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#ron rifkin
robntunney · 2 months
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goddesspharo · 3 months
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Spy Barbie, Spy Daddy, and Uncle Arvin!!!!
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juliareed · 11 months
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1.09 l 5.15
Why would you try and stop what you had ordered? Because of you. I always knew there was something about you, from the first time I saw you. // I saw it in you the first time we met. You're a survivor... just like me.
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iris-in-the-rain · 1 year
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youtube
Victor: Oh, here they come, oh no, they're all coming over. Oh god, here they come!
Ron: Victor Garber! Oh, I'm so excited! Hiiii! *kisses him*
Melissa and Michael: *kiss Victor too*
Michael: Spy Daddy! We all love Victor!
Victor: Don't touch me.
Ron: You're wearing your new Gucci outfit today.
Victor: Don't touch my hair.
😁😁😁
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dainpo · 2 months
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jessicatates · 1 year
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Do you know who YOU are, Mr. Tate?
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brokehorrorfan · 2 years
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Silent Running will be released on 4K Ultra HD on December 13 via Arrow Video. Arik Roper designed the cover art for the 1972 post-apocalyptic science fiction film; the original poster is on the reverse side.
Visual effects artist Douglas Trumbull (2001: A Space Odyssey, Blade Runner) makes his directorial debut from a script by Deric Washburn & Michael Cimino (The Deer Hunter) and Steven Bochco (NYPD Blue). Bruce Dern, Cliff Potts, Ron Rifkin, and Jesse Vint star.
Silent Running has been newly restored in 4K from the original camera negative, presented in Dolby Vision (HDR10 compatible) with original lossless mono audio. Special features are listed below.
Special features:
Audio commentary by film historians Kim Newman and Barry Forshaw
Audio commentary by director Douglas Trumbull and actor Bruce Dern
Isolated music and effects track
Interview with film music historian Jeff Bond on the score
Visual essay by filmmaker Jon Spira on the evolution of the film’s screenplay
The Making of Silent Running - 1972 on-set featurette
Two interviews with director Douglas Trumbull
Interview with actor Bruce Dern
Theatrical trailer
Behind-the-scenes photo gallery
Booklet with writing by film historians Barry Forshaw and Peter Tonguette (first pressing only)
In the not-so-distant future, Earth is barren of all flora and fauna, with what remains of the planet’s former ecosystems preserved aboard a fleet of greenhouses orbiting in space. When the crews are ordered to destroy the remaining specimens, one botanist, Freeman Lowell (Bruce Dern), rebels and flees towards Saturn in a desperate bid to preserve his own little piece of Earth that was, accompanied only by the ship’s three service robots.
Pre-order Silent Running.
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claudia1829things · 1 year
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Favorite Episodes of "A NERO WOLFE MYSTERY" (2000-2002)
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Below is a list of my favorite episodes from the A&E series, "A NERO WOLFE MYSTERY". Based upon the detective stories and novels written by Rex Stout, the series starred Timothy Hutton and Maury Chaykin as Archie Goodwin and Nero Wolfe:
FAVORITE EPISODES OF "A NERO WOLFE MYSTERY" (2000-2002)
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1. (1.02) "Champagne For One" - In this adaptation of Stout's 1958 novel, detective Nero Wolfe investigates the death of a young unwed mother at a charity dance attended by his assistant, Archie Goodwin. The latter had been standing in for an acquaintance, who was related to the wealthy hostess.
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2. (2.08) "Before I Die" - A notorious gangster hires Wolfe to protect his real daughter, who is unaware of her father's identity, and stop the woman impersonating her from blackmailing him in this adaptation of Stout's 1947 novella.
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3. (2.05) "The Mother Hunt" - In this adaptation of Stout's 1963 novel, a wealthy young widow hires Wolfe and Archie to identify and locate the birth mother of the baby left in the vestibule of her townhouse.
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4. (1.08) "Over My Dead Body" - A Montenegro woman claiming to know Wolfe's adopted daughter is suspected of theft and murder at a prestigious fencing club in this adaptation of Stout's 1940 novel.
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5. (2.09) "Help Wanted, Male" - In this adaptation of Stout's 1945 novella, Wolfe receives a death threat regarding a past case and hires a look-a-like double to temporarily impersonate him until he can identify the perpetrator.
