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The 12th annual Twin Cities Film Fest launches Thursday with its trademark mix of big Hollywood blockbusters and local features and shorts. This year the festival is maintaining its hybrid of live events and streaming — and not just because of the pandemic.

Claire Foy, Benedict Cumberbatch and several cats star in “The Electrical Life of Louis Wain,” which opens the 2021 Twin Cities Film Fest.

Jaap Buitendijk

The fest opens with the biopic “The Electrical Life of Louis Wain,” starring Benedict Cumberbatch and Claire Foy as Victorian eccentrics clambering their way towards falling in love.

“Eh, good evening,” says the somewhat awkward Louis Wain as he pushed the door into the bedroom of the governess he has just hired to educate the younger three of his five sisters.

“Eh – NO!” Miss Richardson responds in horror seeing him standing in the doorway.

“What?”

“Go away. Go away,” states the governess.

“Yes. What?” stammers Wain, unsure of what he has done. “Why?”

“What do you mean why?” she demands.

“I don’t… Yes! Of course! Sorry,” he says backing away hesitantly, clearly confused.

“What are you doing, Mr. Wain?” she asks, her eye wide open in panic.

“What do you want me to… I don’t understand…”

“Get OUT!” she yells. Finally, he gets it.

“Right! Yes! Sorry! Of course. Sorry. I apologize!” he gasps as she slams the door in his face.

The film explores the power of love, Wain’s unlikely theories about electricity and the international impact of his hugely popular drawings of anthropomorphized cats that brought felines being seen purely as agents of mouse control to family pets. It also delves into Victorian attitudes to mental health.

And Jatin Setia says the Twin Cities Film Fest rolls on from there.

“We have 50 screenings in person at the ICON theatres and around 90 films online, including shorts and features,” he said.

As Fest founder and executive director, Setia can rattle off the stats.

“Some will exclusively be in theaters — a lot of the studio films, obviously. Some will exclusively be online. But a majority of them will be both: in-person and online.”

The pandemic brought about this hybrid approach last year. But Setia says it really worked well, especially for filmmakers.

“We had 30 different states participate in our festival in 2020, which was incredible. And these are all filmmakers coming in from across the country,” he said.

So the festival will remain a hybrid into the future. Setia says he hopes film fans will take a break and that instead of binging a show on Netflix, Hulu or Amazon, they will binge stream the Twin Cities Film Fest during its run.

And he also hopes to get people in the seats at the ShowPlace ICON in St Louis Park. Setia says his programming staff work hard to convince studios to let them screen movies that will be Oscar contenders in a few months’ time.

“Our audiences are very smart. So when we say our audiences are going to watch this movie, the studios know, ‘Hey, the Minneapolis audience kind of know who is going to be up there from a nomination and winning standpoint.’ So that’s why we get the content.”

This year, that includes the much anticipated new Wes Anderson comedy “The French Dispatch,” featuring a slew of stars like Frances McDormand and Timothée Chalamet, whose characters meet in a hotel bathroom.

black and white. three actors on a movie set.

Lyna Khoudri, Frances McDormand and Timothée Chalamet in the Wes Anderson’s “The French Dispatch” which will receive its Minnesota premiere at the 2021 Twin Cities Film Fest.

Courtesy Searchlight Pictures

“I’m naked, Mrs. Kremmentz,” he says.

“I can see that,” she responds.

“Why are you crying?”

“Tear gas,” she responds. “Also I suppose I’m sad.”

“Please turn away,” he responds. “I feel shy about my new muscles.”

The TCFF was first in Minnesota to screen best picture winners “Moonlight” and “Green Book.” This year Setia is betting on director Kenneth Branagh’s drama “Belfast,” based on his own childhood growing up during the sectarian conflict in Northern Ireland, known as The Troubles.

“My Ma says if we went across the water, they wouldn’t understand the way we talk,” says the film’s young protagonist.

“If they can’t understand you,” replies his grandfather, “Then they are not listening. You know who you are, don’t you? You’re Buddy from Belfast, where everybody knows you.”

“So that’s our closing night film,” Setia said. “If you were to say, ‘Which one are you rolling the dice on?’ [“Belfast”] would be the one for me. We did that last year with ‘Nomadland,’ and ‘Nomadland’ of course won the best picture.”

Setia argues after the struggles of the last couple of years, film festivals are more important than ever as a place where people can gather, share an experience and then talk about it, sometimes with the film’s director. He challenges people to watch just one of the fest’s movies because, if they do, he believes they will certainly watch two and three and four.

You make MPR News possible. Individual donations are behind the clarity in coverage from our reporters across the state, stories that connect us, and conversations that provide perspectives. Help ensure MPR remains a resource that brings Minnesotans together.

Donate today. A gift of $17 makes a difference.

" } ["summary"]=> string(653) "The 12th annual Twin Cities Film Fest launches Thursday with its trademark mix of big Hollywood blockbusters and local features and shorts. This year the festival is maintaining its hybrid of live events and streaming — and not just because of the pandemic. Claire Foy, Benedict Cumberbatch and several cats star in “The Electrical Life ... Read more" ["atom_content"]=> string(7147) "

The 12th annual Twin Cities Film Fest launches Thursday with its trademark mix of big Hollywood blockbusters and local features and shorts. This year the festival is maintaining its hybrid of live events and streaming — and not just because of the pandemic.

Claire Foy, Benedict Cumberbatch and several cats star in “The Electrical Life of Louis Wain,” which opens the 2021 Twin Cities Film Fest.

Jaap Buitendijk

The fest opens with the biopic “The Electrical Life of Louis Wain,” starring Benedict Cumberbatch and Claire Foy as Victorian eccentrics clambering their way towards falling in love.

“Eh, good evening,” says the somewhat awkward Louis Wain as he pushed the door into the bedroom of the governess he has just hired to educate the younger three of his five sisters.

“Eh – NO!” Miss Richardson responds in horror seeing him standing in the doorway.

“What?”

“Go away. Go away,” states the governess.

“Yes. What?” stammers Wain, unsure of what he has done. “Why?”

“What do you mean why?” she demands.

“I don’t… Yes! Of course! Sorry,” he says backing away hesitantly, clearly confused.

“What are you doing, Mr. Wain?” she asks, her eye wide open in panic.

“What do you want me to… I don’t understand…”

“Get OUT!” she yells. Finally, he gets it.

“Right! Yes! Sorry! Of course. Sorry. I apologize!” he gasps as she slams the door in his face.

The film explores the power of love, Wain’s unlikely theories about electricity and the international impact of his hugely popular drawings of anthropomorphized cats that brought felines being seen purely as agents of mouse control to family pets. It also delves into Victorian attitudes to mental health.

And Jatin Setia says the Twin Cities Film Fest rolls on from there.

“We have 50 screenings in person at the ICON theatres and around 90 films online, including shorts and features,” he said.

As Fest founder and executive director, Setia can rattle off the stats.

“Some will exclusively be in theaters — a lot of the studio films, obviously. Some will exclusively be online. But a majority of them will be both: in-person and online.”

The pandemic brought about this hybrid approach last year. But Setia says it really worked well, especially for filmmakers.

“We had 30 different states participate in our festival in 2020, which was incredible. And these are all filmmakers coming in from across the country,” he said.

So the festival will remain a hybrid into the future. Setia says he hopes film fans will take a break and that instead of binging a show on Netflix, Hulu or Amazon, they will binge stream the Twin Cities Film Fest during its run.

And he also hopes to get people in the seats at the ShowPlace ICON in St Louis Park. Setia says his programming staff work hard to convince studios to let them screen movies that will be Oscar contenders in a few months’ time.

“Our audiences are very smart. So when we say our audiences are going to watch this movie, the studios know, ‘Hey, the Minneapolis audience kind of know who is going to be up there from a nomination and winning standpoint.’ So that’s why we get the content.”

This year, that includes the much anticipated new Wes Anderson comedy “The French Dispatch,” featuring a slew of stars like Frances McDormand and Timothée Chalamet, whose characters meet in a hotel bathroom.

black and white. three actors on a movie set.

Lyna Khoudri, Frances McDormand and Timothée Chalamet in the Wes Anderson’s “The French Dispatch” which will receive its Minnesota premiere at the 2021 Twin Cities Film Fest.

Courtesy Searchlight Pictures

“I’m naked, Mrs. Kremmentz,” he says.

“I can see that,” she responds.

“Why are you crying?”

“Tear gas,” she responds. “Also I suppose I’m sad.”

“Please turn away,” he responds. “I feel shy about my new muscles.”

The TCFF was first in Minnesota to screen best picture winners “Moonlight” and “Green Book.” This year Setia is betting on director Kenneth Branagh’s drama “Belfast,” based on his own childhood growing up during the sectarian conflict in Northern Ireland, known as The Troubles.

“My Ma says if we went across the water, they wouldn’t understand the way we talk,” says the film’s young protagonist.

“If they can’t understand you,” replies his grandfather, “Then they are not listening. You know who you are, don’t you? You’re Buddy from Belfast, where everybody knows you.”

“So that’s our closing night film,” Setia said. “If you were to say, ‘Which one are you rolling the dice on?’ [“Belfast”] would be the one for me. We did that last year with ‘Nomadland,’ and ‘Nomadland’ of course won the best picture.”

Setia argues after the struggles of the last couple of years, film festivals are more important than ever as a place where people can gather, share an experience and then talk about it, sometimes with the film’s director. He challenges people to watch just one of the fest’s movies because, if they do, he believes they will certainly watch two and three and four.

You make MPR News possible. Individual donations are behind the clarity in coverage from our reporters across the state, stories that connect us, and conversations that provide perspectives. Help ensure MPR remains a resource that brings Minnesotans together.

Donate today. A gift of $17 makes a difference.

" ["date_timestamp"]=> int(1634727079) } [1]=> array(11) { ["title"]=> string(68) "Helena Bonham Carter makes incredibly rare appearance with son Billy" ["link"]=> string(104) "https://theinsidenewshyderabad.com/helena-bonham-carter-makes-incredibly-rare-appearance-with-son-billy/" ["dc"]=> array(1) { ["creator"]=> string(10) "Susan Paul" } ["pubdate"]=> string(31) "Wed, 20 Oct 2021 10:50:08 +0000" ["category"]=> string(72) "TrendingappearanceBillyBonhamCarterFamily FocusedHelenaIncrediblyRareson" ["guid"]=> string(104) "https://theinsidenewshyderabad.com/helena-bonham-carter-makes-incredibly-rare-appearance-with-son-billy/" ["description"]=> string(639) "May 13, 2021 – 06:58 BST Gemma Strong Helena Bonham Carter makes incredibly rare public appearance with son Billy – and he looks just like dad Tim Burton Helena Bonham Carter has made a very rare public appearance with her son, Billy Raymond. The actress, 54, stepped out with her firstborn on Wednesday to attend ... Read more" ["content"]=> array(1) { ["encoded"]=> string(7622) "





Gemma Strong


Helena Bonham Carter has made a very rare public appearance with her son, Billy Raymond.

The actress, 54, stepped out with her firstborn on Wednesday to attend a service to mark International Nurses’ Day.

Mother and son were seen posing for selfies outside Westminster Abbey, where Helena – a descendant of Florence Nightingale – gave a reading to mark nurses’ contribution to the community.

MORE: Helena Bonham Carter reveals Princess Margaret’s ghost gave her a backhanded compliment

Loading the player…

WATCH: Helena Bonham Carter and Tim Burton split amicably after 13 years together

Helena opted for a bright floral dress and a black velvet coat, while 17-year-old Billy wore a smart blue suit and dark overcoat. He seemed a little less enthusiastic than his mother as she snapped away on her phone – not that Helena was deterred!

