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Old 09-24-2016, 04:22 PM   #101
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Default The Exorcist (TV)

I wasn't going to watch it. I thought the trailer looked a little lame but must confess that it kind of made me jump (scary actually) in a few parts, especially towards the end. It really was well-done. I added it to my DVR to regularly record.

Free 1st episode on Vudu.

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Democracy Dies in Darkness

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"...I'm deeply concerned by recently adopted policies which punish children for their parents’ actions ... The thought that any State would seek to deter parents by inflicting such abuse on children is unconscionable."

UN Human Rights commissioner

Last edited by *Anya*; 09-24-2016 at 04:32 PM. Reason: Added
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Old 09-24-2016, 04:31 PM   #102
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American Housewife
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Old 10-07-2016, 07:22 PM   #103
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I just found HBO showing a mini Larry Sanders Show marathon.

What a find. I loved that show.

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"...I'm deeply concerned by recently adopted policies which punish children for their parents’ actions ... The thought that any State would seek to deter parents by inflicting such abuse on children is unconscionable."

UN Human Rights commissioner
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Old 10-22-2016, 08:22 AM   #104
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Default "Atlanta’ Walks a Line Between Magic Realism and Keeping It Real"

I watched some episodes of this and really like it. Below is a review from the NYTimes.com that says it better than I ever could...

Atlanta’ Walks a Line Between Magic Realism and Keeping It Real


Donald Glover, left, and Keith Stanfield in the FX series “Atlanta.” Eccentrics and bit players steal the show. Credit Guy D'Alema/FX

In the presidential debates and at campaign rallies, Donald J. Trump has indulged a fondness for the equation of black life and hell: Happiness is scarce, and misery, poverty and violence afflict all. That’s a certain white man’s view of black life, as seen on his TV set — in 1989, when the Huxtables were the only prominent African-Americans visible amid proliferating news images of “dangerous” black people. Television in 2016, with its bounty of black shows, both rebukes and complicates that dehumanizing assessment. And the show doing that with the most farcical tang, at the moment, is “Atlanta,” now in its first season on FX.

The premise is otherwise sitcom standard: A Princeton dropout named Earn (Donald Glover) comes back home to Atlanta and tries to manage the rap career of his weed-dealer cousin, Alfred (Brian Tyree Henry), and help raise a toddler with his baby mama, Van (Zazie Beetz). It’s the old wayward-son-returns model. But the show, which Mr. Glover created, doesn’t obsess over that premise nearly so much as explore its felicitous human topography. This is a sitcom that, in devoting an entire episode to a day in the life of Van, managed to twist a very good episode of “Girlfriends” into hungover, guns-holstered Tarantino. Elsewhere, if the sideways Atlanta rap acts Goodie Mob and OutKast were to write for “Seinfeld,” you might get something like the episode set on a fake, black cable network’s fake, black “Charlie Rose”-style show and situated around questions of sexual and racial authenticity.

“Atlanta” is rigorously attuned to the comedy of being alive. A lot of that life springs from the craziest sources: accents, T-shirts, cartons of glowing food, a pudgy school kid in whiteface, jail. But mostly it comes from the bit players of “Atlanta.” A lot of them are played by actors who actually hail from the city or nearby, and, all together, they’re the boxes under a Christmas tree. The writing does a lot of the work here, as does the directing, most of which is by Hiro Murai, who is Japanese. But for a show that combines low-key naturalism and a steady helping of the surreal, you also need actors who don’t seem as if they’re “working.” That’s a long way of saying that “Atlanta” is one of the best cast and most brightly acted shows of any kind on TV.


Brian Tyree Henry, left, with Bret E. Benson in “Atlanta.” Credit FX

Earn proves less magnetizing than the people he hangs with and the strangers who accost him, a constellation of cops, school principals, city-bus passengers, D.J.s, children, frenemies, inmates, stoners and bizarro celebrities. The lowly lumps of suffering that Mr. Trump imagines he’s talking to when he presents himself as black America’s white savior (“What the hell have you got to lose?”) don’t exist on this show. Anybody expecting a pathological monolith gets, instead, a kaleidoscope of personalities and class, of parents — married, single and somewhere in between. Violence and poverty are part of this world, but neither defines any of its characters. Even the jailhouse wino owns a rich inner life.