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Honorable Mentioned: (2.06) "Poison à la Carte" - When Wolfe and Archie attend the annual Ten for Aristology, a gourmet society, one of the members is poisoned. Wolfe suspects one of the female servers of the crime.
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pedroam-bang · 2 years
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Alias (2001-2006)
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badmovieihave · 2 years
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Bad movie I have Pulse 2006
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ratleyland · 6 months
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Just watched this 90s movie for the first time.
A fast moving and exciting movie with solid performances from everyone involved.
Very suspenseful and very entertaining.
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vintagewarhol · 1 year
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heidismagblog · 7 months
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aliesafenlock · 8 months
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Looks like there are some Cabaret fans here, so I found my programme of Roundabout Theatre Company's production I saw many years ago.
This Broadway revival was was based on the 1993 London production, directed by Sam Mendes, and performed at Club 54!
The main cast were:
Alan Cumming as the Emcee
Natasha Richardson as Sally Bowles
John Benjamin Hickey as Cliff Bradshaw
Mary Louise Wilson as Fräulein Schneider
Ron Rifkin as Herr Schultz
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droughtofapathy · 25 days
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Cabaret's Shifting Lead Placement
Welcome to another rambling theatre history lesson with DroughtofApathy. Today we're going to examining the fascinating history of Cabaret's ever-changing lead roles.
Ground rule: Tony eligibility for Lead Actor/Actress is first determined by "above-the-title" billing in the show's opening night Playbill. It was a far stricter guideline in the past, as you'll see. These days, many lead roles aren't put above the title (ex. Hadestown, Kimberly Akimbo, etc.) but will be placed in lead categories either because it's obviously a lead, or because producers lobby for it. Conversely, actors can have "above-the-title" billing and be in featured roles, usually because they're major names like Angela Lansbury and Elaine Stritch, who were both Madame Armfeldt in the 2009/2011 revival of A Little Night Music. In which case, producers will usually submit them as featured.
When Cabaret opened on Broadway in 1966, Jill Haworth (Sally), Jack Gilford (Herr Schultz), and Bert Convey (Cliff) got top billing with Lotte Lenya (Fraulein Schneider) in the coveted "and" slot just below. Note who's missing. That's right. When the show premiered, Joel Grey (Emcee) was just a regular old featured role.
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Left: opening night playbill billing. Right: post-Tony rebilling with Joel Grey's ascension.
At the 1967 Tonys, Jack Gilford (Herr Schultz) and Lotte Lenya (Fraulein Schneider) were nominated as Leading Actor/Actress, respectively, while Joel Grey and Edward Winter (Ernst Ludwig) were both in Featured. Jill Haworth (Sally) was not nominated, but would have been eligible for Lead as she had "above-the-title" billing. At the time, Joel Grey was just another working actor. Not so after Cabaret. His performance elevated both the role and his billing, thus transforming the Emcee into a Leading Role from then on.
Subsequent productions would focus more on Sally and the Emcee, while Schultz and Schneider (and the non-singing Cliff) would become featured roles. However, the "above the title" Tony ruling was far stricter back in the day, leading Sally (this time Alyson Reed) to once more be featured in the 1987 revival.
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Left: opening night Playbill billing. Right: poster billing
In 1987, Joel Grey was given the sole "above-the-title" billing with Alyson Reed in the next featured spot. Though Sally was, like 1966, technically a lead role, she was nominated in featured at the Tonys that season. (Grey was not eligible as he was reprising his role.) In this production, Regina Resnik (Schneider) and Werner Klemperer (Schultz) both got fancy featured billing and nominations in their respective categories. As Cliff, Gregg Edelman got the "and" billing, but in this case it was less elevated than either Resnik or Klemperer (note the boxes). Edelman was still early-career at this point, and not yet a "name" but Cliff was still considered an elevated role in the company.
By 1998, however, the roles as we currently think of them had finally slotted into place. Alan Cumming (Emcee) won for Best Actor, Natasha Richardson (Sally) for Best Actress and Ron Rifkin (Schultz) for Featured Actor. Mary Louise Wilson (Schneider) was nominated in Featured Actress. Richardson also received left-side billing, as she was a larger name (arguably) than Cumming at the time.
