bruhl #no context #daniel brühl #bro plz #you’re in Europe #going to the doc is like ten bucks #I love your hands but plz man if it’s a sign of pain don’t keep torturing yourself

[dragon-kazansky]

Actors and characters I currently (want to) write for

Daniel Brühl:

Helmut Zemo

Laszlo Kreizler

Niki Lauda (upon request)

Andrea Marowski

Mads Mikkelsen:

Hannibal Lecter

Le Chiffre

Duncan

Nigel (Upon request)

Alfred Molina:

Otto Octavius (Doc Ock)

Anson Mount:

Christopher Pike

Ben Barnes:

Aleksander Morozova (The Darkling)

Daniel Craig:

James Bond

Benoit Blanc

And all current Doctor Who characters!

This list will change every so often. I can only write for anything that brings me joy.

All Eternals are open to requests

#character and actor list #request only from here

[jangofctts]

zemo is hot and u should say it (i've had a thing for daniel brühl for so goddamn long and i refuse to apologize for it) 🍭

god yall are really mAKIN ME OPEN A DOC HUH

#ask #keida answers #🍭

[why-munich]

Over 100 000 visitors – ZFF is the #1 Film Festival in Switzerland

Zurich, October 3, 2021

The 17th Zurich Film Festival, which ends this Sunday evening, continues to grow, with 50 percent more visitors than last year. Welcoming more than 102’000 visitors, it is the largest festival in Switzerland for the second time in a row. Hollywood icon Sharon Stone was delighted, as were auteur filmmakers Paolo Sorrentino and Paul Schrader, to once again be able to make personal contact with the audience. In addition, NO TIME TO DIE, the most highly anticipated film in years, was launched during the ZFF, and numerous up-and-coming directors presented their debut works as world premieres.

The 17th Zurich Film Festival (ZFF) is thrilled with the outcome of its purely physical edition, which took place with a full programme of 164 films from 53 countries. 102’000 visitors came to the ZFF, that figure was 68’000 in 2020, making it the most visited film festival in Switzerland twice in a row.  

“Our expectations were far exceeded,” said Festival Director Christian Jungen. “The last few days have impressively shown that people are once again in the mood for cinema and shared common experiences. The mood was positive right from the start and many international guests were touched because they were able to present their films to a real audience for the first time.”

The new venue in the Zurich Convention Center, Switzerland's largest cinema, has contributed to the growth. Yesterday Saturday alone, four performances there were sold out with 1300 spectators each. A total of 67 screenings were sold out, with the festival recording the greatest growth in attendance in the three competitions for the Golden Eye. “We have succeeded in winning a loyal, cinéphile audience, which is prepared to engage with demanding works and also attends afternoon screenings in increasing numbers,” explains Christian Jungen.

Among the guests the ZFF had the pleasure of welcoming were such auteur filmmakers of international standing as Jacques Audiard, Todd Haynes, Paolo Sorrentino and Paul Schrader, character actresses like Cécile de France and veteran star Timothy Spall, the Oscar-winning composer Mychael Danna and Sharon Stone, who was honoured with the Golden Icon Award. The Hollywood star was delighted beyond measure and described the award as “simply the greatest honour of my career”.  