READ: Helena Bonham Carter reveals hilarious real life meeting with Princess Margaret

The Oscar winner is a proud mother of two children. She shares both Billy and his younger sister, Nell, 13, with ex-partner Tim Burton.

helena-bonham-carter-son-billy

Helena was seen with son Billy outside Westminster Abbey

The former couple first started dating in 2001 and he famously cast her in a number of his movies, including Alice in Wonderland, Sweeney Todd, Corpse Bride and Charlie and the Chocolate Factory.

MORE: Helena Bonham Carter gives rare interview about her 32-year-old boyfriend

In December 2014, Helena and Tim confirmed they had “separated amicably” earlier that year. In an interview with the Irish Times in November 2020, she said of their split: “It’s taken us some time to adjust, but I think it’s really very good now.

helena-bonham-carter-tim-burton

The star shares her two children with ex-partner Tim Burton

“And the kids are fine, they get to have a dual life. At first it’s a horrible thing to get used to, not having your children around [when you share custody]. The cruelty of divorce is extraordinary. But then you get to a point where you’re like, ‘Oh, I get this week off!’ Some parts are very much to be recommended.”

READ: Emma Thompson: I have made my peace with Helena Bonham Carter over affair

The star has since gone on to find love with Rye Dag Holmboe, some 22 years her junior. “I can’t say much about Rye, because he’s a psychoanalyst so he needs his anonymity,” she told the publication.

helena-bonham-carter-boyfriend

Helena has since found love with Rye Dag Holmboe

“He’s magic, and that’s all I’m going to say. I met him at a wedding,” she continued. “A totally random thing, which both of us nearly didn’t go to, so it was one of those moments that was so chance and ended up determining so much. A really happy accident, and it’s an amazing thing.”

Like this story? Sign up to our newsletter to get other stories like this delivered straight to your inbox.

.

" } ["summary"]=> string(639) "May 13, 2021 – 06:58 BST Gemma Strong Helena Bonham Carter makes incredibly rare public appearance with son Billy – and he looks just like dad Tim Burton Helena Bonham Carter has made a very rare public appearance with her son, Billy Raymond. The actress, 54, stepped out with her firstborn on Wednesday to attend ... Read more" ["atom_content"]=> string(7622) "





Gemma Strong


Helena Bonham Carter has made a very rare public appearance with her son, Billy Raymond.

The actress, 54, stepped out with her firstborn on Wednesday to attend a service to mark International Nurses’ Day.

Mother and son were seen posing for selfies outside Westminster Abbey, where Helena – a descendant of Florence Nightingale – gave a reading to mark nurses’ contribution to the community.

MORE: Helena Bonham Carter reveals Princess Margaret’s ghost gave her a backhanded compliment

Loading the player…

WATCH: Helena Bonham Carter and Tim Burton split amicably after 13 years together

Helena opted for a bright floral dress and a black velvet coat, while 17-year-old Billy wore a smart blue suit and dark overcoat. He seemed a little less enthusiastic than his mother as she snapped away on her phone – not that Helena was deterred!

READ: Helena Bonham Carter reveals hilarious real life meeting with Princess Margaret

The Oscar winner is a proud mother of two children. She shares both Billy and his younger sister, Nell, 13, with ex-partner Tim Burton.

helena-bonham-carter-son-billy

Helena was seen with son Billy outside Westminster Abbey

The former couple first started dating in 2001 and he famously cast her in a number of his movies, including Alice in Wonderland, Sweeney Todd, Corpse Bride and Charlie and the Chocolate Factory.

MORE: Helena Bonham Carter gives rare interview about her 32-year-old boyfriend

In December 2014, Helena and Tim confirmed they had “separated amicably” earlier that year. In an interview with the Irish Times in November 2020, she said of their split: “It’s taken us some time to adjust, but I think it’s really very good now.

helena-bonham-carter-tim-burton

The star shares her two children with ex-partner Tim Burton

“And the kids are fine, they get to have a dual life. At first it’s a horrible thing to get used to, not having your children around [when you share custody]. The cruelty of divorce is extraordinary. But then you get to a point where you’re like, ‘Oh, I get this week off!’ Some parts are very much to be recommended.”

READ: Emma Thompson: I have made my peace with Helena Bonham Carter over affair

The star has since gone on to find love with Rye Dag Holmboe, some 22 years her junior. “I can’t say much about Rye, because he’s a psychoanalyst so he needs his anonymity,” she told the publication.

helena-bonham-carter-boyfriend

Helena has since found love with Rye Dag Holmboe

“He’s magic, and that’s all I’m going to say. I met him at a wedding,” she continued. “A totally random thing, which both of us nearly didn’t go to, so it was one of those moments that was so chance and ended up determining so much. A really happy accident, and it’s an amazing thing.”

Like this story? Sign up to our newsletter to get other stories like this delivered straight to your inbox.

.

" ["date_timestamp"]=> int(1634727008) } [2]=> array(11) { ["title"]=> string(57) "New Opportunities in Video Production Market 2021 Growth," ["link"]=> string(92) "https://theinsidenewshyderabad.com/new-opportunities-in-video-production-market-2021-growth/" ["dc"]=> array(1) { ["creator"]=> string(10) "Susan Paul" } ["pubdate"]=> string(31) "Wed, 20 Oct 2021 10:47:08 +0000" ["category"]=> string(199) "Movie Production CompaniesadvertisingGrowthmarketmarketingmedia releasenews releaseopportunitiesprpr marketingpr servicepr strategypresses releasepressreleasesProductionpublic relationspublicityVideo" ["guid"]=> string(92) "https://theinsidenewshyderabad.com/new-opportunities-in-video-production-market-2021-growth/" ["description"]=> string(663) "The Global Video Production Market report is one of the most comprehensive and important data about business strategies, qualitative and quantitative analysis of the Global Market. Global Video Production Market research report offers extensive research and analysis of key aspects of the global Global Video Production market. The report on Global Video Production Market covers ... Read more" ["content"]=> array(1) { ["encoded"]=> string(6666) "

The Global Video Production Market report is one of the most comprehensive and important data about business strategies, qualitative and quantitative analysis of the Global Market. Global Video Production Market research report offers extensive research and analysis of key aspects of the global Global Video Production market.

The report on Global Video Production Market covers big geographical, as well as sub-regions throughout the world. The study objectives of the report are to present the Self-loading Feed Mixers development in North America, Europe, China, Japan, Southeast Asia, India, and Central & South America. The aim of the report is to get premium insights, quality data figures, and information in relation to aspects such as market scope, market size, share, and segments such as Types of Products and Services, Application/end-use industry, SWOT Analysis, and by different emerging by geographies.

Get a Sample PDF Copy of Global Video Production Market with Figures, Graphs and Toc’s: https://www.bigmarketresearch.com/request-sample/4652722?utm_source=OPR&utm_medium=Rajshree

Note – In order to provide a more accurate market forecast, all our reports will be updated before delivery by considering the impact of COVID-19.

Top Key Players in Global Video Production Market are as follows
Studio Pierrot, Cartoon Network Studios, Studio Ghibli, Double Negative, OLM, Nickelodeon Animation Studios, Rising Sun Pictures, Weta Digital, Toei Animation, Image Engine, Digital Domain, Moving Picture Company, Luma Pictures, Pixomondo, DreamWorks Animation, Sunrise, Rodeo FX, Nippon Animation, Method Studios, South Park Studios, Illumination Mac Guff, Industrial Light & Magic, Warner Bros Animation, Framestore, Walt Disney Animation Studios, Blue Sky Studios, Pixar, Toon City, Hybride Technologies, Sony Pictures Imageworks

The future Global Video Production Industry predictions explain the forecast market values, industry progress, upcoming plans, and policies. Also, the volume, value, and consumption forecast view is presented from 2019-2025. The strategies implemented by top Global Video Production players, as well as historic and present market performance are portrayed in this report. The Global Video Production fundamental market overview, market share, import-export status, and pricing structure are presented. The report begins with Global Video Production research objectives, definition, market scope, and size estimation. The growth rate from 2014-2024 and complete Global Video Production Industry picture is covered.

Talk to our Research Analyst / Ask for a discount on Global Video Production Market and Get the More Information Regarding Full Report copy: https://www.bigmarketresearch.com/request-for-discount/4652722?utm_source=OPR&utm_medium=Rajshree

The next segment explains the Global Video Production market dynamics presenting the opportunities, risks, and market driving forces. Also, the top manufacturers’ profile analyzed in the study explains their business portfolio, market growth, market share for every type and application as well as their geographical presence. Complete estimation of sales margin, price, revenue share, and gross margin is explained. The sales and marketing channels of Global Video Production , traders, distributors, and dealers of Global Video Production Market are evaluated completely.

The Primary Objectives of Global Video Production Market Research Report Are as Follows:

To provide the complete structure and fundamental overview of Global Video Production Industry Market.
To offer insights into vital Global Video Production aspects like growth trajectory, CAGR value, market share, and revenue analysis.
To evaluate the growth opportunities, threats, market drivers, and risks involved.
To understand the Global Video Production market competition by analyzing the top vendors, with their market profile, revenue, profits, import-export details, and market share.
To analyze the Global Video Production product type, applications and regional presence of Global Video Production Industry.
To state the pricing structure, import-export details, supply chain analysis, SWOT analysis to facilitate the key decision-making process.
To boost the future growth, investment analysis and upcoming growth opportunities with the analysis of emerging market segments and sub-segments.
To present the historic, present, and forecast market analysis with product developments, joint ventures, and strategic alliances.
To study the recent developments, emerging sectors, new product launch events, and mergers & acquisitions in Global Video Production Industry.
To understand the data sources, implied research methodology, and vital conclusions.
Detailed Segmentation:
The basis of applications, the Global Video Production from 2020 to 2025 covers:
Internet, Broadcast, Others

The basis of types, the Global Video Production from 2020 to 2025 is primarily split into:
Feature Films, Episodic (Television) Shows, Others

Geographically, The report covers:

North America (Covered in Chapter 9): United States, Canada, Mexico.
Europe (Covered in Chapter 10): Germany, UK, France, Italy, Spain, Russia, Others.
Asia-Pacific (Covered in Chapter 11): China, Japan, South Korea, Australia, India.
South America (Covered in Chapter 12): Brazil, Argentina, Columbia.
Middle East and Africa (Covered in Chapter 13): UAE, Egypt and South Africa

Contact us:
Mr. Abhishek Paliwal
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OR 97220 United States
Direct: +1-971-202-1575
Toll Free: +1-800-910-6452
Email: help@bigmarketresearch.com

About Us:

Big Market Research has a range of research reports from various domains across the world. Our database of reports of various market categories and sub-categories would help to find the exact report you may be looking for.

This release was published on openPR.

.

" } ["summary"]=> string(663) "The Global Video Production Market report is one of the most comprehensive and important data about business strategies, qualitative and quantitative analysis of the Global Market. Global Video Production Market research report offers extensive research and analysis of key aspects of the global Global Video Production market. The report on Global Video Production Market covers ... Read more" ["atom_content"]=> string(6666) "

The Global Video Production Market report is one of the most comprehensive and important data about business strategies, qualitative and quantitative analysis of the Global Market. Global Video Production Market research report offers extensive research and analysis of key aspects of the global Global Video Production market.

