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Art Directors Guild To Induct Anthony Masters and Ben Carré Into The Hall Of Fame



British Production Designer Anthony (Tony) Masters, nominated for an Academy Award® for the film “2001: A Space Odyssey,” and pioneer Production Designer Ben Carré, best known for his work on the 1925 version of The Phantom of the Opera and The Wizard of Oz, will be inducted into the Art Directors Guild (ADG, IATSE Local 800) Hall of Fame at the 23rd Annual Art Directors Guild’s Excellence in Production Design Awards. The 2019 Awards, themed “Landscape of the Imagination,” will be held Saturday, February 2, 2019 at the InterContinental Los Angeles Downtown. The announcement was made today by President Nelson Coates ADG and Awards Producer Scott Moses ADG.

In making the announcement, Coates said, “We are honored to celebrate legendary artists Tony Masters and Ben Carré for their arresting visual imagery as they are inducted into the ADG Hall of Fame. Both were gifted artists who have inspired us for decades through their talents, imaginations, and enormous contributions to the art of narrative design in motion pictures.”

Anthony Masters (1919 -1990) was a British Production Designer during his illustrious career spanning 45 years. He received an Oscar® nomination for Best Art Direction in 1968 for his amazing work in 2001: A Space Odyssey. His other best-known films include Dune, Lawrence of Arabia, Papillon, Tai-Pan, The Clan of the Cave Bear and The Deep. He has two dozen credits as Art Director, including such notable films as The Heroes of Telemark, The Cracksman, The Day the Earth Caught Fire, Faces in the Dark, The Story of Esther Costello and the Oscar®-winning short The Bespoke Overcoat. He died in France, the father of three sons with his wife of 33 years, actress Heather Sears. His sons Giles Masters ADG (The Da Vinci Code, Angels & Demons, Women in Gold) and Dominic Masters (Wonder Woman, Murder on the Orient Express) followed in their father’s illustrious steps and son Adam is a television and film editor in the UK.

French-born Production Designer Ben Carré (1883-1978) is best known for the catacomb set designs for The Phantom of the Opera, the Emerald City from The Wizard of Oz, the home of the Smith family in Meet Me in St. Louis and sets for The Jazz Singer. A classically-trained artist, Carré studied at the Atelier Amable in Paris. He began his professional career as a scene painter for the Paris Opera and the Comédie-Francaise, later joining Pathé-Gaumont as a set designer on five feature films. Carré entered the U.S. in 1912 as a Production Designer at Eclair/Peerless, renowned at the time for having one of the most state-of-the-art studio facilities on the East Coast. He was under contract at MGM (1924-26), Warner Brothers (1926-27), Fox (1928-35) and, again, MGM (1939-44). During his time at the studios, he designed sets for Cecil B. DeMille’s The King of Kings and worked on Noah’s Ark, The Iron Mask and Dante’s Inferno. He took a permanent job in MGM’s scenic art department where he stayed for thirty years painting backgrounds for many of MGM’s classic films including Marie Antoinette, An American in Paris, Meet Me in St. Louis, Julius Caesar, North by Northwest, Singing in the Rain, and The Wizard of Oz. After retiring in 1965 at the age of 82, Carré remained in Los Angeles with his wife Anne and was a prodigious painter and exhibitor of watercolors featuring Los Angeles cityscapes. He died in 1978.

Last year’s ADG Hall of Fame inductees, only posthumously, were Production Designers Sir Ken Adam and Tyrus Wong. The complete list of inductees can be found at

Producer of this year’s ADG Awards (#ADGawards) is Production Designer Scott Moses ADG. Online nomination voting opens December 6, 2018 and ends January 4, 2019 and nominees are announced on January 7, 2019. Final online balloting starts January 8th and ends January 31, 2019 and winners are announced at the dinner ceremony on Saturday, February 2, 2019. ADG Awards are open only to productions when made within the U.S. by producer’s signatory to the IATSE agreement. Foreign entries are acceptable without restrictions.

The ADG Awards is proud to be sponsored by Design Icon Level: Shutterstock, Sweetwater/NEP Live Events; Design Innovator Level: Dazian Fabrics; Platinum Level: Aztek Wallcovering; Media Sponsors: The Hollywood Reporter, Variety and SHOOTonline.

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Finally, the Cinderella story of the Richmond Greyhounds has come to an end.



We are now in a new season for the team, and they have started off on the wrong
foot. The team is broken up and Ted has his work cut out for him. The team goes
through a slump, and Ted is now doubting his coaching ability. Ted’s personal life
has also gotten out of control, and he discovers his ex-wife Michelle has started a relationship with their therapist. The wonderkid, Nathan Shelley, the former manager of West Ham has had a change of heart and leaves his job to be with his one true love, the waitress from his favorite restaurant.

She convinces him to return to the Richmond team he started out in and it’s quite evident that
everyone wants him back and held no hard feelings. All of Lawrence’s series he has worked on with others have just that right balance of slice-of-life drama with a little bit of ridiculous comedy that reality dishes us, normal folks, every day.

This all comes to a head in the potential series finale where Ted announced to
Rebecca that he will be returning to the States to his family after his mother tells
him that his son misses him. This puts the Richmond owner into quite a state of denial; doing everything from offering Ted the position of being the highest-paid coach in the league to selling the team after he leaves. The team is also affected by this decision as they perform a number from the musical The Sound of Music that is a more than touching farewell to this family.