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Left: opening night Playbill billing. Right: lobby poster billing
But though nominations seemed to make sense, it still didn't jive with billing placement. In the 1998 production, Richardson, Cumming, and Rifkin all had "above-the-title" with Wilson in the featured "and" slot. Despite this placement, Rifkin went in for Featured. Producers can lobby the Tony committee for actor placement if they think it fitting, and these days we're a lot more fast-and-loose with the definitions. Note however, how Wilson has "above-the-title" billing in the lobby board. This was presumably a contractual renegotiation that happened post-Tonys. Note how Denis O'Hare (Ernst) and Michele Pawk (Kost) have their own line below John Benjamin Hickey (Cliff). All three were/are modest, but known, names in the theatre world, about equal to one another, at least at the time.
By 2014, the old couple (Schultz and Schneider) no longer would get top billing. Alan Cumming only built upon Joel Grey's foundation to fully elevate the Emcee role into the undisputed leading man, with Sally the star-vehicle leading lady. Between the 1998 and up until the recent revival, the older couple's story--and Cliff's importance--had taken a backseat.
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Left: opening night Playbill billing. Right: poster billing.
In 2014, the revival won no Tonys, but was nominated for both Featured Actor and Actress (Danny Burstein and Linda Emond, respectively). Cumming was not eligible as, like Joel Grey before him, he was reprising his role. This time, with a Tony in his pocket, and a much bigger name than 16 years prior, he got left-side billing. Emond and Burstein received equal line billing below the title, with Emond getting the left. Though they were roughly equal in the theatre world, and Burstein had a slight edge in terms of Tony noms, I'd guess Emond got the left owing to her larger screen presence/notoriety. In the poster, Bill Heck (Cliff) is left out of featured billing entirely, as are Aaron Krohn (Ernst) and Gayle Rankin (Kost).
Now we come to our latest revival, number four. Though it's still too early for nominations, we can assume Eddie Redmayne (Emcee) and Gayle Rankin (Sally) will be leads with all others featured. Historically, Schultz and Schneider are roles that receive nominations, and the Emcee a role that wins. Will that hold in a wildly over-crowded season?
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Left: first preview Playbill insert. Right: billing poster outside the theater.
Once more deviating from past productions, the roles of Cliff (Ato Blankson-Wood), Ernst (Henry Gottfried), and Kost (Natascia Diaz) are plucked back out of the company to be given featured billing. This time, Steven Skybell (Schultz) is on even footing with Cliff, even slightly under with his right-side billing. This would be the least "elevated" billing any Schultz has ever gotten. Skybell is a respected theatre veteran but not quite a household name, even in theatre circles. Blankson-Wood, meanwhile, is a recent Tony nominee. It's all politics when it comes to billing.
Here, Bebe Neuwirth (Schneider) is given the coveted "and" poster billing, no surprise. Of the featured roles, she's inarguably the biggest name. A few decades ago, that might have been enough to get her above the title, but these days it's less common that a solidly featured role would get that (unless you're Patti LuPone in Company, and Bebe doesn't have quite the same sway or ego).
This, to me, seems like the most obvious case of industry politics and agent negotiation at play, and usually actors (and egos) aren't even involved in the conversation. Skybell and Neuwirth aren't on the same level, though their characters are. My guess here is that producers want to bill their sole two-time Tony winner separately, and Skybell's agents know he isn't big enough to dispute that.
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Now, let's take a look at this marketing design. Redmayne's name is left-billed despite being above Rankin's head. While annoying for those of us audience members who might just see this as a design flaw, this is all contractual, negotiated to death. Redmayne also gets front-and-center positioning, while Rankin is in the background, off-center, but she gets left-side position, which isn't as minimizing as right-side would. Left-billing is given to the bigger name because English reads left to right. These are the kinds of things I think about when I see marketing ads and playbills.
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fma live action fancast continued
I also did a few of the minor characters whenever I thought of a great fit!
Tim Marcoh - Martin Freeman
Kain Fuery - Jack Wolfe (Wylan in Shadow and Bone)
Pinako Rockbell - Linda Hunt
Shou Tucker - Michael Emerson (who is literally my favorite actor of all time who happens to look and talk just like the most hated character in anime history. Why)
Chris Mustang - Camryn Manheim (Control in Person of Interest)
Sheska - Claudia Jessie
General Grumman - Ron Rifkin (Sloane in Alias)
Maria Ross - Charlie Murphy (Anne in Happy Valley)
Trisha Elric - Rose Byrne
Sig Curtis - Travis Willingham because it would be SO FUNNY
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