The report on Global Video Production Market covers big geographical, as well as sub-regions throughout the world. The study objectives of the report are to present the Self-loading Feed Mixers development in North America, Europe, China, Japan, Southeast Asia, India, and Central & South America. The aim of the report is to get premium insights, quality data figures, and information in relation to aspects such as market scope, market size, share, and segments such as Types of Products and Services, Application/end-use industry, SWOT Analysis, and by different emerging by geographies.

Get a Sample PDF Copy of Global Video Production Market with Figures, Graphs and Toc’s: https://www.bigmarketresearch.com/request-sample/4652722?utm_source=OPR&utm_medium=Rajshree

Note – In order to provide a more accurate market forecast, all our reports will be updated before delivery by considering the impact of COVID-19.

Top Key Players in Global Video Production Market are as follows
Studio Pierrot, Cartoon Network Studios, Studio Ghibli, Double Negative, OLM, Nickelodeon Animation Studios, Rising Sun Pictures, Weta Digital, Toei Animation, Image Engine, Digital Domain, Moving Picture Company, Luma Pictures, Pixomondo, DreamWorks Animation, Sunrise, Rodeo FX, Nippon Animation, Method Studios, South Park Studios, Illumination Mac Guff, Industrial Light & Magic, Warner Bros Animation, Framestore, Walt Disney Animation Studios, Blue Sky Studios, Pixar, Toon City, Hybride Technologies, Sony Pictures Imageworks

The future Global Video Production Industry predictions explain the forecast market values, industry progress, upcoming plans, and policies. Also, the volume, value, and consumption forecast view is presented from 2019-2025. The strategies implemented by top Global Video Production players, as well as historic and present market performance are portrayed in this report. The Global Video Production fundamental market overview, market share, import-export status, and pricing structure are presented. The report begins with Global Video Production research objectives, definition, market scope, and size estimation. The growth rate from 2014-2024 and complete Global Video Production Industry picture is covered.

Talk to our Research Analyst / Ask for a discount on Global Video Production Market and Get the More Information Regarding Full Report copy: https://www.bigmarketresearch.com/request-for-discount/4652722?utm_source=OPR&utm_medium=Rajshree

The next segment explains the Global Video Production market dynamics presenting the opportunities, risks, and market driving forces. Also, the top manufacturers’ profile analyzed in the study explains their business portfolio, market growth, market share for every type and application as well as their geographical presence. Complete estimation of sales margin, price, revenue share, and gross margin is explained. The sales and marketing channels of Global Video Production , traders, distributors, and dealers of Global Video Production Market are evaluated completely.

The Primary Objectives of Global Video Production Market Research Report Are as Follows:

To provide the complete structure and fundamental overview of Global Video Production Industry Market.
To offer insights into vital Global Video Production aspects like growth trajectory, CAGR value, market share, and revenue analysis.
To evaluate the growth opportunities, threats, market drivers, and risks involved.
To understand the Global Video Production market competition by analyzing the top vendors, with their market profile, revenue, profits, import-export details, and market share.
To analyze the Global Video Production product type, applications and regional presence of Global Video Production Industry.
To state the pricing structure, import-export details, supply chain analysis, SWOT analysis to facilitate the key decision-making process.
To boost the future growth, investment analysis and upcoming growth opportunities with the analysis of emerging market segments and sub-segments.
To present the historic, present, and forecast market analysis with product developments, joint ventures, and strategic alliances.
To study the recent developments, emerging sectors, new product launch events, and mergers & acquisitions in Global Video Production Industry.
To understand the data sources, implied research methodology, and vital conclusions.
Detailed Segmentation:
The basis of applications, the Global Video Production from 2020 to 2025 covers:
Internet, Broadcast, Others

The basis of types, the Global Video Production from 2020 to 2025 is primarily split into:
Feature Films, Episodic (Television) Shows, Others

Geographically, The report covers:

North America (Covered in Chapter 9): United States, Canada, Mexico.
Europe (Covered in Chapter 10): Germany, UK, France, Italy, Spain, Russia, Others.
Asia-Pacific (Covered in Chapter 11): China, Japan, South Korea, Australia, India.
South America (Covered in Chapter 12): Brazil, Argentina, Columbia.
Middle East and Africa (Covered in Chapter 13): UAE, Egypt and South Africa

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" ["date_timestamp"]=> int(1634726828) } [3]=> array(11) { ["title"]=> string(81) "Look who’s stalking: how the slasher movie screamed its way back | Horror films" ["link"]=> string(111) "https://theinsidenewshyderabad.com/look-whos-stalking-how-the-slasher-movie-screamed-its-way-back-horror-films/" ["dc"]=> array(1) { ["creator"]=> string(10) "Susan Paul" } ["pubdate"]=> string(31) "Wed, 20 Oct 2021 10:46:02 +0000" ["category"]=> string(26) "Movie Production Companies" ["guid"]=> string(111) "https://theinsidenewshyderabad.com/look-whos-stalking-how-the-slasher-movie-screamed-its-way-back-horror-films/" ["description"]=> string(689) "Like the bloody, bullet-strewn killer at the end of a frenzied high body count climax making one medically impossible last-gasp attempt to kill the final girl, the slasher movie is lurching its way back to life with a dramatic jolt. The easily maligned subgenre had shown brief flashes of reanimation in recent years but we’re ... Read more" ["content"]=> array(1) { ["encoded"]=> string(22288) "

Like the bloody, bullet-strewn killer at the end of a frenzied high body count climax making one medically impossible last-gasp attempt to kill the final girl, the slasher movie is lurching its way back to life with a dramatic jolt. The easily maligned subgenre had shown brief flashes of reanimation in recent years but we’re now in the thick of a full resurgence and this time it’s taking over both the big and small screen. There’s nowhere to hide.

Earlier this year, Netflix unspooled its ambitious Fear Street trilogy (acquired from Fox during the pandemic), adaptations of RL Stine’s teen novels about a town gripped by a killer curse and earlier this month, it also released There’s Someone Inside Your House, a tale of high schoolers targeted by someone who knows their darkest secrets. Friday saw the launch of David Gordon Green’s Halloween Kills, the second in his new retconned trilogy which made a whopping $50m in the US over the weekend, the same week that Amazon kicked off its Gen-Z remake of I Know What You Did Last Summer, the 1997 slasher now transformed into an eight-part series, and SyFy launched a new sequel series to Child’s Play called Chucky as well as an update of Roger Corman’s Slumber Party Massacre. We’ve also just seen the first trailer for January’s return of Scream, back after an 11-year absence with the original trio onboard, released months before a reboot of The Texas Chainsaw Massacre on Netflix, A24’s “socially subversive” Bodies Bodies Bodies, written by the Cat Person author Kristen Roupenian, pandemic slasher 18 & Over and then, of course, Halloween Ends. There’s also a “social media remake” planned of 90s schlocker Urban Legend, a new take on the evil Santa horror Silent Night, Deadly Night and Charlize Theron is producing a HBO Max series based on self-referential summer novel The Final Girls Support Group which will compete with Universal’s adaptation of the similarly themed Final Girls.

After a few measly drops, this is something of a tidal wave, the most bullish slate the slasher has had since the years after the original Scream, which turns 25 this December. That was the film that reignited the subgenre that had been so dominant in the late 70s and throughout the 80s with Freddy, Jason and Michael Myers enthusiastically chopping teens to bits before it all turned into unintentional self-parody by the 90s, something Kevin Williamson capitalised on with his wink-wink smash hit, poking fun at the cliches we had grown to resent. That in turn led to a slightly more knowing reinvention until of course it didn’t and the formula grew tired once more, exhausting critics but, more importantly, boring audiences who had already moved on to J-horror remakes and torture porn.

Maya Hawke in Fear Street Part 1: 1994
Maya Hawke in Fear Street Part 1: 1994. Photograph: AP

The underwhelming box office of 2011’s fourth Scream film, after the Sorority Row remake and Wes Craven’s My Soul to Take both tanked, bashed the final nail in the coffin, burying the stalk-and-slash-em-ups for almost a decade. In the following years, horror became bigger than ever, franchises upon franchises, subgenres upon subgenres, hits upon hits, overserving a previously underserved audience, saturation point in the rearview.

It was 2017’s Happy Death Day, which spliced the masked killer v beautiful young woman A-plot with the time-loop comedy B-plot, that showed signs of life for the slasher, brashly turning Scream into Groundhog Day, an ingenious PG-13 gambit that paid off handsomely – a $4.8m budget cashing out with a $125m worldwide gross. The following year, the arthouse film-maker turned stoner comedy director David Gordon Green and his sometime collaborator Danny McBride brought Halloween’s Laurie Strode back from the dead in the start of a new trilogy that rewrote the history of the franchise, erasing all other sequels (including, criminally, 1998’s excellent Halloween H20), a bolshy tactic that turned it into the biggest slasher movie of all time, silencing Scream with a mammoth $255m global take.

The writing was then on the wall, in blood of course, that the slasher would return with gory gusto and ever since, execs have been scouring campgrounds, slumber parties and prom nights once again for the next big franchise while also, predictably, plundering old IP to see who else can be brought back from the beyond.

What marked out the success of both Happy Death Day and Halloween was something that’s become increasingly key to the horror genre: a considerable profit margin. The films were produced by Jason Blum and his hit-making company Blumhouse, also behind the Paranormal Activity series and the Purge films, on relatively shoestring budgets that recalled the original stripped-back slasher boom of the 70s and 80s. Films like Halloween and The Texas Chainsaw Massacre were made for less than $500,000 each and as the slasher went from indie experiment to studio product, budgets rose. Remakes of A Nightmare on Elm Street and House of Wax cost $35m and $40m respectively (sequels failed to follow) with Scream 4 also priced at $40m. All films were indicative of an era where the line between studio and indie films was that much more pronounced, a commercially untenable system, before streaming changed the game.

Neve Campbell and Courteney Cox in 2022’s Scream
Neve Campbell and Courteney Cox in 2022’s Scream. Photograph: Brownie Harris

The phenomenal success of Paranormal Activity (relaunching on Paramount+ later this month because of course) served as a well-timed reminder of the historically low-budget, high-reward nature of horror, briefly restarting the found footage subgenre and cluing in Blumhouse on a new business model. The company’s insistence that films would cost between $5 and $10m meant that even modest successes were deemed major hits and it paved the way for the slasher to return, cheaply made without the need to rely on pricey star power to pull ’em in.

But, budgets aside, the new class have also had to adapt to a new culture, both inside and outside of the horror genre. Historically, the base ingredients of a slasher – dumb, mostly white, usually naked, entirely heterosexual teens performing overwhelmingly gendered roles before getting hacked to bits – have invited great ridicule and at times great offence. There has of course been a separate school of thought that’s found praise for the power awarded to strong-willed female characters, the so-called final girls, who have used their underestimated might to take on invasive men but the framework as a whole was still in need of a refresh.

Ever since Get Out effortlessly reminded film-makers that, yes, the horror genre has a long lineage of combining scares with social commentary, there have been multiple attempts to make genre films that are actually about something as well, for better or, most often, worse.

In 2019, Blumhouse’s Black Christmas remake, written and directed by women, tried to subvert the original’s sorority stalker narrative, created by men, into some sort of theoretically intriguing commentary on consent, toxic masculinity and campus culture. But it was less smart horror and more dumb thesis, confusing buzzwords with an actual coherent script and served as an early warning of how not to do a contemporary slasher. There were similar, if less glaring, problems with Netflix’s There’s Someone Inside Your House earlier this month which wasted a refreshingly diverse cast on a script that tried and failed to say something about privilege and cancel culture. This year’s updated Slumber Party Massacre managed it slightly better, switching up Roger Corman’s lurid exploitation blueprint and passing control back to the ogled women with a nifty midpoint twist (some ogling of shirtless men also helped redress the balance). While the ongoing Halloween trilogy isn’t really trying to do anything other than find new ways for a man in a mask to bash people’s heads in, star Jamie Lee Curtis has now indulged in two press tours where she has doggedly tried to convince us all that the films are actually about generational trauma and #MeToo, comparing her character to Christine Blasey Ford and Michael Myers to Larry Nassar, among others (Rich Juzwiak’s hilarious Jezebel supercut shows this in its full, embarrassing splendour).