The entire cast helps give the show this strange, almost spiritual union of the urban and rural; of the broke, the baller and the bougie; of keepin’-it-real and magic realism. It’s full of actors most people, including myself, have never seen, like Mary Kraft, who’s marvelous as Alfred’s huffy, rumpled, white academic adversary on that phony talk show. And they’re really good. Mr. Henry’s low-key charisma is even better than that. He keeps his face somewhere between wonder and weariness. The brilliant trick of his acting is to make you forget he’s acting at all. To which I can hear the Tony and Olivier winners of the world scream, “But that’s acting!”

With an established star, you know what you’re getting. I never know what to expect from Mr. Henry. Yet the culture has trained us to know what to expect of the character he’s playing, whose nom de rhyme is Paper Boi. More than 40 years of movies, TV and music have told us who Paper Boi should be — macho, street smart and made of onyx, musk and cardboard.

But Mr. Henry opts to work with flesh and blood and a brain. He’s not playing Paper Boi. He’s playing Alfred, and Alfred is complicated — a thug indifferent to thuggery, a self-conscious introvert whose ego can overtake him, a teddy bear with a loaded gun. Even by the standards of black men on television in 2016, in the era of “Empire,” “Power” and “Ballers,” Mr. Henry has invented something new: this amusing tempest of vulnerability, exasperation and warmth. Some of the funniest television I’ve seen this year has required his virtuosic subtlety — the way his body jiggles in anger as he taps up a text storm, or the way he mumbles and pulls on Alfred’s country twang.

Earlier, I almost typed “weird” to describe this guy. But that’s also a word for Alfred’s permanently stoned sidekick, Darius, whom Keith Stanfield plays as a nincompoop visionary. He’s wonderful, too, a snoopy, Snoopy-looking guy, who can’t be upstaged by high-on-drugs costumes (a Bedouin turban and a T-shirt, say). He, Alfred and Earn are weirdos to one another and to other black people, too. On any other show, they’d be played by fitter, hotter actors. But “Atlanta” isn’t going for sexy. It’s going for a warped kind of real — and sometimes winds up at sexy anyway.

The most inevitable description of “Atlanta” tags it as another one of those shows about nothing. But that actually frees it to do anything.

Episode 2 might be the best example of what this show’s acting can do with its smart writing. The primary set piece is the jail Earn and Alfred wind up in after a shooting in a parking lot. And after a while the episode ceases being TV and starts to resemble a social-realist mural, with different elements of the jailhouse brought to life, in part by the superb casting director Alexa L. Fogel, a veteran who found the faces and personalities for great shows like “The Wire” and “Banshee.”

In the opening long shot, Earn and Alfred sit in one of the waiting areas. The steady brilliance of the episode’s 23 minutes starts with the interplay of the characters’ sense of humor with the dreariness and callous bureaucracy of the jail. The show can sense a vaster misery and untreated stress that for some of these characters has become a feature of the day-to-day. But this is Earn’s first time, and he’s cavalier about it. For everybody else, it’s some variation of “I hate this place,” which becomes a refrain.

There’s a small, spiky moment between Alfred and a clerk (Angela Ray), a pane of security glass separating them. He asks the clerk whether Earn is going to be released, and she says they’re keeping him until his bail’s been posted. Alfred asks what the charge is, and the clerk looks up, leans back, widens her eyes and switches the code from accommodating to aggravated in exactly one second. “What’s the charge?” she asks, using the N-word. “This ain’t no movie. You better wait till he’s in the system.”

Really, you have to hear her say it, but she makes you hear a record scratch. She taps her pen on the counter and keeps her eyes on Alfred until all he can do is bend down to the window’s opening and whisper, “Man, I hate this place.”

Darius meets Alfred at the jail, and on their way out, a police officer (Bret E. Benson) — a black guy, handsome, ecstatically loud (the name tag says “Sandy”) — runs up to Alfred, throws an arm around him and says a variation of the show’s running motif: “Eh! You that Paper Man, right?” He heard there was a rapper on the premises and can hardly contain himself.

A dozen details make this moment funny, disturbing and disturbingly funny. There’s the incongruity of the context — what cop could summon this much alacrity in a facility this drab? And the deadened, disbelieving look on Alfred’s face is like a wall the cop doesn’t notice that he keeps crashing into. Anyway, how easy would it have been to make the officer white? His being black makes his enthusiastic indifference all the more insulting to Alfred and therefore all the more farcically sad.