As part of the glamorous Award Night, the Golden Eyes, each endowed with a 25,000 Swiss franc cash prize, were presented to the winners of the three competition categories yesterday evening at the Zurich Opera House. The Golden Eye in the Focus Competition went to the Swiss film LA MIF by Fred Baillif. For his authentic social drama set in a home for girls, the director worked with actual residents who co-wrote the script, improvised and delivered impressively uninhibited performances. A Special Mention went to the German documentary BEHIND THE HEADLINES / HINTER DEN SCHLAGZEILEN by Daniel Andreas Sager.   The Golden Eye in the Feature Film Competition went to A CHIARA by the Italian-American director Jonas Carpignano. In this neorealist mafia and family drama, 15-year-old Chiara discovers her father's criminal involvement and delves deep into the milieu of the Calabrian 'Ndrangheta in search of answers. The jury, presided over by actor Daniel Brühl, gave Special Mentions to the American drama JOCKEY by Clint Bentley and the Iranian-French production BALLAD OF A WHITE COW / GHASIDEYEH GAVE SEFID by Behtash Sanaeeha and Maryam Moghaddam. LIFE OF IVANNA / ZHIZN IVANNY by the Russian-based director Renato Borrayo Serrano won the Golden Eye in the Documentary Film Competition. The doc follows a tough 26-year-old tundra nomad over the course of four years to show her fascinating yet equally harsh reality, and highlights her struggle for the survival of her family. A Special Mention went to the French-Belgian documentary SOY LIBRE by Laure Portier and the Swedish-produced film SABAYA by Hogir Hirori about female IS slaves. Strong Swiss Presence In addition to the festival’s guest country, Tunisia, Swiss film also enjoyed a strong presence. A total of 22 home-grown productions were screened, including the Taliban thriller AND TOMORROW WE WILL BE DEAD / UND MORGEN SEID IHR TOT by Michael Steiner, which opened the festival. Leaving a lasting impression in particular were filmmakers from western Switzerland, including Andreas Fontana, who won the Critics’ Jury’s Emerging Swiss Talent Award for his debut AZOR, and Fred Baillif, whose drama LA MIF won the Focus Competition. The Zurich Film Festival also screened two documentary films about renowned Swiss artist personalities as World Premieres: Erich Schmid’s ADOLF MUSCHG – DER ANDERE and Nathalie David’s HARALD NAEGELI – DER SPRAYER VON ZÜRICH. The Zurich Summit, which took place last weekend at the Dolder Grand, was also a great success. Leaders from the global film industry met to discuss the challenges facing the film industry. Among the participants was Pamela Abdy, the Game Changer Award-winning President of the legendary studio Metro-Goldwyn-Mayer's Motion Picture Group. The Chairman of MGM, Michael de Luca, was also present, as was Roeg Sutherland from CAA Media Finance. Daiva I. Petrosiene

[daniel-bruhls]

Kari Skogland on Zemo's dancing scene

Daniel Brühl - A European in Hollywood

#daniel brühl #daniel bruhl #kari skogland #the falcon and the winter soldier #tfatws #a european in hollywood #daniel brühl doc #doc gifs

[trashartandmovies]

Berlinale Film Festival 2021, Industry Event, Day 5

With Daniel Brühl’s NEXT DOOR and Dominik Graf’s FABIAN being geoblocked away from German laptops, that left only two Competition tiles to be screened on the final day of the Industry Event. The first was Alonso Ruizpalacios’s A COP MOVIE.

I haven’t seen Ruizpalacios’s previous features MUSEO and GÜEROS, so I had little expectation going into this one. About the only thing I knew was that A COP MOVIE had already been sold to Netflix — and, given the description in the press materials, that it was, in one form or another, a documentary film.

These two details make perfect sense together. Since Netflix first gained popularity around two decades ago, the documentary film has undergone a renaissance. Films that were once (maybe) seen at select arthouse cinemas in a few cities, but more likely on public television, were now available on demand. The phrase, “Did you see that documentary on…” is now a cliché. Documentaries are so popular nowadays that Netflix announced that every controversial murder since the dawn of the twentieth century is going to get its own five-part series. So yeah, it makes perfect sense that a documentary about police in Mexico City would find a welcome home at the streaming giant.

But as you already may have heard, A COP MOVIE isn’t your standard doc (some mid-point movie spoilers follow). The film starts out as the kind of reenactment-heavy crime film that has been used to effective ends since before Errol Morris’s A THIN BLUE LINE turned it into an investigative tool. At first we’re introduced to a Mexico City cop by the name of Teresa as she’s forced to deliver a baby because all of the city’s ambulances are busy elsewhere. Then we meet her parter in both work and life, Montoya, who’s struggling to keep it together amidst widespread corruption and not drown himself with alcohol. We think these cops are playing themselves in the reenactments (though there are a few clues that this may not be the case). Then a funny thing happens. The lights in the living room go out. The fourth wall collapses. The film crew enters. We’re then introduced to the actors who played the real cops in the reenactments — Mónica Del Carmen as Theresa and Raúl Briones as Montoya — as well as the real Theresa and Montoya. The movie then steps back to learn about the process the actors went through to prepare for their roles and understand their characters. This includes attending classes at the police academy, going on ride-alongs and filming video diaries during the whole experience.