Misha Osherovich, Melissa Collazo, Kathryn Newton and Celeste O’Connor in Freaky
Misha Osherovich, Melissa Collazo, Kathryn Newton and Celeste O’Connor in Freaky. Photograph: Universal Pictures

It’s by no means an impossible feat, to make a slasher film that’s about something more substantial than sex and stabbing (ironically, Halloween H20 had more to say about PTSD than Halloween 2018 while the Scream films have had plenty to say about plenty of things) but clumsily imposing bulkier issues on films that can’t usually handle the weight is serving no one. Instead, a more effective, and often more casual, update has been in the makeup of the characters themselves, no longer quite so straight and quite so white. The past summer’s Fear Street trilogy centered an interracial lesbian couple without the need to smugly congratulate itself (its epic, three-film theme of the long-term resilience of gay love was particularly effective), there was also an interracial gay male couple in Amazon’s I Know What You Did Last Summer, Child’s Play series Chucky was led by a gay teen, There’s Someone Inside Your House included a non-binary character in its main group of racially diverse teens while last year’s Freaky deftly explored gender and sexual fluidity while never allowing its ebullient Freaky Friday v Friday the 13th mash-up energy to relent. Alternately, the inclusion of a gay couple in Halloween Kills was on the more regressive end of the scale, childishly mocking absurdist characters known as Big and Little John before gleefully slaughtering them.

As inevitable as this shift in slasher diversity yet nowhere near as welcome is a shift in slasher format. The transition of Lois Duncan’s mystery novel I Know What You Did Last Summer from 100-minute movie to an almost seven-hour TV series, days after Child’s Play ballooned into Chucky, showed that like all other genres, the slasher is being shrunk to the small screen while also being expanded beyond its limits (MTV tried the same thing with Scream back in 2015 before a reboot in 2019, neither catching fire). In an age of more, it’s what might test audiences’ appetite the most; the choice to invest weeks into a thinly etched story usually told well under two hours is one that only hardcore fans might opt for (Chucky was met with underwhelming ratings for its premiere episode).

It’s unclear exactly what to expect from the sight unseen slashers leaping out of the darkness and into our cinemas and living rooms over the next year, cards and killers being kept understandably close to chests. The fifth Scream film, out at the start of the year with the duo behind Ready or Not pulling the strings, is shrouded in secrecy as every Scream film should be, with suggestions that even the rather perfunctory first trailer might in fact be a devious tool of misdirection. The buzz surrounding the latest chapter has easily eclipsed that of the fourth (the trailer became a top trending topic within minutes last week), a younger audience now that much more aware of the franchise thanks to the easy access allowed by streaming. It’s part of the reason why the new Halloween films have done so well, attracting a younger audience who might have otherwise been less familiar with the origins of Michael Myers and Laurie Strode, film history a mere click away (even with inflation, H20 made around half of Halloween 2018’s domestic take). Rumours persist that Jason is on his way back next, with Friday the 13th super-fan Lebron James expressing interest in producing and a recent landmark legal case handing the rights to the franchise back to the original screenwriter Victor Miller.

The popularity of genres used to be seen as cyclical, from the western to the romcom to the musical, an industry strictly dictated by box office trends but with the ever-expanding entertainment landscape as it currently is, there’s that much more room for everything to just always be and the rediscovered low-stakes cheapness of slashers means that a gruesome death is nowhere on the horizon. They always come back but maybe this time they’ll actually survive.

" } ["summary"]=> string(689) "Like the bloody, bullet-strewn killer at the end of a frenzied high body count climax making one medically impossible last-gasp attempt to kill the final girl, the slasher movie is lurching its way back to life with a dramatic jolt. The easily maligned subgenre had shown brief flashes of reanimation in recent years but we’re ... Read more" ["atom_content"]=> string(22288) "

Like the bloody, bullet-strewn killer at the end of a frenzied high body count climax making one medically impossible last-gasp attempt to kill the final girl, the slasher movie is lurching its way back to life with a dramatic jolt. The easily maligned subgenre had shown brief flashes of reanimation in recent years but we’re now in the thick of a full resurgence and this time it’s taking over both the big and small screen. There’s nowhere to hide.

Earlier this year, Netflix unspooled its ambitious Fear Street trilogy (acquired from Fox during the pandemic), adaptations of RL Stine’s teen novels about a town gripped by a killer curse and earlier this month, it also released There’s Someone Inside Your House, a tale of high schoolers targeted by someone who knows their darkest secrets. Friday saw the launch of David Gordon Green’s Halloween Kills, the second in his new retconned trilogy which made a whopping $50m in the US over the weekend, the same week that Amazon kicked off its Gen-Z remake of I Know What You Did Last Summer, the 1997 slasher now transformed into an eight-part series, and SyFy launched a new sequel series to Child’s Play called Chucky as well as an update of Roger Corman’s Slumber Party Massacre. We’ve also just seen the first trailer for January’s return of Scream, back after an 11-year absence with the original trio onboard, released months before a reboot of The Texas Chainsaw Massacre on Netflix, A24’s “socially subversive” Bodies Bodies Bodies, written by the Cat Person author Kristen Roupenian, pandemic slasher 18 & Over and then, of course, Halloween Ends. There’s also a “social media remake” planned of 90s schlocker Urban Legend, a new take on the evil Santa horror Silent Night, Deadly Night and Charlize Theron is producing a HBO Max series based on self-referential summer novel The Final Girls Support Group which will compete with Universal’s adaptation of the similarly themed Final Girls.

After a few measly drops, this is something of a tidal wave, the most bullish slate the slasher has had since the years after the original Scream, which turns 25 this December. That was the film that reignited the subgenre that had been so dominant in the late 70s and throughout the 80s with Freddy, Jason and Michael Myers enthusiastically chopping teens to bits before it all turned into unintentional self-parody by the 90s, something Kevin Williamson capitalised on with his wink-wink smash hit, poking fun at the cliches we had grown to resent. That in turn led to a slightly more knowing reinvention until of course it didn’t and the formula grew tired once more, exhausting critics but, more importantly, boring audiences who had already moved on to J-horror remakes and torture porn.

Maya Hawke in Fear Street Part 1: 1994
Maya Hawke in Fear Street Part 1: 1994. Photograph: AP

The underwhelming box office of 2011’s fourth Scream film, after the Sorority Row remake and Wes Craven’s My Soul to Take both tanked, bashed the final nail in the coffin, burying the stalk-and-slash-em-ups for almost a decade. In the following years, horror became bigger than ever, franchises upon franchises, subgenres upon subgenres, hits upon hits, overserving a previously underserved audience, saturation point in the rearview.

It was 2017’s Happy Death Day, which spliced the masked killer v beautiful young woman A-plot with the time-loop comedy B-plot, that showed signs of life for the slasher, brashly turning Scream into Groundhog Day, an ingenious PG-13 gambit that paid off handsomely – a $4.8m budget cashing out with a $125m worldwide gross. The following year, the arthouse film-maker turned stoner comedy director David Gordon Green and his sometime collaborator Danny McBride brought Halloween’s Laurie Strode back from the dead in the start of a new trilogy that rewrote the history of the franchise, erasing all other sequels (including, criminally, 1998’s excellent Halloween H20), a bolshy tactic that turned it into the biggest slasher movie of all time, silencing Scream with a mammoth $255m global take.

The writing was then on the wall, in blood of course, that the slasher would return with gory gusto and ever since, execs have been scouring campgrounds, slumber parties and prom nights once again for the next big franchise while also, predictably, plundering old IP to see who else can be brought back from the beyond.

What marked out the success of both Happy Death Day and Halloween was something that’s become increasingly key to the horror genre: a considerable profit margin. The films were produced by Jason Blum and his hit-making company Blumhouse, also behind the Paranormal Activity series and the Purge films, on relatively shoestring budgets that recalled the original stripped-back slasher boom of the 70s and 80s. Films like Halloween and The Texas Chainsaw Massacre were made for less than $500,000 each and as the slasher went from indie experiment to studio product, budgets rose. Remakes of A Nightmare on Elm Street and House of Wax cost $35m and $40m respectively (sequels failed to follow) with Scream 4 also priced at $40m. All films were indicative of an era where the line between studio and indie films was that much more pronounced, a commercially untenable system, before streaming changed the game.

Neve Campbell and Courteney Cox in 2022’s Scream
Neve Campbell and Courteney Cox in 2022’s Scream. Photograph: Brownie Harris

The phenomenal success of Paranormal Activity (relaunching on Paramount+ later this month because of course) served as a well-timed reminder of the historically low-budget, high-reward nature of horror, briefly restarting the found footage subgenre and cluing in Blumhouse on a new business model. The company’s insistence that films would cost between $5 and $10m meant that even modest successes were deemed major hits and it paved the way for the slasher to return, cheaply made without the need to rely on pricey star power to pull ’em in.

But, budgets aside, the new class have also had to adapt to a new culture, both inside and outside of the horror genre. Historically, the base ingredients of a slasher – dumb, mostly white, usually naked, entirely heterosexual teens performing overwhelmingly gendered roles before getting hacked to bits – have invited great ridicule and at times great offence. There has of course been a separate school of thought that’s found praise for the power awarded to strong-willed female characters, the so-called final girls, who have used their underestimated might to take on invasive men but the framework as a whole was still in need of a refresh.

Ever since Get Out effortlessly reminded film-makers that, yes, the horror genre has a long lineage of combining scares with social commentary, there have been multiple attempts to make genre films that are actually about something as well, for better or, most often, worse.

In 2019, Blumhouse’s Black Christmas remake, written and directed by women, tried to subvert the original’s sorority stalker narrative, created by men, into some sort of theoretically intriguing commentary on consent, toxic masculinity and campus culture. But it was less smart horror and more dumb thesis, confusing buzzwords with an actual coherent script and served as an early warning of how not to do a contemporary slasher. There were similar, if less glaring, problems with Netflix’s There’s Someone Inside Your House earlier this month which wasted a refreshingly diverse cast on a script that tried and failed to say something about privilege and cancel culture. This year’s updated Slumber Party Massacre managed it slightly better, switching up Roger Corman’s lurid exploitation blueprint and passing control back to the ogled women with a nifty midpoint twist (some ogling of shirtless men also helped redress the balance). While the ongoing Halloween trilogy isn’t really trying to do anything other than find new ways for a man in a mask to bash people’s heads in, star Jamie Lee Curtis has now indulged in two press tours where she has doggedly tried to convince us all that the films are actually about generational trauma and #MeToo, comparing her character to Christine Blasey Ford and Michael Myers to Larry Nassar, among others (Rich Juzwiak’s hilarious Jezebel supercut shows this in its full, embarrassing splendour).