This encounter lasts for less than a minute, and for most of it the cop never forgets who’s in charge. He blithely tells a dumbfounded Darius when to snap a photo and directs Alfred to come closer and stand back to back with him.

But the pose before that made my jaw drop. The cop’s arm is around Alfred’s shoulders. When Darius takes the picture, Sandy uses his free hand to suggest a gun that he points at Alfred. The joke is that he thinks that imaginary gun is a joke. That scene captures an aspect of the disjunction between black life and American law enforcement. Officer Sandy doesn’t really know Paper Boi from a paper bag. He’s just one of the many black perps who cycle daily through the system he’s paid to uphold.

What makes the exchange so devastating is that each actor has to be not only on a different page but also in a different book in a different part of the library. As the cop, Mr. Benson does a combination of throwing lines away and italicizing them, making power and privilege something to play with. His throwaways are where the threat lies.

Mr. Henry, of course, provides a mighty anchor, summoning an uncanny trauma: one part exasperation, one part fear. A lifetime of humiliations like this constitute a little death. But Mr. Stanfield offers the grace note. When Officer Sandy bounces off and Alfred restates how much he hates this place — the way you loathe, say, a trip to the dentist or the D.M.V. — Darius casually, earnestly asks “Why?” This is “Atlanta” in 48 seconds, a riot about simmering rage that’s chillingly easy to shrug off.

Everything about this episode is funny or cute until the amusement hits a moral or emotional boundary. Stress is a staple of lots of good television. But usually it’s a function of the plot: Now what? On “Atlanta,” stress isn’t lifestyle. It’s an emotion, and to carry it off, you need actors as skillful as the ones here, vibrant people who make you wonder what took TV so long to find them, people who leave you praying that executives and producers continue to trust black storytellers to keep going. What the hell have they got to lose?
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Old 10-22-2016, 10:05 AM   #105
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Quote:
Originally Posted by Orema View Post
...executives and producers continue to trust black storytellers to keep going.
Wouldn't that be refreshing.
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Old 10-22-2016, 11:10 AM   #106
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Default

Most of the things I watch are online but there are two things I watch on "real TV". lol

Shameless - I hate every single character on this show but like two (and they're small children); some more than others. But that's kind of the point of the whole show. It's too gritty and shitty and real for me. But I can't seem to look away.



Blacklist - I have always had a thing for James Spader and his voice...lol

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Old 10-22-2016, 02:28 PM   #107
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900 channels and all i watch is CNN and Law and Order on the "Crime Channel"...surely there is more to life than this.
You know how some people can mouth all the words to The Rocky Horror Picture Show? I can do that with every episode of L and O ever made.
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Old 11-26-2016, 11:13 AM   #108
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I've been watching TV shows with my elderly roomie, Shirley.

Last night we watched Shark Tank....both of us weighing in on dilemmas presented by 'sharks' .... often noting the outrageous mindset behind their reasons of denial or approval of business proposals. Sometimes we'd look at each other with knowing silent glares...sometimes it was gigantic eye rolls, lol. : /

We always watch Jeopardy and Wheel of Fortune. That's our nightly 'church ' service. LOL

Shirley got me hooked on the TV show called The Voice.

I don't have TV at home, so returning home might be slightly awkward feeling after enjoying nearly a month of TV.

I need a TV now, with bunny ears.
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Old 12-02-2016, 08:43 PM   #109
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The new season of Top Chef started this week.

It is one of my favorite shows but I am kind of missing my ex-girlfriend because we used to have a running commentary throughout the whole show.

I just have to remember all the things that she used to do that pissed me off instead.

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Old 12-02-2016, 11:37 PM   #110
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I'm watching Nightwatch on A&E.

It is a really good reality show about the EMS, PD and FD on the night shift for New Orleans.

The EMS picked up an older man that called because he was having a lot of pain in his foot and he was having trouble walking.

Turned out, he worked nights at WalMart in a part of town that doesn't have buses run at night so he leaves 5 hours earlier than his shift to walk the 15 miles to his job at WalMart every day.

The paramedic said: "There are people that can walk and won't walk 5 blocks and this guy walks 15 miles".

The guy wasn't complaining, he was very matter-of-fact about it and said: "Well, I can't be late for my job every day".

He made me teary.

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"...I'm deeply concerned by recently adopted policies which punish children for their parents’ actions ... The thought that any State would seek to deter parents by inflicting such abuse on children is unconscionable."