It’s a pretty neat trick. By turning the mirror on itself, the filmmakers reveal the ideas behind the movie: the public perception of Mexico City police, how police offers are represented on film, and the fuzzy nature of reality. One of the points here is nuance, which is something that people today can’t get enough of. Which is to say, they don’t get enough of. The idea that there are both good cops and bad cops, isn’t exactly mind-blowing, but it’s worth making in the context of this film. Theresa and Montoya are good cops, and because of that fact, their story doesn’t end well. There’s a glimmer of hope that good people are still showing up at the academy, as well as a sense of just how much work needs to be done before these people can make a difference. Most of all, it’s a story being told in a way we haven’t really seen before.

Over the past few years, there’s been a small increase in the market for short films on the ever-growing number of streaming platforms. Mubi makes a point of highlighting them on the reg, Netflix is hosting more of them, and the reliable short film depots of Vimeo and YouTube are now easier to stream to your television. But seeing one on the big screen is still something that happens rarely outside of a film festival, which is a shame.

Still, catching the short films at a festival like Berlinale isn’t exactly a first choice for your average audience member, or your lowly press pass holder. Given the five-day arrangement of the Industry Event screenings, I didn’t get to many short films. But I did enjoy a couple. The first of which is DEINE STRASSE (YOUR STREET), by the Turkish-Swiss writer and director Güzin Kar. At under ten minutes, it’s a briefly heartbreaking story, narrated by the German playwright Sibylle Berg. Berg describes the street to some unnamed person. It’s a street on the outskirts of the German city, Bonn. There are businesses and houses. A roundabout. We start to understand that the street is named after the person Berg is addressing. Who is it? An immigrant child who fell victim to a neo-Nazi attack in the 1990s. It’s a quietly powerful piece of work.

The last Competition screening was Maria Speth’s long-awaited return to cinema, HERR BACHMANN UND SEINE CLASSE (MR. BACHMANN AND HIS CLASS). The three-and-a-half hour film is a deep dive into a fascinating subject: a sixth-grade Wilkommen class in a small industrial town in southern Germany. A Wilkommen class is where immigrant children will go, so that they can get the attention they need to learn the language and get what they need to enter the mainstream classes with native German students. To help them achieve this, they have the remarkable teacher Herr Bachmann.

We should all be so lucky as to have a teacher who doesn’t talk down to his students, who encourages openness, honesty, intelligence, individuality, staying true to your dreams, and the power of learning an instrument and playing music in a band. This film has been gaining comparisons, at least among American critics, to the work of veteran documentarian Frederick Wiseman, but this extends to more than just the length and quality of the film. Like Wiseman did in movies like HOSPITAL, WELFARE, CITY HALL and EX LIBRIS, Speth gets herself imbedded in a system to show the difficult work being done, the frustrating limitations the workers have to contend with, and the saintly individuals who try their best to persevere. The portrait of Herr Bachmann and his class is one that says, it is possible to take a difficult situation and do exactly the right thing — this is what it looks like. And given the time the film spends with the students, you also get invested in their improvement and whether or not they’ll get the stamp of approval to move on to the next level.

Herr Bachmann is invested in his students as well. Any teacher will tell you that dealing with kids, especially sixth graders, can be exhausting. And throughout the film, Herr Bachmann doesn’t shy away from learning the details about each kid’s family, or stepping in to help steer them toward a better future. He’s not one of these teachers who doesn’t get emotionally involved because he knows he only has a limited time to spend with these students. He’s going to try to do the best, and the most, that he can do to make them see their potential, open their minds, and instill tolerance and goodwill toward others. It’s more than a moving and inspiring portrait of a guy who’s really good at his job, it also shows just how good our education systems can be if we focus on helping kids become good human beings rather than just pushing them through some standardized machinery.

We’ll wrap things up with the next installment. After Day Five, the winners of the Competition and Encounters programs were made available over the weekend. So I was able to catch up with a couple Encounter pictures and one award-winning short. I’ll also try to provide some thoughts on what I think made this edition of the Berlinale stand-out from past years.