Misha Osherovich, Melissa Collazo, Kathryn Newton and Celeste O’Connor in Freaky
Misha Osherovich, Melissa Collazo, Kathryn Newton and Celeste O’Connor in Freaky. Photograph: Universal Pictures

It’s by no means an impossible feat, to make a slasher film that’s about something more substantial than sex and stabbing (ironically, Halloween H20 had more to say about PTSD than Halloween 2018 while the Scream films have had plenty to say about plenty of things) but clumsily imposing bulkier issues on films that can’t usually handle the weight is serving no one. Instead, a more effective, and often more casual, update has been in the makeup of the characters themselves, no longer quite so straight and quite so white. The past summer’s Fear Street trilogy centered an interracial lesbian couple without the need to smugly congratulate itself (its epic, three-film theme of the long-term resilience of gay love was particularly effective), there was also an interracial gay male couple in Amazon’s I Know What You Did Last Summer, Child’s Play series Chucky was led by a gay teen, There’s Someone Inside Your House included a non-binary character in its main group of racially diverse teens while last year’s Freaky deftly explored gender and sexual fluidity while never allowing its ebullient Freaky Friday v Friday the 13th mash-up energy to relent. Alternately, the inclusion of a gay couple in Halloween Kills was on the more regressive end of the scale, childishly mocking absurdist characters known as Big and Little John before gleefully slaughtering them.

As inevitable as this shift in slasher diversity yet nowhere near as welcome is a shift in slasher format. The transition of Lois Duncan’s mystery novel I Know What You Did Last Summer from 100-minute movie to an almost seven-hour TV series, days after Child’s Play ballooned into Chucky, showed that like all other genres, the slasher is being shrunk to the small screen while also being expanded beyond its limits (MTV tried the same thing with Scream back in 2015 before a reboot in 2019, neither catching fire). In an age of more, it’s what might test audiences’ appetite the most; the choice to invest weeks into a thinly etched story usually told well under two hours is one that only hardcore fans might opt for (Chucky was met with underwhelming ratings for its premiere episode).

It’s unclear exactly what to expect from the sight unseen slashers leaping out of the darkness and into our cinemas and living rooms over the next year, cards and killers being kept understandably close to chests. The fifth Scream film, out at the start of the year with the duo behind Ready or Not pulling the strings, is shrouded in secrecy as every Scream film should be, with suggestions that even the rather perfunctory first trailer might in fact be a devious tool of misdirection. The buzz surrounding the latest chapter has easily eclipsed that of the fourth (the trailer became a top trending topic within minutes last week), a younger audience now that much more aware of the franchise thanks to the easy access allowed by streaming. It’s part of the reason why the new Halloween films have done so well, attracting a younger audience who might have otherwise been less familiar with the origins of Michael Myers and Laurie Strode, film history a mere click away (even with inflation, H20 made around half of Halloween 2018’s domestic take). Rumours persist that Jason is on his way back next, with Friday the 13th super-fan Lebron James expressing interest in producing and a recent landmark legal case handing the rights to the franchise back to the original screenwriter Victor Miller.

The popularity of genres used to be seen as cyclical, from the western to the romcom to the musical, an industry strictly dictated by box office trends but with the ever-expanding entertainment landscape as it currently is, there’s that much more room for everything to just always be and the rediscovered low-stakes cheapness of slashers means that a gruesome death is nowhere on the horizon. They always come back but maybe this time they’ll actually survive.

" ["date_timestamp"]=> int(1634726762) } [4]=> array(11) { ["title"]=> string(121) "“The Shelter”: to see or not to see the movie with Jude Law on Prime Video? | Sean Durkin | The Nest | SKIP-ENTER" ["link"]=> string(139) "https://theinsidenewshyderabad.com/the-shelter-to-see-or-not-to-see-the-movie-with-jude-law-on-prime-video-sean-durkin-the-nest-skip-enter/" ["dc"]=> array(1) { ["creator"]=> string(10) "Susan Paul" } ["pubdate"]=> string(31) "Wed, 20 Oct 2021 10:43:50 +0000" ["category"]=> string(130) "Movie Production Companiesamazon primeDurkinjudelawmovieNestPrimeSeanSean Durkinsebastian pimentelShelterSKIPENTERThe shelterVideo" ["guid"]=> string(139) "https://theinsidenewshyderabad.com/the-shelter-to-see-or-not-to-see-the-movie-with-jude-law-on-prime-video-sean-durkin-the-nest-skip-enter/" ["description"]=> string(834) "According to the criteria of Know more The family, the fundamental nucleus of society, has obsessed directors like Bergman, Ozu, or Cassavetes. Apparently, nothing more natural than family. However, the cinema could look at it in a way perhaps more terrifying than other arts. And I say terrifying, to the extent that it was able ... Read more" ["content"]=> array(1) { ["encoded"]=> string(8188) "

According to the criteria of

Know more

The family, the fundamental nucleus of society, has obsessed directors like Bergman, Ozu, or Cassavetes. Apparently, nothing more natural than family. However, the cinema could look at it in a way perhaps more terrifying than other arts. And I say terrifying, to the extent that it was able to unveil its theatrical pillars, and shamelessly dig into its logic of power, its masks, and the great shortcomings they try to hide.

READ ALSO: “Never, rarely, sometimes, always”: our review of the Berlin Grand Jury Prize-winning film, available on HBO

“The Shelter” (2020), by Canadian Sean Durkin, which has recently premiered by Amazon Prime, it is about the emptiness that hides a family that appears to be happy and exemplary. The O’Hara are a married couple made up of Rory and Allison – played by excellent Jude Law and Carrie Coon – along with their children Samantha (Oona Roche) and Ben (Charlie Shotwell), and they live in the United States, Allison’s homeland. .

The film begins with the daily routines in the wealthy O’Hara house. And, as with Kubrick’s “El Resplandor” (1980), everything seems, at first, very intimate, humorous and affectionate between the members of the household. The reference to Kubrick also falls into account because the film’s narrative progression, as well as its aesthetic approach and the way of filming the spaces, unequivocally refer to the author of “Ojos bien closed”.

Durkin also places the film in the mid-1980s, in the era of Reagan and Thatcher, with all that that entails when it comes to unleashing unregulated capitalism, unfair competition, and greed that is wanted through no fault of its own. This mention is important as Rory, the husband of British nationality, a high-level financial agent, represents these ideals of money and power to the fullest extent. A few minutes into the film, a disturbing signal is already sown, somewhat destabilizing, when Rory announces to his wife that they are going to have to leave the US and go live in London. Allison reluctantly accepts this new life that, according to her husband, will be even more luxurious. Rory tells him that he has been offered a better job as an investor in his former boss’s (Michael Culkin) company, and that he will buy him a new stable. Durkin makes a film that puts our time in the mirror of the eighties. At the same time, it is a mirror full of premonitory signs. In fact, Allison works as a horse trainer, and has one of her own. The animal will be a symbol of the wealth and beauty of the family, but also of a fatal process. At the same time, that silent sign runs parallel to the figure of Rory, who never stops talking and showing off.

What is interesting is also in the way the director involves us in a kind of intrigue regarding what is behind the ostentation that is becoming increasingly false. A key to the film’s logic is in Allison’s gaze. It is her, and her eyes are always scrutinizing and full of suspicion, that lead us on a progressive adventure of almost terrifying disbelief regarding Rory’s true identity.

There are no sexual betrayals or bloody crimes in “The Haven.” Only paradoxes. Some elites are not what they appear. And the dead spaces of the immense mansion that Rory rents, on the outskirts of London, resemble those dizzying corridors of the Hotel from “The Shining”: they are the abysses of madness into which the family has plunged. However, the debts with Kubrick and his impassive gaze in the face of an irreversible process of decomposition, result in new ways of unveiling the masks of daily life. Sean Durkin is a filmmaker with a universe of his own, and this movie proves it.

Datasheet

Original title: The Nest

Platform: Amazon Prime Video.

Gender: Drama

Country and year: UK / Canada, 2020

Director: Sean Durkin

Synopsis: Rory, an ambitious entrepreneur, returns to his hometown with his wife and children to explore new business opportunities. However, his return will not be as expected and his family will be engulfed in despair. As if that were not enough, their new home is far from everything and everyone, a factor that could drive them to madness and threaten to destroy their lives forever.

Actors: Jude Law, Carrie Coon, Oona Roche, Michael Culkin

Qualification: ★★★★.

RECOMMENDED VIDEO

"Don't call me spinster" Wins Best Film at the Luces 2018 Awards
“Don’t tell me a spinster” wins Best Film at the Luces 2018 Awards. (Source: El Comercio)

YOU CAN ALSO READ

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Many Thanks To The following Website For This Valuable Content.
“The Shelter”: to see or not to see the movie with Jude Law on Prime Video? | Sean Durkin | The Nest | SKIP-ENTER

" } ["summary"]=> string(834) "According to the criteria of Know more The family, the fundamental nucleus of society, has obsessed directors like Bergman, Ozu, or Cassavetes. Apparently, nothing more natural than family. However, the cinema could look at it in a way perhaps more terrifying than other arts. And I say terrifying, to the extent that it was able ... Read more" ["atom_content"]=> string(8188) "

According to the criteria of

Know more

The family, the fundamental nucleus of society, has obsessed directors like Bergman, Ozu, or Cassavetes. Apparently, nothing more natural than family. However, the cinema could look at it in a way perhaps more terrifying than other arts. And I say terrifying, to the extent that it was able to unveil its theatrical pillars, and shamelessly dig into its logic of power, its masks, and the great shortcomings they try to hide.

READ ALSO: “Never, rarely, sometimes, always”: our review of the Berlin Grand Jury Prize-winning film, available on HBO

“The Shelter” (2020), by Canadian Sean Durkin, which has recently premiered by Amazon Prime, it is about the emptiness that hides a family that appears to be happy and exemplary. The O’Hara are a married couple made up of Rory and Allison – played by excellent Jude Law and Carrie Coon – along with their children Samantha (Oona Roche) and Ben (Charlie Shotwell), and they live in the United States, Allison’s homeland. .

The film begins with the daily routines in the wealthy O’Hara house. And, as with Kubrick’s “El Resplandor” (1980), everything seems, at first, very intimate, humorous and affectionate between the members of the household. The reference to Kubrick also falls into account because the film’s narrative progression, as well as its aesthetic approach and the way of filming the spaces, unequivocally refer to the author of “Ojos bien closed”.

Durkin also places the film in the mid-1980s, in the era of Reagan and Thatcher, with all that that entails when it comes to unleashing unregulated capitalism, unfair competition, and greed that is wanted through no fault of its own. This mention is important as Rory, the husband of British nationality, a high-level financial agent, represents these ideals of money and power to the fullest extent. A few minutes into the film, a disturbing signal is already sown, somewhat destabilizing, when Rory announces to his wife that they are going to have to leave the US and go live in London. Allison reluctantly accepts this new life that, according to her husband, will be even more luxurious. Rory tells him that he has been offered a better job as an investor in his former boss’s (Michael Culkin) company, and that he will buy him a new stable. Durkin makes a film that puts our time in the mirror of the eighties. At the same time, it is a mirror full of premonitory signs. In fact, Allison works as a horse trainer, and has one of her own. The animal will be a symbol of the wealth and beauty of the family, but also of a fatal process. At the same time, that silent sign runs parallel to the figure of Rory, who never stops talking and showing off.

What is interesting is also in the way the director involves us in a kind of intrigue regarding what is behind the ostentation that is becoming increasingly false. A key to the film’s logic is in Allison’s gaze. It is her, and her eyes are always scrutinizing and full of suspicion, that lead us on a progressive adventure of almost terrifying disbelief regarding Rory’s true identity.