UN Human Rights commissioner
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Old 12-02-2016, 11:45 PM   #111
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Currently watching Kindred Spirits on TLC. Paranormal show.
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Old 12-22-2016, 07:42 AM   #112
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Default Ten Best TV Shows of 2016 (From Vulture.com)

I like ten-best lists and here's another one from Vulture. I've only watched a few shows on this list (American Crime Story, Atlanta, Strange Things), but I agree that all were top-notch shows I'm glad I watched.

Ten Best TV Shows of 2016 from Vulture.com

If there's one thing all Americans might agree on, it's this: 2016 was an exceptional year for television. More specifically, it was an incredibly rich year for new scripted shows. Below, Vulture counts down the ten very best of those rookie series.

A few notes before you dive in: There were so many strong debut seasons that it was tough to cap a list at just ten, so I added a few honorable mentions that just missed the cut. Also, there's some inevitable overlap between this list and my picks for the year's best TV shows. Finally, I locked in this list for Uproxx's TV critics' poll, so I'm leaving it as it was when I shared it for that purpose.



Let's get to it, shall we?

1. American Crime Story: The People v. O.J. Simpson: Yes, this was technically a limited series, but there will be a second season of American Crime Story that focuses on Hurricane Katrina, so, in that respect, The People v. O.J. established what is possible for a show of this particular, precarious sort. It retold a very real story, using actors in a way that raised the viewing experience far above the typical reenactment. Although there was a salacious element to reliving the Simpson trial, the quality of the performances and the high level of work throughout — from the writing to the spot-on sense of period detail — gave The People v. O.J. a surprising intelligence and emotional heft that didn't seem possible until you started watching. For Ryan Murphy & Co., the bar has been set even higher for next season.

2. Atlanta: This comedy knew what it was from minute one. That's true of a number of shows on this list, but it's most striking in regard to Atlanta. That's partly because Donald Glover's textured exploration of racial and economic frustration displayed such immediate confidence, but also because what "it" was so often changed. One week, the show would focus on Earn and his attempt to help his cousin Alfred navigate his rising hip-hop status. Then the next it would side-trip into an episode solely focused on Van and her relationship with narcissistic bestie Jayde, or temporarily turn into a talk show interrupted by fake commercials. Glover has said that Hiro Murai, who directed seven of the season's ten episodes, didn't necessarily know what was "normal" for a TV show, so they just did what felt right. You could say they were reinventing the wheel. Really, they were coming up with a whole new way to manufacture the car.

3. Better Things: The family sitcom has been imagined from new vantage points for decades, which is why it's such an achievement that Better Things still felt so entirely fresh. By giving Pamela Adlon the opportunity to dig into the genre from her specific perspective, we got a series that felt deeply personal, relatable to parents and frustrated teens alike, and unafraid to let moments of warmth or utter cruelty develop with natural spontaneity. Watching Sam, her three girls, and her dotty mother deal with their daily dramas was akin to viewing a livestream of a single mom's existence, except with better editing and a deeper commitment to thematically intertwined storytelling.

4. The Good Place: It's hard enough to make a network sitcom that's genuinely funny right out of the gate. With The Good Place, creator Mike Schur managed to do so while simultaneously building an inventive and specific version of the afterlife. In the process, this NBC half-hour slyly morphed from mere mistaken-identity farce into a mystery that asks significant questions about what it really means to be the change you wish to see in the world.

5. Stranger Things: Netflix's '80s sci-fi throwback dragged nostalgia into a new realm. Yes, it was a blatant callback to early Spielberg, Stephen King, and John Carpenter, among many others. But it was also a compelling series in its own right, which built a sense of eerie, must-binge Demogorgon suspense while making it very clear that it could do so because it had learned how from the greats.

6. Search Party: This TBS series also hooked in audiences by creating a sense of mystery around a character who suddenly disappears, but where Stranger Things steeped itself in '80s sci-fi monster scares and good ol' government conspiracy theory, Search Party marinated in the now, critiquing contemporary tech-obsessed society and all the ways it enables young adults to disappear into their social-media feeds — especially the kind of young adults who live in Brooklyn. It was Gone Girl mixed with Girls. Which I guess makes it Gone … Girls?