#Berlinale 2021

[tiffanyunscripted]

5 Billion Rentals: 6 Need for Speed Films from DVD Netflix

Rush (2013)

Charismatic British playboy James Hunt (Chris Hemsworth) and Austrian perfectionist Niki Lauda (Daniel Brühl) have shared an intense rivalry in Formula 1 racing in the mid-1970s. Driving vehicles that are little more than gas-filled, rolling bombs, Hunt and Lauda are burning the track, pushing themselves to the point of physical and mental endurance breaking point. In the meantime, the women (Olivia Wilde, Alexandra Maria Lara) can only watch in their lives as both drivers with each lap risk death.

Cars (2006)

While traveling to California for the Piston Cup Championship race against The King (Richard Petty) and Chick Hicks (Michael Keaton), Lightning McQueen (Owen Wilson) gets lost after falling off his trailer in a run down town called Radiator Springs. While he gradually becomes friends with the peculiar residents of the city, including Sally (Bonnie Hunt), Doc Hudson (Paul Newman) and Mater (Larry the Cable Guy). Leaving for the championship is no longer his top priority when it comes to time.

Days of Thunder (1990)

A rivalry between rookie hotshot Cole Trickle (Tom Cruise) and veteran driver Rowdy Burns (Michael Rooker) brews in NASCAR's fast-paced nation. The former bitter rivals become close friends when both of them are seriously injured in the game. Cole agrees to drive Rowdy's car in the Daytona 500 against underhanded rookie Russ Wheeler (Cary Elwes) with Cole's confidence revived by a relationship with neurosurgeon Dr. Claire Lewicki (Nicole Kidman) and Rowdy still sidelined by injuries.

The Cannonball Run (1981)

Contestants in a cross-country car race from Connecticut to California include a speed-loving racing driver posing as an ambulance driver and his dim sidekick, a pair of Ferrari-driving priests, and a secret-weapon James Bond villain. Jackie Chan stars in one of his first movie roles in the United States.

Turbo (2013)

Turbo (Ryan Reynolds) is a fast-obsessed snail with an odd vision of becoming the biggest racer in the world. This strange snail gets a chance to leave behind his slow-paced life when he gets the power of superspeed from a freak accident. Recently resurrected, Turbo embarks on an unprecedented search for the Indianapolis 500 to join and win. Accompanied by a devoted pit crew of waste-talking adrenaline junkies, Turbo becomes the ultimate underdog by refusing to allow his shortcomings to interfere with his dreams.

The Love Bug (1968)

Race car driver Jim Douglas (Dean Jones) and his metaphysical mechanic, Tennessee Steinmetz (Buddy Hackett), are in possession of a white Volkswagen Beetle that appears to have its own mind and spirit. Calling the car Herbie, Jim and Tennessee become the talk of the California racing circuit— much to the frustration of sports car dealer Peter Thorndyke (David Tomlinson), who attempts to use his assistant (Michele Lee) to come between the friends and their ride.

You can watch these films over a huge bowl of popcorn. Rent them from DVD Netflix via dvd.netflix.com. Add them to your queue today. If you don’t have an account, you can sign-up for a free month. If you decide to keep the membership, pay as little as $7.99 per month to enjoy DVD Netflix’s massive database of blockbusters, documentaries, independent films, and more.

Disclaimer: As a DVD Nation Director, for introducing the DVD Netflix service to you, as well as writing about some awesome movies to rent that can be challenging to find anywhere else, I’m rewarded and always happy to share awesome movies with you.  #dvd20 #dvdnation #ad

#dvdnation ad dvdnetflix

[fathersonholygore]

TNT’s The Alienist Episode 2: “A Fruitful Partnership” Directed by Jakob Verbruggen Written by Hossein Amini & E. Max Frye