There are no sexual betrayals or bloody crimes in “The Haven.” Only paradoxes. Some elites are not what they appear. And the dead spaces of the immense mansion that Rory rents, on the outskirts of London, resemble those dizzying corridors of the Hotel from “The Shining”: they are the abysses of madness into which the family has plunged. However, the debts with Kubrick and his impassive gaze in the face of an irreversible process of decomposition, result in new ways of unveiling the masks of daily life. Sean Durkin is a filmmaker with a universe of his own, and this movie proves it.

Datasheet

Original title: The Nest

Platform: Amazon Prime Video.

Gender: Drama

Country and year: UK / Canada, 2020

Director: Sean Durkin

Synopsis: Rory, an ambitious entrepreneur, returns to his hometown with his wife and children to explore new business opportunities. However, his return will not be as expected and his family will be engulfed in despair. As if that were not enough, their new home is far from everything and everyone, a factor that could drive them to madness and threaten to destroy their lives forever.

Actors: Jude Law, Carrie Coon, Oona Roche, Michael Culkin

Qualification: ★★★★.

RECOMMENDED VIDEO

"Don't call me spinster" Wins Best Film at the Luces 2018 Awards
“Don’t tell me a spinster” wins Best Film at the Luces 2018 Awards. (Source: El Comercio)

YOU CAN ALSO READ

.

Many Thanks To The following Website For This Valuable Content.
“The Shelter”: to see or not to see the movie with Jude Law on Prime Video? | Sean Durkin | The Nest | SKIP-ENTER

" ["date_timestamp"]=> int(1634726630) } [5]=> array(11) { ["title"]=> string(48) "Unexpected suspects – serialists | Serialists" ["link"]=> string(77) "https://theinsidenewshyderabad.com/unexpected-suspects-serialists-serialists/" ["dc"]=> array(1) { ["creator"]=> string(10) "Susan Paul" } ["pubdate"]=> string(31) "Wed, 20 Oct 2021 10:42:48 +0000" ["category"]=> string(155) "Movie Production CompaniesserialistssuspectsSuspicious unexpected photosunexpectedUnexpected suspectsunexpected suspicious newsunexpected suspicious videos" ["guid"]=> string(77) "https://theinsidenewshyderabad.com/unexpected-suspects-serialists-serialists/" ["description"]=> string(618) "Successful women, extortion, Filipino assistants … Unexpected suspects it is something singular. It is an Australian miniseries with four episodes, originally released back in June 2021. It arrived in Spain months later, in October; doing it through Filmin and with an eye toward becoming one of the most addictive titles of the fall thanks to ... Read more" ["content"]=> array(1) { ["encoded"]=> string(6162) "

Successful women, extortion, Filipino assistants … Unexpected suspects it is something singular. It is an Australian miniseries with four episodes, originally released back in June 2021. It arrived in Spain months later, in October; doing it through Filmin and with an eye toward becoming one of the most addictive titles of the fall thanks to its particular premise: mixing Ocean’s 8 and Desperate women. Almost nothing.

The plot follows a group of women who, overnight, they are suspected of the theft of a necklace valued at 16 million dollars. This valuable piece was stolen from the home of businesswoman Roxanne Waters while she was celebrating her twins’ birthday. With such a panorama, the police investigation brings out hidden rivalries, shady affairs, and business of dubious morality. And of course, everyone is under suspicion.

Titled The Unusual Suspects in its original English, This dramatic comedy is produced by Aquarius Films, a study that, despite having some series in their filmography – they are responsible for Off the radar-, they have been dedicating themselves to making feature films. Some of them as well known as Jeremy’s disappearance, Berlin Syndrome O Lion, nominated for six Oscars in 2017 and starring Dev Patel, Nicole Kidman and Rooney Mara.

In creative terms, The proposal bears the signature of the screenwriter Jessica Redenbach, someone with experience in the medium after participating in series such as Spirited o el drama criminal Rush. Along with her other writers participate in the project such as Vonne Patiag (Halal Gurls), Mark O’Toole (Retrograde) O Roger Monk (Nowhere Boys), nominated by the Australian Writer’s Guild in 2014 in the Children’s Television category, designed to recognize the best children’s content.

For its part, the direction rests in the hands of Natalie Bailey (The Thick of It) and the debutant Melvin J. Montalban. Precisely, both the latter and Patiag are of Filipino origin, and this is interesting insofar as Unexpected suspects has a speech about identity and culture. “Filipinos are diverse within our own culture, so I am proud to participate in a story that is true to us,” says Patiag, who, like the director, tries to enrich the story with his own experience.

Within the artistic team the presence of the actress Miranda Otto is striking (The Lord of the Rings: The Return of the King), five times nominated for an AFI Award and awarded Best Supporting Actress by the Australian Academy of Cinema and Television Arts in 2016. As a curiosity, it should be noted that the series supposes the reunion between Otto and the interpreter Matt Day (Scoop) after performing together for the last time in the 1997 film Doing Time for Patsy Cline.

However, in addition to Otto, Unexpected suspects can boast of having assembled a cast in which they also play a fundamental role: Aina Dumlao (Ballers); Lena Cruz (Dirt Game); Susana Downes (Dead Lucky); Michelle Vergara Moore (Condor); Toby Leonard Moore (Billions); Heather Mitchell (Upright); Peter O’Brien (Casualty); O Sandy Gore (Brides of Christ), veteran actress five times AFI Award nominee.

Definitely, Unexpected suspects could be defined as a witty comedy that reveals the less friendly side of Sydney’s jet set from a millionaire robbery. A crazy investigation with mixed doses of drama, comedy and mystery, which will make you spend a few entertaining nights solving a case that smells like Coco Mademoiselle.

.

Many Thanks To The following Website For This Valuable Content.
Unexpected suspects – serialists | Serialists

" } ["summary"]=> string(618) "Successful women, extortion, Filipino assistants … Unexpected suspects it is something singular. It is an Australian miniseries with four episodes, originally released back in June 2021. It arrived in Spain months later, in October; doing it through Filmin and with an eye toward becoming one of the most addictive titles of the fall thanks to ... Read more" ["atom_content"]=> string(6162) "

Successful women, extortion, Filipino assistants … Unexpected suspects it is something singular. It is an Australian miniseries with four episodes, originally released back in June 2021. It arrived in Spain months later, in October; doing it through Filmin and with an eye toward becoming one of the most addictive titles of the fall thanks to its particular premise: mixing Ocean’s 8 and Desperate women. Almost nothing.

The plot follows a group of women who, overnight, they are suspected of the theft of a necklace valued at 16 million dollars. This valuable piece was stolen from the home of businesswoman Roxanne Waters while she was celebrating her twins’ birthday. With such a panorama, the police investigation brings out hidden rivalries, shady affairs, and business of dubious morality. And of course, everyone is under suspicion.

Titled The Unusual Suspects in its original English, This dramatic comedy is produced by Aquarius Films, a study that, despite having some series in their filmography – they are responsible for Off the radar-, they have been dedicating themselves to making feature films. Some of them as well known as Jeremy’s disappearance, Berlin Syndrome O Lion, nominated for six Oscars in 2017 and starring Dev Patel, Nicole Kidman and Rooney Mara.

In creative terms, The proposal bears the signature of the screenwriter Jessica Redenbach, someone with experience in the medium after participating in series such as Spirited o el drama criminal Rush. Along with her other writers participate in the project such as Vonne Patiag (Halal Gurls), Mark O’Toole (Retrograde) O Roger Monk (Nowhere Boys), nominated by the Australian Writer’s Guild in 2014 in the Children’s Television category, designed to recognize the best children’s content.

For its part, the direction rests in the hands of Natalie Bailey (The Thick of It) and the debutant Melvin J. Montalban. Precisely, both the latter and Patiag are of Filipino origin, and this is interesting insofar as Unexpected suspects has a speech about identity and culture. “Filipinos are diverse within our own culture, so I am proud to participate in a story that is true to us,” says Patiag, who, like the director, tries to enrich the story with his own experience.

Within the artistic team the presence of the actress Miranda Otto is striking (The Lord of the Rings: The Return of the King), five times nominated for an AFI Award and awarded Best Supporting Actress by the Australian Academy of Cinema and Television Arts in 2016. As a curiosity, it should be noted that the series supposes the reunion between Otto and the interpreter Matt Day (Scoop) after performing together for the last time in the 1997 film Doing Time for Patsy Cline.

However, in addition to Otto, Unexpected suspects can boast of having assembled a cast in which they also play a fundamental role: Aina Dumlao (Ballers); Lena Cruz (Dirt Game); Susana Downes (Dead Lucky); Michelle Vergara Moore (Condor); Toby Leonard Moore (Billions); Heather Mitchell (Upright); Peter O’Brien (Casualty); O Sandy Gore (Brides of Christ), veteran actress five times AFI Award nominee.

Definitely, Unexpected suspects could be defined as a witty comedy that reveals the less friendly side of Sydney’s jet set from a millionaire robbery. A crazy investigation with mixed doses of drama, comedy and mystery, which will make you spend a few entertaining nights solving a case that smells like Coco Mademoiselle.

.

Many Thanks To The following Website For This Valuable Content.
Unexpected suspects – serialists | Serialists

" ["date_timestamp"]=> int(1634726568) } [6]=> array(11) { ["title"]=> string(70) "Gateway to present a bounty of scary films in Nightmares Film Festival" ["link"]=> string(106) "https://theinsidenewshyderabad.com/gateway-to-present-a-bounty-of-scary-films-in-nightmares-film-festival/" ["dc"]=> array(1) { ["creator"]=> string(10) "Susan Paul" } ["pubdate"]=> string(31) "Wed, 20 Oct 2021 10:41:26 +0000" ["category"]=> string(63) "Scream AwaybountyFestivalfilmFilmsGatewaynightmarespresentscary" ["guid"]=> string(106) "https://theinsidenewshyderabad.com/gateway-to-present-a-bounty-of-scary-films-in-nightmares-film-festival/" ["description"]=> string(672) "If you were a movie fan during the 1980s or ’90s, you were likely familiar with the credit “Directed by Joe Dante.” Dante directed a few big hits during those decades as well as many enduring cult favorites, including “Gremlins” (1984) and its sequel, “Gremlins 2: The New Batch” (1990); “Innerspace” (1987), starring Dennis Quaid ... Read more" ["content"]=> array(1) { ["encoded"]=> string(8225) "

If you were a movie fan during the 1980s or ’90s, you were likely familiar with the credit “Directed by Joe Dante.”

Dante directed a few big hits during those decades as well as many enduring cult favorites, including “Gremlins” (1984) and its sequel, “Gremlins 2: The New Batch” (1990); “Innerspace” (1987), starring Dennis Quaid as a miniaturized man; and “The ‘Burbs” (1989), starring Tom Hanks as an apprehensive suburbanite.

Before those mainstream Hollywood productions, though, Dante was just another horror moviemaker trying to get a foothold in the business.

Joe Dante and ‘The Howling’

In 1981, Dante directed his second solo film, a modern-day werewolf yarn called “The Howling,” starring Dee Wallace and Patrick Macnee. The film didn’t cost too much, and no one expected much from it, but it earned critical acclaim, did well with the public and gave Dante an entree into studio filmmaking.

" } ["summary"]=> string(672) "If you were a movie fan during the 1980s or ’90s, you were likely familiar with the credit “Directed by Joe Dante.” Dante directed a few big hits during those decades as well as many enduring cult favorites, including “Gremlins” (1984) and its sequel, “Gremlins 2: The New Batch” (1990); “Innerspace” (1987), starring Dennis Quaid ... Read more" ["atom_content"]=> string(8225) "

If you were a movie fan during the 1980s or ’90s, you were likely familiar with the credit “Directed by Joe Dante.”