7. Fleabag: In a year of increased television experimentation and more (though still not enough) opportunities for women, Phoebe Waller-Bridge's Fleabag was a particularly explosive, gutsy, unapologetic look at a floundering feminist's attempt to disassociate from grief and guilt. Like Search Party, it also was a gut-punching portrait of narcissism. Is it narcissistic to appreciate so many shows about narcissistic people? Discuss amongst yourselves, preferably while staring in a mirror!

8. High Maintenance: Like Issa Rae's Insecure, this new HBO series proved it was possible to skillfully transition from web series to premium cable show. The main reason I included it here over Insecure — which was an extremely tough call — is because it surprised me more often. In keeping with the other comedy-drama hybrids on this list, High Maintenance defied categorization and typical TV conventions. It was a weekly Richard Linklater or Robert Altman movie, where one vignette flowed purposefully into the next and moving moments could emerge from something as wondrously simple as witnessing the secret life of a pet.

9. Speechless: This ABC sitcom is an excellent case of high-wire humor. By focusing on a disabled teen and the ways in which everyone around him tries to be sensitive to his needs, but not too sensitive, it sets itself up for a fall from great heights every week. But so far, it's mostly kept its feet moving forward on that thin piece of twine, which feels especially refreshing when networks like CBS skip the high-wire act entirely and go straight for the clown car.

10. The Crown: My time as Vulture's Downton Abbey recapper confirmed that I can be a sucker for a good British period piece. The Crown was a very, very good one that made sumptuous use of its reportedly significant budget, offered excellent performances (Mr. Lithgow, please report to the podium so you may collect your Emmy), and also was sneakily educational. I probably should have known more about the smog that overtook London in 1952, but I didn't. That episode, among others, both informed and riveted me.

Honorable Mentions:

Insecure: As previously noted, I almost had it in my top-ten new shows, but then removed it. Then I put it back again, then I removed it again … you get the idea. The point is, it's a terrific new series that introduced Issa Rae and her vital voice to a wider audience. That's always worth celebrating.

The OA: Since the Netflix series just started streaming on Friday, I didn't factor it into my year-end lists. But, as noted in my review, I was pretty wowed by it.

Pitch: The problem with TV right now is that it's hard to keep up, even if it's your job. I've fallen a few episodes behind on Pitch, so I didn't feel like I could include it on this list. But what I have seen, I've liked. A scripted show on network television about a female athlete? Yes, and more of them, please.
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Old 01-03-2017, 05:54 PM   #113
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Default What timing! With Trump and his bunch, we will all need more science!

Netflix

December 30, 2016

Bill Nye the Science Guy!!

History is full of iconic, distinguished men and women of science, but there’s only one Science Guy. Bill Nye was a smart, quirky, and memorable science ambassador for a generation of PBS-watching millennials, and fans were delighted to learn that his signature bowtie would be coming back to screens in 2017 for a new Netflix show, Bill Nye Saves the World. Of course, that was before Donald Trump — about as anti-science as a politician can get — won the presidency. Now, with truth and the fate of the planet seemingly on the line, the title of Nye’s show seems a little more urgent.

Netflix announced Nye’s show in late August, before Trump’s stunning upset in the election, but from what we know about it, Netflix seems to be eerily prescient. “Each episode will tackle a topic from a scientific point of view, dispelling myths, and refuting anti-scientific claims that may be espoused by politicians, religious leaders or titans of industry,” a Netflix press release explains. Nye has said that he wants the new show to be entertaining, sure, but he really wants to educate and, if possible, change minds.

“We’ll discuss the complex scientific issues facing us today, with episodes on vaccinations, genetically modified foods and climate change,” Nye said in a statement. “With the right science and good writing, we’ll do our best to enlighten and entertain our audience. And, perhaps we’ll change the world a little.”
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Old 01-07-2017, 08:58 AM   #114
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Default Tonight on HBO: "bright Lights" about Carrie Fisher & Debbie Reynolds

Giant Prozac pill now holds the ashes of Carrie Fisher, noted mental health advocate

The HBO film "Bright Lights" follows the mother and daughter pair, who died within a day of each other in December 2016, as Fisher prepares to start work on "Star Wars: Episode VII - The Force Awakens" and Reynolds performs in Las Vegas aged 83. Fisher and her mother, who starred in "Singin' in the Rain," lived next door to each other in Beverly Hills.

Using personal family films, "Bright Lights" gives a revealing insight into the lives of the eccentric pair. It premieres on HBO Saturday, Jan. 7. HBO Documentary Films.