* For a recap & review of the premiere, “The Boy on the Bridge” – click here * For a recap & review of the next episode, “Silver Smile” – click here Down in the morgue – where a mortician inserts a piece of piping into the organs of the dead, lighting the ends and burning off the gas inside – Dr. Laszlo Kreizler (Daniel Brühl) searches for other bodies where the tongue was removed. Mostly, the doc encounters people who believe the young “boy whore” is the type who “had it coming.” Elsewhere, people are being threatened by police, that if anyone comes around asking about the Santorelli boy they should keep their mouths shut. Specifically the Santorelli family’s roughed up good. An ugly, horrific 19th-century New York. At the police department, Sara Howard (Dakota Fanning) must not only do her job, and well, she’s continually dealing with the unwated advances of Captain Connor (David Wilmot). Generally she has to bear the weight of the male gender, because society’s not gotten around to protecting women yet; still hasn’t, not fully. Then what about ole John Moore (Luke Evans). His existence as an artists isn’t terribly fulfilling, either. He gets to draw, gets paid to do so, but he’s also got to bend to the whims of those paying for his art; an existential struggle that contemporary artists also know, too well. Soon he gets a visit from Sara, she’d like to go see the Santorellis and needs his help. Problem is it’s a rough, “riff–raff” sort of neighbourhood, as per the artist. Nevertheless, Mr. Moore and Ms. Howard go down there, without any of Commissioner Teddy Roosevelt’s (Brian Geraghty) knowledge. They go to a rundown, decrepit apartment building that’s dark and dreary, full of the cries of children and arguing voices, many people crowded, lots of them sick, in one big room together. Sara speaks with Giorgio’s brother, whose father was beaten by the police. They find out that dad would beat on the kid, so he ran away from home. The cops mentioned to the family there were “other boys” killed, too. A cover-up, no doubt. Brothers Marcus (Douglas Smith) and Lucius Isaacson (Matthew Shear) are working hard on the forensics, trying to discover what exactly was used to extract the eyes. They come across a particular knife that makes the marks they found on the bone at the inside of the boy’s sockets. “You know the difference between capitalism and socialism?” “No” “In capitalism, man exploits man. In socialism it‘s the other way around.” Dr. Kreizler still has his practice to which he must attend. He’s in contention against the social disregard for the mentally ill, as well as the misguided madness of religion. He finds himself continually at odds with God, as a man of medicine and science. He does not like anybody coming around with their religion in the face of his work. And over at the department, Sara goes poking for clues concerning the other cases of murdered kids. She finds gruesome hidden files, including one re: a boy named Aaron Morton. She better be careful, though, ’cause Cpt. Connor’s a greasy bastard. Afterwards, she and Moore take what they’ve found to Kreizler. We see the three discuss the case of Giorgio, what some called his inclination to “contrary sexual instinct.” Certainly the doctor is very serious about such things, he doesn’t come to his work with preconceived notions or prejudice(s). He also knows the killer will kill again. We see a brief glimpse of another child, he asks an unseen man what’s wrong with his mouth. The two of them extend hands, grasping them over one another. Intensely creepy. Moore tells Dr. Kreizler about Sara, that she was in a sanitarium for a time after he father died; it’s said he actually killed himself, rather than the official story. The two men are headed out for the evening. Although the doc isn’t letting slip any of his plans. At the opera, Dr. Kreizler keeps a close eye on many of the other attendees, from Roosevelt and Mayor Lafayette Strong (Peter McRobbie) to J.P. Morgan (Michael Ironside). When the show is over, the doc talks to Roosevelt, who’s not happy to be seen chatting up “the alienist” in front of everybody. A tenuous relationship. The psychologist merely wants to help, finding mostly resistance to a parallel investigation under his eye. That night, Dr. Kreizler gathers his little team. They all sit for dinner. The Isaacson brothers go into all the gory detail. They tell everyone about the Arkansas toothpick, a curious blade that is the cause for the markings on the Santorelli boy. Moreover, the lads are working with early fingerprinting techniques – they call them “finger marks,” and it was new, so many police officers and the judicial system didn’t consider them evidence at the time. Plus they’ve found a timepiece with a bloody fingerprint on it. Now, Kreizler has to piece together the hidden parts of their suspect’s “alienated mind,” his “appetites” and such. One dangerous road they’re about to travel, one led by the beginnings of forensic psychology.