Dante directed a few big hits during those decades as well as many enduring cult favorites, including “Gremlins” (1984) and its sequel, “Gremlins 2: The New Batch” (1990); “Innerspace” (1987), starring Dennis Quaid as a miniaturized man; and “The ‘Burbs” (1989), starring Tom Hanks as an apprehensive suburbanite.

Before those mainstream Hollywood productions, though, Dante was just another horror moviemaker trying to get a foothold in the business.

Joe Dante and ‘The Howling’

In 1981, Dante directed his second solo film, a modern-day werewolf yarn called “The Howling,” starring Dee Wallace and Patrick Macnee. The film didn’t cost too much, and no one expected much from it, but it earned critical acclaim, did well with the public and gave Dante an entree into studio filmmaking.

" ["date_timestamp"]=> int(1634726486) } [7]=> array(11) { ["title"]=> string(72) "Respect Blu-ray Release Date & Home Release Trailer Revealed [EXCLUSIVE]" ["link"]=> string(104) "https://theinsidenewshyderabad.com/respect-blu-ray-release-date-home-release-trailer-revealed-exclusive/" ["dc"]=> array(1) { ["creator"]=> string(10) "Susan Paul" } ["pubdate"]=> string(31) "Wed, 20 Oct 2021 10:34:40 +0000" ["category"]=> string(62) "Movie NewsbluraydateExclusivehomereleaserespectRevealedTrailer" ["guid"]=> string(104) "https://theinsidenewshyderabad.com/respect-blu-ray-release-date-home-release-trailer-revealed-exclusive/" ["description"]=> string(693) "Screen Rant has the exclusive announcement & trailer for the digital and Blu-ray/DVD release of Respect starring Jennifer Hudson as Aretha Franklin. Screen Rant has the exclusive announcement for the digital, Blu-ray, and DVD release date for Respect along with the home release trailer. The Aretha Franklin biopic tells the inspiring true story of the ... Read more" ["content"]=> array(1) { ["encoded"]=> string(9732) "

Screen Rant has the exclusive announcement & trailer for the digital and Blu-ray/DVD release of Respect starring Jennifer Hudson as Aretha Franklin.

Screen Rant has the exclusive announcement for the digital, Blu-ray, and DVD release date for Respect along with the home release trailer. The Aretha Franklin biopic tells the inspiring true story of the singer’s life. Respect is directed by Liesl Tommy, making her feature film debut, from a script by Tracey Scott Wilson.

Respect stars Jennifer Hudson as the legendary powerhouse Aretha Frankin. The biopic charts the singer’s rise to fame from her childhood singing in her father’s church choir to her international superstardom. Hudson was selected by the Queen of Soul herself for the role before Franklin’s death in 2018.


Related: House Of Gucci & 9 Other Upcoming Biographical Movies

Watch the home release trailer for Respect below. Respect is available to own on digital now. It will be available on Blu-ray and DVD on November 9. The home release for the film comes with never-before-seen extras and exclusive bonus features. See the Respect home release trailer here:

The Blu-ray and DVD of Respect include bonus features showing the making of the biopic. The film is available to own for the first time with all-new, never-before-seen extras. See the details included in the home release of Respect here:

Respect Blu-ray & DVD Exclusive Bonus Features:

Respect Blu-ray release

Hudson leads the all-star cast of Respect which also includes Forest Whitaker (Black Panther) as Aretha’s father C.L. Franklin; Audra McDonald (Beauty and The Beast) as Aretha’s mother Barbara; Marlon Wayans (Sextuplets) as Aretha’s ex-husband Ted White; Marc Maron (Joker) as music producer Jerry Wexler; Tituss Burgess (Unbreakable Kimmy Schmidt) as Reverend Dr. James Cleveland; and Mary J. Blige (Mudbound) as Dinah Washington.

Next: 10 Best Movies To Watch If You Liked Respect

Respect is currently available on digital and will be available on Blu-ray and DVD on November 9 from MGM and Universal Pictures Home Entertainment.

Benedict Cumberbatch as Doctor Strange and Chris Hemsworth as Thor

Why Marvel Just Delayed 5 Phase 4 Movies (Again)


About The Author

" } ["summary"]=> string(693) "Screen Rant has the exclusive announcement & trailer for the digital and Blu-ray/DVD release of Respect starring Jennifer Hudson as Aretha Franklin. Screen Rant has the exclusive announcement for the digital, Blu-ray, and DVD release date for Respect along with the home release trailer. The Aretha Franklin biopic tells the inspiring true story of the ... Read more" ["atom_content"]=> string(9732) "

Screen Rant has the exclusive announcement & trailer for the digital and Blu-ray/DVD release of Respect starring Jennifer Hudson as Aretha Franklin.

Screen Rant has the exclusive announcement for the digital, Blu-ray, and DVD release date for Respect along with the home release trailer. The Aretha Franklin biopic tells the inspiring true story of the singer’s life. Respect is directed by Liesl Tommy, making her feature film debut, from a script by Tracey Scott Wilson.

Respect stars Jennifer Hudson as the legendary powerhouse Aretha Frankin. The biopic charts the singer’s rise to fame from her childhood singing in her father’s church choir to her international superstardom. Hudson was selected by the Queen of Soul herself for the role before Franklin’s death in 2018.


Related: House Of Gucci & 9 Other Upcoming Biographical Movies

Watch the home release trailer for Respect below. Respect is available to own on digital now. It will be available on Blu-ray and DVD on November 9. The home release for the film comes with never-before-seen extras and exclusive bonus features. See the Respect home release trailer here:

The Blu-ray and DVD of Respect include bonus features showing the making of the biopic. The film is available to own for the first time with all-new, never-before-seen extras. See the details included in the home release of Respect here:

Respect Blu-ray & DVD Exclusive Bonus Features:

Respect Blu-ray release

Hudson leads the all-star cast of Respect which also includes Forest Whitaker (Black Panther) as Aretha’s father C.L. Franklin; Audra McDonald (Beauty and The Beast) as Aretha’s mother Barbara; Marlon Wayans (Sextuplets) as Aretha’s ex-husband Ted White; Marc Maron (Joker) as music producer Jerry Wexler; Tituss Burgess (Unbreakable Kimmy Schmidt) as Reverend Dr. James Cleveland; and Mary J. Blige (Mudbound) as Dinah Washington.

Next: 10 Best Movies To Watch If You Liked Respect

Respect is currently available on digital and will be available on Blu-ray and DVD on November 9 from MGM and Universal Pictures Home Entertainment.

Benedict Cumberbatch as Doctor Strange and Chris Hemsworth as Thor

Why Marvel Just Delayed 5 Phase 4 Movies (Again)


About The Author

" ["date_timestamp"]=> int(1634726080) } [8]=> array(11) { ["title"]=> string(88) "This big spoiler for ‘Black Widow’ could reveal a big plot twist -. – EzAnime.net" ["link"]=> string(112) "https://theinsidenewshyderabad.com/this-big-spoiler-for-black-widow-could-reveal-a-big-plot-twist-ezanime-net-2/" ["dc"]=> array(1) { ["creator"]=> string(10) "Susan Paul" } ["pubdate"]=> string(31) "Wed, 20 Oct 2021 10:15:56 +0000" ["category"]=> string(71) "Movie Production CompaniesbigBlackEzAnimenetPlotRevealSpoilertwistWidow" ["guid"]=> string(112) "https://theinsidenewshyderabad.com/this-big-spoiler-for-black-widow-could-reveal-a-big-plot-twist-ezanime-net-2/" ["description"]=> string(692) "Black Widow should have been Marvel’s first smash hit of Phase 4 of the MCU. It’s a movie that fans have been waiting for years for Marvel to make, but it took more than a decade for the studio to finally deliver the movie that the headline so deserves. character and actress who played her ... Read more" ["content"]=> array(1) { ["encoded"]=> string(6552) "

Black Widow should have been Marvel’s first smash hit of Phase 4 of the MCU. It’s a movie that fans have been waiting for years for Marvel to make, but it took more than a decade for the studio to finally deliver the movie that the headline so deserves. character and actress who played her in so many MCU adventures. But the pandemic ruined that glorious Phase 4 opening that Black Widow would have delivered.

The film’s release was delayed several times due to the pandemic, but it will finally be released on July 9. It will remain the first MCU Phase 4 film, but not the first Marvel adventure to start this new phase. That title is for WandaVision, which launched in mid-January. It’s because of the pandemic that Black Widow’s box office success could take a severe hit, as the film will be released online at the same time as its theatrical release. Additionally, the release delays allowed various rumors to leak out, detailing other Marvel movies to be released around Black Widow. As it stands now, Eternals and Spider-Man: No Way Home appear to be the most exciting Marvel movies of the year, and they appear to be far more interesting than Black Widow.

Of course, Black Widow should be a lot of fun to watch. And it turns out the movie could have a big plot twist that we never saw coming despite seeing a lot of Black Widow leaks thus far. However, before reading further, we will warn you that Massive spoilers may follow below.

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As is always the case with leaks and rumors, what follows below cannot be verified at this time. The new plot leak comes from 4chan, a constant source of MCU leaks. Some of them end up paying off and being the real deal, but many other alleged leaks end up being little more than fan fiction.

Before we get to Black Widow’s alleged plot twist, we’ll remind you that we’ve already seen several plot leaks that tell somewhat similar stories, complete with similar descriptions of a post-credit scene – head over to this link to see some of the last. While those leaks cannot be verified either, they suggest that the same character is one of the main villains in the film. Mason (OT Fagbenle) is supposedly the Taskmaster, a character we’ve already seen in the Black Widow trailers that Marvel has released.

4chan’s new leak puts a completely different spin on things. It is not Mason who will be Taskmaster in the film, but Olga Kurylenko’s character, Anya Dreykov. Anya is the daughter of Viktor Dreykov (Ray Winstone), and some of the previous Black Widow leaks mentioned this character without giving her an identity. If the new leak is to be believed, Kurylenko plays Anya and Anya is the Taskmaster. That would be a great twist.

Here’s most of the post on 4chan:

Taskmaster is the character of Olga Kurylenko, Anya Dreykov, the daughter of Ray Winstone’s character Viktor Dreykov, the director of the Red Room. She was best friends with Natasha, but when Natasha decided to escape, Anya tried to stop her and they fought. Natasha was forced to choose between letting Anya die in an explosion and escape, or rescue her and risk being recaptured. She chose to escape, something that has always haunted her.

Anya was seriously injured but survived and was rebuilt by Dreykov and Rachel Weisz’s character, Melina Vostokoff, with cybernetic enhancements, including analyzing and mimicking other people’s fighting skills. Anya lives under Dreykov’s control and is ordered by Dreykov to get Natasha back. In the end, Natasha is forced once again to choose between letting Anya die to escape or helping her and risking capture. This time, he chooses Anya, who forgives Natasha and dies in her arms from the injuries she suffered in the final battle.

OT Fagbenle’s character Rick Mason is a red herring when it comes to being Taskmaster, but he’s secretly working for Dreykov and wants revenge on Natasha for ruining his life by leaking SHIELD secrets online, exposing his identity and forcing him to live underground. Additionally, the movie ends with Ross retrieving the implant specifications from Taskmaster and planning to create his own version.

Reports in early April said that Kurylenko has a mysterious role in Black Widow, although that has yet to be confirmed. The actress is not yet credited for the film, but that kind of secrecy is just what you’d expect from Marvel.