An outspoken advocate for those suffering from mental illness, actress Carrie Fisher had her ashes placed inside a giant Prozac pill.

Her brother Todd Fisher confirmed the decision in an interview with Entertainment Tonight. Fisher was spotted carrying the urn in Twitter photos from at a private memorial service for his mother, Debbie Reynolds.

The 60-year-old Carrie Fisher, an author and actress best known as Princess Leia in the “Star Wars” movies, died on Dec. 27 after suffering a heart attack a few days earlier on a flight from London to Los Angeles. Reynolds, her 84-year-old mother and an accomplished actress, died the next day.

“Carrie’s favorite possession was a giant Prozac pill that she bought many years ago. A big pill,” Todd Fisher said in an interview. “She loved it, and it was in her house and (Carrie’s daughter) Billie (Lourd) and I felt it was where she’d want to be.”

A private memorial service was held for Carrie Fisher on Thursday.

Some of Carrie Fisher’s ashes were also buried with her mother, according to multiple accounts.

Carrie Fisher battled bipolar disorder, depression and addiction in her life, battles that she was very public about.

“I outlasted my problems,” Fisher told ABC’s Diane Sawyer in 2000. “I am mentally ill. I can say that. I am not ashamed of that. I survived that, I’m still surviving it, but bring it on. Better me than you.”

Fisher was diagnosed with bipolar II, which combines both manic and depressive symptoms at the same time, in her late 20s, she told USA Today, though she began experiencing symptoms when she was 14 or 15. In 2013, she told People Magazine that others should seek treatment.

“The only lesson for me, or anybody, is that you have to get help. It’s not a neat illness. It doesn’t go away,” Fisher said.

Read more here: http://www.tri-cityherald.com/news/n...tml#storylink=.


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UN Human Rights commissioner
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Old 01-09-2017, 04:55 AM   #115
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Default Frontline Series: Divided States of America (Trailer)



Days before the inauguration of the 45th American president in January 2017, PBS’ FRONTLINE documentary series will premiere “Divided States of America,” a four-hour, two-night documentary miniseries that looks back at events during the Obama presidency that have revealed deep racial divisions in the USA, and examines the America the next president will inherit. Promising an in-depth view of the partisanship that gridlocked Washington and charged the 2016 presidential campaign, the rise of populist anger on both sides of the aisle and the racial tensions that have erupted throughout the country, “Divided States of America” is set to air Tuesday and Wednesday, January 17-18, 2017, 9-11pm EST on both nights (check local listings).

"Divided States of America" premieres Tues. Jan. 17 and Wed. Jan. 18 from 9-11 p.m. EST / 8-10 p.m. CST on both nights, on PBS and online.

http://www.pbs.org/show/frontline/
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Old 01-14-2017, 02:19 PM   #116
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Default

For any Twin Peaks fans, Showtime is running a marathon right now of all the original episodes, leading up to their new Twin Peaks mini-series on May 21st.

It always was a little too quirky for me and I would always fall asleep watching it but the long-term ex loved it.

Anyway, FYI.

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Old 03-30-2017, 08:13 PM   #117
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Default

I usually love watching the news, but I am SICK of reading/hearing/watching about Trump and his family!!!!
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Old 04-01-2017, 07:05 PM   #118
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Default

Last night on Showtime I watched Disgraced!

I was not moved by Coach Bliss crocodile tears a bit! And why on earth would Southwestern Christian University hire him after the fiasco at Baylor and possibly NCCA violations at other universities he coached at is beyond me.....

oh wait sports and winning at any costs that's why!
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Old 04-01-2017, 07:15 PM   #119
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Default

Watching Oregon and North Carolina go at it with the sound off while listening to a Curtis Mayfield and Mavis Staples duet.

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Default HBO dark comedy drama series... Big Little Lies (2017)

A close friend of mine is totally hooked on watching HBO's latest dark comedy drama series called Big Little Lies.

It just debuted a few weeks ago and already my friend says she hopes they make a second season. Nicole Kidman, Reese Witherspoon and several others star in this weekly show. The music tracks in each episode lend to the titillating discoveries of lies among families featured in the show's storylines.

If you haven't seen it, here's a link and a trailer.

My friend is dvr'ing the first season for me, so I can watch it over Memorial weekend.

LINK: https://g.co/kgs/C7uRuQ

Trailer:

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