We see Mr. Moore go out to a type of gentleman’s club, where young boys sing and dance dressed as women for a crowd of mostly older men. Quite the establishment. The artist is bewildered by what’s going on around him. He runs into Biff Ellison (Falk Henstchel) who’s offering up “pleasure” and “pain” in equal measures. He asks about young Giorgio, which all but scatters anybody near. He also makes the mistake of turning his back as his drink is being poured. This sends him wandering through the corridors of that wretched place with a young boy called Sally. Moore pays him to talk about Giorgio, a.k.a Gloria, who had a client with a “silver smile.” Eventually the artist succumbs to the drug in his drink. Oh, shit. This puts him at the mercy of Biff, Paul Kelly (Antonio Magro), and Cpt. Connor. They, in turn, are putting him in a terribly compromising position, too. What an episode, great follow-up. This is setting the stage for so much amazing stuff, can’t believe it’s only meant as a mini-series. There’s tons of plot to be explored. Can’t wait for “Silver Smile” next time.

The Alienist – Episode 2: “A Fruitful Partnership” TNT's The Alienist Episode 2: "A Fruitful Partnership" Directed by Jakob Verbruggen Written by Hossein Amini & E.

#Arkansas Toothpick #Crossdressing #Fingerprinting #Forensic Psychology #Gender #Murder #Socialism #Teddy Roosevelt #The Alienist

[docrotten]

Most Anticipated Horror Films of Fall 2017 – Horror on TV Summer 2017 – Horror News Radio

Award-winning director Christopher G. Moore and Joey Fittos join the Grue-Crew this week for a bloody bucket of gory reviews and previews. First up is a look at a number of genre-related TV shows landing on the small screen. Later, the Grue-Crew forecast the Most Anticipated Horror Films of Fall 2017. Dave drops into the Horror News of the Week with the announcement that the Kevin Bacon led Tremors TV show will head to SyFy, Jane Levy & Glenn Close star in the zombie series Sea Oak, and Ron Howard inherits the mess that is the Han Solo standalone Star Wars film.  Closing out the show Thomas and Santos participate in a battle of wits with this week's Stump the Saint!

As always, the HNR Grue-Crew would love to hear from you, the listeners, the fans. You can always reach out via email at feedback(AT)horrornewsradio(DOT)com or find us on Twitter: Doc Rotten | Dave Dreher | The Black Saint | Thomas Mariani. Also, like us on Facebook and join the Horror News Radio Facebook Group.

Horror News Radio Episode 220 – Horror on TV (Summer 2017) – Most Anticipated Horror Films (Fall 2017) Subscribe – iTunes – Facebook – Stitcher

SHOWNOTES

INTRO [00:00:41]

Special Guests Christopher G. Moore & Joey Fittos

Christopher announces his next project, the short horror film GUT PUNCHED

HORROR NEWS OF THE WEEK [00:08:01]

Blumhouse backs Tremors TV series, sending it to SYFY

Adam Green releases a trailer for a must attend Christmas Party

Jane Levy & Glenn Close are on a 'Sea Oak'

Han Solo movie turmoil

Relive the War of the Worlds broadcast in Jody Lambert's 'Brave New Jersey'

SUPPORT HNR [00:35:06]

Patreon

HNR & Gruesome Magazine T-Shirts

Gruesome Magazine 2016 Yearbook

Gruesome Magazine Sping 2017

FEATURE REVIEW [00:35:48]

Horror TV Shows (Summer 2017)

PRIMAL SCREEN

THE MIST

FEAR THE WALKING DEAD (Season 3)

BLOOD DRIVE

PREACHER (Season 2)

ANNOUNCEMENTS [01:09:50]

Gruesome Magazine has launched a quarterly print magazine

Gruesome Magazine Spring 2017

Convention and Film Festival Appearances

Raleigh Supercon (July 14-16, Raleigh, NC)

Monster-Mania (Cherry Hill, NJ - Aug 18-20)

DRAGON CON (Atlanta, GA, September 1 - 4)

Genre Blast (Winchester, VA, September 8-10)

Wreak Havoc (Greensboro, NC, Sept 22-23)

Monsterama (Atlanta, GA, Sept 29-Oct 1)

Nightmares Horror Film Festival (Columbus, OH, October 19-22)

Santos will once again be involved with the New York City Horror Film Festival (NYC October, 26-29)

WHAT HAVE YOU BEEN WATCHING [01:11:38]

Most Anticipated Horror Films (Fall 2017)