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This big spoiler for ‘Black Widow’ could reveal a big plot twist -. – EzAnime.net

" } ["summary"]=> string(692) "Black Widow should have been Marvel’s first smash hit of Phase 4 of the MCU. It’s a movie that fans have been waiting for years for Marvel to make, but it took more than a decade for the studio to finally deliver the movie that the headline so deserves. character and actress who played her ... Read more" ["atom_content"]=> string(6552) "

Black Widow should have been Marvel’s first smash hit of Phase 4 of the MCU. It’s a movie that fans have been waiting for years for Marvel to make, but it took more than a decade for the studio to finally deliver the movie that the headline so deserves. character and actress who played her in so many MCU adventures. But the pandemic ruined that glorious Phase 4 opening that Black Widow would have delivered.

The film’s release was delayed several times due to the pandemic, but it will finally be released on July 9. It will remain the first MCU Phase 4 film, but not the first Marvel adventure to start this new phase. That title is for WandaVision, which launched in mid-January. It’s because of the pandemic that Black Widow’s box office success could take a severe hit, as the film will be released online at the same time as its theatrical release. Additionally, the release delays allowed various rumors to leak out, detailing other Marvel movies to be released around Black Widow. As it stands now, Eternals and Spider-Man: No Way Home appear to be the most exciting Marvel movies of the year, and they appear to be far more interesting than Black Widow.

Of course, Black Widow should be a lot of fun to watch. And it turns out the movie could have a big plot twist that we never saw coming despite seeing a lot of Black Widow leaks thus far. However, before reading further, we will warn you that Massive spoilers may follow below.

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As is always the case with leaks and rumors, what follows below cannot be verified at this time. The new plot leak comes from 4chan, a constant source of MCU leaks. Some of them end up paying off and being the real deal, but many other alleged leaks end up being little more than fan fiction.

Before we get to Black Widow’s alleged plot twist, we’ll remind you that we’ve already seen several plot leaks that tell somewhat similar stories, complete with similar descriptions of a post-credit scene – head over to this link to see some of the last. While those leaks cannot be verified either, they suggest that the same character is one of the main villains in the film. Mason (OT Fagbenle) is supposedly the Taskmaster, a character we’ve already seen in the Black Widow trailers that Marvel has released.

4chan’s new leak puts a completely different spin on things. It is not Mason who will be Taskmaster in the film, but Olga Kurylenko’s character, Anya Dreykov. Anya is the daughter of Viktor Dreykov (Ray Winstone), and some of the previous Black Widow leaks mentioned this character without giving her an identity. If the new leak is to be believed, Kurylenko plays Anya and Anya is the Taskmaster. That would be a great twist.

Here’s most of the post on 4chan:

Taskmaster is the character of Olga Kurylenko, Anya Dreykov, the daughter of Ray Winstone’s character Viktor Dreykov, the director of the Red Room. She was best friends with Natasha, but when Natasha decided to escape, Anya tried to stop her and they fought. Natasha was forced to choose between letting Anya die in an explosion and escape, or rescue her and risk being recaptured. She chose to escape, something that has always haunted her.

Anya was seriously injured but survived and was rebuilt by Dreykov and Rachel Weisz’s character, Melina Vostokoff, with cybernetic enhancements, including analyzing and mimicking other people’s fighting skills. Anya lives under Dreykov’s control and is ordered by Dreykov to get Natasha back. In the end, Natasha is forced once again to choose between letting Anya die to escape or helping her and risking capture. This time, he chooses Anya, who forgives Natasha and dies in her arms from the injuries she suffered in the final battle.

OT Fagbenle’s character Rick Mason is a red herring when it comes to being Taskmaster, but he’s secretly working for Dreykov and wants revenge on Natasha for ruining his life by leaking SHIELD secrets online, exposing his identity and forcing him to live underground. Additionally, the movie ends with Ross retrieving the implant specifications from Taskmaster and planning to create his own version.

Reports in early April said that Kurylenko has a mysterious role in Black Widow, although that has yet to be confirmed. The actress is not yet credited for the film, but that kind of secrecy is just what you’d expect from Marvel.

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This big spoiler for ‘Black Widow’ could reveal a big plot twist -. – EzAnime.net

" ["date_timestamp"]=> int(1634724956) } [9]=> array(11) { ["title"]=> string(90) "a worthy heir to David Cronenberg for an art horror film about the dark side of technology" ["link"]=> string(126) "https://theinsidenewshyderabad.com/a-worthy-heir-to-david-cronenberg-for-an-art-horror-film-about-the-dark-side-of-technology/" ["dc"]=> array(1) { ["creator"]=> string(10) "Susan Paul" } ["pubdate"]=> string(31) "Wed, 20 Oct 2021 10:14:43 +0000" ["category"]=> string(82) "Movie Production CompaniesArtCronenbergDarkDavidfilmheirhorrorSidetechnologyWorthy" ["guid"]=> string(126) "https://theinsidenewshyderabad.com/a-worthy-heir-to-david-cronenberg-for-an-art-horror-film-about-the-dark-side-of-technology/" ["description"]=> string(760) "File Possessor (USA, 2020). Script and direction: Brandon Cronenberg. Song: Jim Williams. Photography: Karim Hussain. List: Andrea Riseborough, Christopher Abbott, Tupence Middleton, Sean Bean, Jennifer Jason Leigh. Duration: 104 minutes. Next broadcast: Tuesday, October 19, at 10 p.m., by Space. Our opinion: very good. In the prologue to this film, a black woman inserts an ... Read more" ["content"]=> array(1) { ["encoded"]=> string(4589) "

File

Possessor (USA, 2020). Script and direction: Brandon Cronenberg. Song: Jim Williams. Photography: Karim Hussain. List: Andrea Riseborough, Christopher Abbott, Tupence Middleton, Sean Bean, Jennifer Jason Leigh. Duration: 104 minutes. Next broadcast: Tuesday, October 19, at 10 p.m., by Space. Our opinion: very good.

In the prologue to this film, a black woman inserts an electrode into her head and walks into a hotel lobby. Immediately afterwards, without saying a word, he murders a stranger with some thirty stab wounds discharged repeatedly. At the moment, the police burst in and execute her. In the next scene, things become clear and complicated at the same time: we discover that this woman was controlled by another ghostly white from what looks like a virtual reality headset designed by Alvar Aalto. The conflict of this revelation is barely enunciated as a nod to the present, without any development, since this is not a film about racism or police violence but about privacy.

In the alternate year 2008 in which the action takes place, megacorporations spy on people’s privacy from the cameras of their home devices: thus, while a couple is filming having sex, a corporate employee secretly observes and zooms in on the furniture of the room to record your consumption. Not only can you enter the intimacy of the home but, as was clear from the beginning, it is also possible to cross the last barrier of interiority: your own mind.

The very white woman, named Tasya Vos (Andrea Riseborough), is an elite assassin who, through the aforementioned helmet, controls subjects who have had a receptor inadvertently inserted into the brain: Tasya projects her consciousness onto these individuals and manages them like a drone to commit their homicides and then dismiss them in an apparent suicide. Although the method seems infallible, it has a cost: Tasya’s own conscience begins to waver and become confused with those of her “drones”. Such a thing becomes a problem in his next assignment, which is the center of the plot: controlling the boyfriend of a millionaire’s daughter tech to assassinate them both and thus clear the line of succession for his other heir.

Possessor was written and directed by Brandon Cronenberg, one of the sons of the former “king of venereal horror” David Cronenberg, who explicitly assumes his father’s legacy and allows us to project his cinema from the 80s to the present. father on how technology horribly twists the minds and bodies of its users, whose physical degradation becomes a metaphor for their moral degradation.

Like the work of Cronenberg Sr., this film by art horror, who can quote Walter Benjamin or show us in the foreground the damage that a poker does when it pierces a human eyeball, takes the gore, violence and revulsion as part of the fine arts. They are not just shocking strategies but cornerstones of an aesthetic. The film is not blameless: it lacks a bit of internal consistency (no one else knows about this revolutionary technology except a network of murderers?) And after it establishes its theme it becomes repetitive, especially in the last act, when it fails to carry your proposal to an unexpected place and concludes with a low-voltage reveal. The good news is that now that David’s production has started to wane, the son proves there is Cronenberg around for a while.

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a worthy heir to David Cronenberg for an art horror film about the dark side of technology

" } ["summary"]=> string(760) "File Possessor (USA, 2020). Script and direction: Brandon Cronenberg. Song: Jim Williams. Photography: Karim Hussain. List: Andrea Riseborough, Christopher Abbott, Tupence Middleton, Sean Bean, Jennifer Jason Leigh. Duration: 104 minutes. Next broadcast: Tuesday, October 19, at 10 p.m., by Space. Our opinion: very good. In the prologue to this film, a black woman inserts an ... Read more" ["atom_content"]=> string(4589) "

File

Possessor (USA, 2020). Script and direction: Brandon Cronenberg. Song: Jim Williams. Photography: Karim Hussain. List: Andrea Riseborough, Christopher Abbott, Tupence Middleton, Sean Bean, Jennifer Jason Leigh. Duration: 104 minutes. Next broadcast: Tuesday, October 19, at 10 p.m., by Space. Our opinion: very good.

In the prologue to this film, a black woman inserts an electrode into her head and walks into a hotel lobby. Immediately afterwards, without saying a word, he murders a stranger with some thirty stab wounds discharged repeatedly. At the moment, the police burst in and execute her. In the next scene, things become clear and complicated at the same time: we discover that this woman was controlled by another ghostly white from what looks like a virtual reality headset designed by Alvar Aalto. The conflict of this revelation is barely enunciated as a nod to the present, without any development, since this is not a film about racism or police violence but about privacy.

In the alternate year 2008 in which the action takes place, megacorporations spy on people’s privacy from the cameras of their home devices: thus, while a couple is filming having sex, a corporate employee secretly observes and zooms in on the furniture of the room to record your consumption. Not only can you enter the intimacy of the home but, as was clear from the beginning, it is also possible to cross the last barrier of interiority: your own mind.

The very white woman, named Tasya Vos (Andrea Riseborough), is an elite assassin who, through the aforementioned helmet, controls subjects who have had a receptor inadvertently inserted into the brain: Tasya projects her consciousness onto these individuals and manages them like a drone to commit their homicides and then dismiss them in an apparent suicide. Although the method seems infallible, it has a cost: Tasya’s own conscience begins to waver and become confused with those of her “drones”. Such a thing becomes a problem in his next assignment, which is the center of the plot: controlling the boyfriend of a millionaire’s daughter tech to assassinate them both and thus clear the line of succession for his other heir.

Possessor was written and directed by Brandon Cronenberg, one of the sons of the former “king of venereal horror” David Cronenberg, who explicitly assumes his father’s legacy and allows us to project his cinema from the 80s to the present. father on how technology horribly twists the minds and bodies of its users, whose physical degradation becomes a metaphor for their moral degradation.

Like the work of Cronenberg Sr., this film by art horror, who can quote Walter Benjamin or show us in the foreground the damage that a poker does when it pierces a human eyeball, takes the gore, violence and revulsion as part of the fine arts. They are not just shocking strategies but cornerstones of an aesthetic. The film is not blameless: it lacks a bit of internal consistency (no one else knows about this revolutionary technology except a network of murderers?) And after it establishes its theme it becomes repetitive, especially in the last act, when it fails to carry your proposal to an unexpected place and concludes with a low-voltage reveal. The good news is that now that David’s production has started to wane, the son proves there is Cronenberg around for a while.

Many Thanks To The following Website For This Valuable Content.
a worthy heir to David Cronenberg for an art horror film about the dark side of technology

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