This bleeds into their playing as in the final title match the first half is met with
bumbling and possible injuries to their star player Jamie.
After an energizing pep talk and a circle back to the first motivator in the
beginning, a sign Ted made up that said “BELIEVE”, the team dominate the second
half and win with a rousing closing scene that is reminiscent of any 80’s party
movie. It’s a fitting end for this pandemic darling that emotionally carried us through. It is
a must-see series even if you don’t like soccer (football).

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No Question Mark Box Here; Super Mario Delivers a 1-Up in Theaters



If you were born in the ’80s, ’90s, or literally ANY decade after those, you know about Super Mario. A cultural phenomenon was brought to life on the big screen this last weekend. One that has not only stood the test of time but reinvented itself time and time again. This wasn’t even the first time it’s been made into a movie but, well, let’s be honest.. some of us choose not to acknowledge the LIVE action adaptation of the beloved game from 30 years ago. 

It was pretty bad… But this was animation. ILLUMINATION animation at that. The Universal company that brought us Gru and his Minions, showed us the Secret Life of Pets, and gave us a reason to SING! Still, I had my reservations and even some concerns, especially when the casting was announced. 

 Eyebrows were raised. As big of stars as they were on paper, could they really deliver on voicing characters from a staple of our childhood? They did.

Chris Pratt and Charlie Day may not be Italian, and Jack Black may not be a King or Turtle creature from the Mushroom Kingdom, but they make the characters their own all while paying homage to the lore of a video game. 

From the jump, the story reintroduces us to the brothers that just want to save Brooklyn one clogged sink at a time. We feel an instant connection and relate to these “underdogs of the plumbing world”. The movie is riddled with easter eggs, each of which tugs on the heartstrings of every generation of Mario fandom. And the soundtrack was beautifully put together to not only make us feel like we’re taking a walkthrough of the game but like an experience all its own with some familiar favorites thrown in.

Every word in the movie is pure eye candy for both those that are casual fans, and those analyzing every frame to see what they’ll catch next. Bowser’s ship, the Mushroom Kingdom, Kong’s arena, and the Rainbow Road.. They’re all meant to give us just enough of a “new” look at these amazing worlds, but stay true to how we remember them.

The movie itself moves along at the perfect pace. Although, if you don’t really know ANYTHING about the Super Mario Bros, you may have gotten a little lost and felt left behind in the green tunnel. But that’s ok! It’s an adventure of the imagination and a classic story of a boy that meets a girl and tries to save the world from a monster that wants to destroy it.

What’s funny is that you could easily say this is a story about two characters who couldn’t be more opposite if they tried, battling to win the heart of a princess. Who would’ve thought that the King of the Koopas was just trying to impress his crush?

And that song? Ohhh THAT song! It’s my new ringtone and deserves the Oscar for Best Original Song.

Back to the movie. 

Universal and Illumination clearly understood the assignment. Is it missing some things or could things have been done differently or even better? Absolutely! We’re the worst critics of the things we hold nearest and dearest to our hearts. But if you’re up for going on a 90-minute adventure through amazing worlds, with awesome music, and characters that’ll make you smile and laugh, then this is the perfect movie to spring you into that warm summer feeling.

Plus there’s the whole part with karts and shells, and banana peels and oh my goodness how amazing was that?? It’s enough to make you want to stand up and cheer, then go home and destroy your friends and family on your favorite track haha.

The bottom line, it pays homage in all the right ways to the little guy with the mustache, while giving us something new and exciting. Take the kids and go see Super Mario Bros. You’ll be glad you did!

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Warner Bros. Discovery Home Entertainment returns to WonderCon 2023



Justice League x RWBY: Superheroes & Hunters Opening Act Saturday, March 25 at 1:30 p.m. on North 200A. Talent confirmed so far to participate in the post-screening panel is Natalie Alyn Lind (Big Sky, The Goldbergs, Gotham) as Wonder Woman/Diana Prince and longtime RWBY cast member Lindsay Jones (Camp Camp) as Ruby, Kara Eberle ( RWBY: Ice Queendom) as Weiss, Arryn Zech (Detective Now Dead) as Blake and Barbara Dunkelman (Blood Fest) as Yang – along with Jeannie Tirado (Soul, Saints Row) as Green Lantern and Tru Valentino (The Rookie, The Cuphead Show!) as a cyborg. Also attending the panel will be producer/director Kerry Shawcross (series RWBY) and writer Meghan Fitzmartin (Supernatural, Justice Society: World War II).

Warner Bros. Discovery Home Entertainment returns to WonderCon 2023 with the big screen debut from DC Animated Films: highlights this year include the world premieres of the highly anticipated Batman: The Doom That Came To Gotham and Justice League x RWBY: Superheroes & Hunters Part One the weekend of March 24-26 in Anaheim, California. Both screenings will be followed by panel discussions with actors and creators. Batman: The Doom That Came To Gotham premieres at The Arena on Friday, March 24 at 6 p.m. Tati Gabrielle (Kaleidoscope, Chilling Adventures of Sabrina, Uncharted) as Kai Li Cain, Christopher Gorham (The Lincoln Lawyer, Insatiable) as Oliver Queen, David Dastmalchian (Dune, Suicide Squad, Ant-Man) as Grendon, producer/co-director Sam Liu (The Death and the Return of Superman), co-director Christopher Berkeley (Young Justice) and screenwriter Jase Ricci (Teen Titans Go! and DC Super Hero Girls: Mayhem Across the Multiverse).

Both films will have encore screenings in the Arena on Sunday, March 26. Justice League x RWBY: Super Heroes & Huntsmen, Part One will screen at 12:15pm, followed by Batman: The Doom That Came To Gotham at 2:00pm

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