THE DARK TOWER (8/4) The last Gunslinger, Roland Deschain (Idris Elba), has been locked in an eternal battle with Walter O'Dim, also known as the Man in Black (Matthew McConaughey), determined to prevent him from toppling the Dark Tower, which holds the universe together. With the fate of the worlds at stake, good and evil will collide in the ultimate battle as only Roland can defend the Tower from the Man in Black

d. Nikolaj Arcel

c. Idris Elba (as Roland Deschain, the Gunslinger)

c. Matthew McConaughey (as Walter O'Dim, the Man in Black)

https://www.youtube.com/watch?v=GjwfqXTebIY

ANNABELLE: CREATION (8/11) Several years after the tragic death of their little girl, a dollmaker and his wife welcome a nun and several girls from a shuttered orphanage into their home, soon becoming the target of the dollmaker’s possessed creation, Annabelle.

d. David F. Sandberg

c. Stephanie Sigman, Miranda Otto, Anthony LaPaglia

https://www.youtube.com/watch?v=EjZkJa6Z-SY

DEATH NOTE (Netflix 8/25) Light Turner, a bright student who stumbles across a mystical notebook that has the power to kill any person whose name he writes in it. Light decides to launch a secret crusade to rid the streets of criminals. Soon, the student-turned-vigilante finds himself pursued by a famous detective known only by the alias L.

d. Adam Wingard

c. Margaret Qualley, Lakeith Stanfield, Willem Dafoe

https://www.youtube.com/watch?v=zS9UW2xjdqE

IT (9/8) When children begin to disappear in the town of Derry, Maine, a group of young kids are faced with their biggest fears when they square off against an evil clown named Pennywise, whose history of murder and violence dates back for centuries.

d. Andres Muschietti

c. Bill Skarsgård, Chosen Jacobs, Finn Wolfhard, Jaeden Lieberher, Sophia Lillis

https://www.youtube.com/watch?v=FnCdOQsX5kc&t=3s

FLATLINERS (9/29) Five medical students, obsessed by the mystery of what lies beyond the confines of life, embark on a daring and dangerous experiment: by stopping their hearts for short periods of time, each triggers a near-death experience - giving them a firsthand account of the afterlife. But as their experiments become increasingly dangerous, they are each haunted by the sins of their pasts, brought on by the paranormal consequences of trespassing to the other side.

d. Niels Arden Oplev

c. Nina Dobrev, Ellen Page, Kiersey Clemons

https://www.youtube.com/watch?v=gUDV0CUzG0k

HAPPY DEATH DAY (10/13) A college student (Jessica Rothe) relives the day of her murder with both its unexceptional details and terrifying end until she discovers her killer’s identity.

d. Christopher B. Landon

c. Jessica Rothe, Israel Broussard, Ruby Modine

https://www.youtube.com/watch?v=ntxS1bBg5o0

MOTHER! (10/13) Centers on a couple whose relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence.

d. Darren Aronofsky

c. Ed Harris, Javier Bardem, Jennifer Lawrence, Michelle Pfeiffer

GOD PARTICLE (10/27) A shocking discovery forces a team of astronauts aboard a space station to fight for survival while their reality has been altered.

d. Julius Onah

c. Elizabeth Debicki, Gugu Mbatha-Raw, Daniel Brühl 

JIGSAW (Saw sequel 10/27) Bodies are turning up around the city, each having met a uniquely gruesome demise. As the investigation proceeds, evidence points to one man: John Kramer. But how can this be? The man known as Jigsaw has been dead for over a decade.

d. Michael Spierig, Peter Spierig

c. Laura Vandervoort, Tobin Bell, Matt Passmore 

KILLING OF A SACRED DEER (11/3 - A24) A surgeon forms a familial bond with a sinister teenage boy, with disastrous results.

d. Yorgos Lanthimos

c. Colin Farrell, Nicole Kidman,Raffey Cassidy, Alicia Silverstone, Bill Camp

At Cannes, Lanthimos and Filippou won the Best Screenplay award.

STUMP THE SAINT [01:40:56]

FEEDBACK [01:50:26]

Thanks to Tear Out the Heart and Victory Records for use of the song Undead Anthem for the intro and outro of the HNR podcast

NEXT WEEK

Arbor Demon and Baby Driver

  Check out this episode!

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Daniel Brühl in A European in Hollywood (2023)

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