The Author of Boy Erased Hopes His Experience in Conversion Therapy Makes People Angry


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Focus Features

“I’m aiming an arrow directly into the heart of America.” That was Joel Edgerton’s promise to Boy Erased author Garrard Conley from the very beginning when Edgerton began writing and directing the film adaptation of Conley’s vulnerable memoir about his experience with “conversion therapy.”

By: Elena Hilton\Esquire.com

It was a risk for Conley to share his story in the first place, let alone allow other artists to interpret his life in the form of an Oscar-hopeful movie. But thankfully he took the leap, because the trauma he endured at Love in Action, an “ex-gay” Christian ministry that attempted to change people’s sexual orientation, is something that America desperately needs to recognize.

 

Currently, 15 states and Washington, D.C. have laws to protect minors from “conversion therapy” practices, and the Trump-Pence administration’s bigotry-laden rhetoric and policies are a stark reminder that the fight isn’t over. “We’re getting so close to the finish line that I’m becoming more radical and more of an activist each day,” Conley says.

Conley’s Southern, ultra-Christian upbringing—his father became a Baptist preacher in their small Arkansas town when Conley was a teenager—is similar to so many other LGBTQ adolescents who are still being told they’re wrong for who they are. The hope is that this film, along with Conley’s 2016 book, will open people’s eyes to the real effects that bigotry has on lives.

Prior to Boy Erased’s limited theatrical release (it opens in theaters this weekend), I sat down with Conley to talk about what it was like seeing his memoir translated into a Hollywood film and how he’s used his experiences to become an activist for the LGBTQ community.

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Joel Edgerton directs a scene in Boy Erased Focus Features

Joel Edgerton proved right away why he was the best person to adapt Boy Erased.

At first I was very nervous about the whole thing, partly because I hadn’t met a lot of movie stars—I’m just not in that world, I’m a writer. Just going into the meeting with Joel was stressful, but then I was like, “He’s a straight guy, what’s he going to do the story? We’ve been burned before.” But at our first meeting he asked to meet with other conversion therapy survivors in addition to me, and I loved the fact that he wanted to hear all of our stories.

Plus, I had just watched Loving, which he was in. It was a movie about the first interracial marriage and all the legal battles that went along with that, and he was using that publicity tour to talk about marriage equality now, much to the detriment to some of the family that was involved with the making of that film because they didn’t actually want that. [Edgerton] was like “I don’t care, I’m not going to work with a film that doesn’t recognize bigotry across the board.” So I already knew that he was a good ally, but he also asked if I wanted to write the script. I said I couldn’t write it again for a different audience and I don’t know how to “Hollywood-up” a story. So he wrote a script really rapidly, and throughout the process he made me feel better by always sending me the drafts of the script and asking if there was anything problematic or anything that didn’t feel right, and he would change it anytime I said there was an issue.

Conley fought to keep the ending of the movie similar to his real-life experience.

I think there’s a natural desire to have Russell Crowe’s character [Crowe plays Conley’s father] to come around and show what that kind of acceptance would look like. And I can see why that kind of editorial vision would exist, because it gives parents a path for rehabilitation. But I strongly argued for a closer truth, which is that it’s still complicated, and my dad’s not completely there yet. The film might lose a bit of money because it doesn’t have the redemptive arc for the parents that the studio originally wanted, but I pushed pretty hard on making it complicated at the end because I knew other survivors hadn’t had happy stories with their parents. So [Edgerton] changed that, and one of the producers was like, “Well, we might have just lost millions of dollars, but good job with your principles.”

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                  Author Garrard Conley on the set of Boy Erased with Lucas Hedges

Kyle Kaplan/Focus Features

He was blown away by Lucas Hedges, who plays him in the movie.

Lucas is a dream. The first time we met, we were walking around DUMBO, and he said, “You know, I wasn’t going to do this, but do you want to come back to my apartment and talk?” He still has a room in his father’s [director Peter Hedges] house. So we went over there and he invited me into his childhood bedroom and said, “If you’re going to show me everything, then I need to show you everything.” And then he showed me his copy of my book, which was marked up on every page. I felt it was the greatest tribute someone who was going to play me could do. I was already pretty convinced, and then when Lucas started to share his identity on the spectrum with me—he wasn’t quite aware of where he was, but he knew that he wasn’t entirely straight—that was the last hurdle where I thought, “Okay, this guy can play it.

He’d explained to me a sense of shame that he’d felt, and he later talked about it in the New York magazine piece, and he wasn’t really specific about it, but he did tell me he that he thought he was fluid in some way. So he had the shame aspect, and the actual identity, so that was going to play well on the screen. And he’s phenomenal in it. [His performance] is understated in many ways, but it’s very accurate. The way he’s able to depict fear and shame on his face is actually really terrifying. He’s my favorite thing in the movie. Just watching him is mesmerizing.

Writing the memoir was an emotionally draining, but necessary, experience.

Boy Erased: A Memoir of Identity, Faith, and Family
RIVERHEAD amazon.com$10.87

I had to really look at it like a story, which is hard to do, because you have to cut through all the trauma and, in many ways, the false memories you’ve created to get over stuff and to go back to those places mentally which is incredibly difficult. And it’s harmful for the people around you—my boyfriend at the time suffered through a lot of episodes where I was not okay. He was always like, “Why are you doing this to yourself, why are you writing this?” And I didn’t always have a clear answer to that, it was just that I had to.

Any time you turn anything into a story, you lose the “life-iness” of it, because you’ve got to shape it into art, and that feels uncomfortable because it’s all true, all these things happened, but you’re shaping it for an audience. It feels like a bit of a sacrifice because I’m very precious with my memories and my internal account of things. And whenever you’re told that you’re crazy or corrupt in some way, you’re a little suspicious about putting it out there into the world again. But I did it because, from the very beginning, with the book and this film, the project has been to make something compelling enough to drive the conversation forward. I’d seen the same old arguments and the same old depictions of conversion therapy over and over again, which is it’s a joke, it’s a farce, and it’s not true. It’s soul murder, and I wanted that story to be told.

The memoir was released before Trump’s election, and Conley probably wouldn’t have written the same version now.

It’s a very anti-LGBT administration. It was so different, rhetorically, to humanize people like my parents or even the [conversion therapy] counselors when Obama was president than it is right now to humanize them, because it’s almost asking too much empathy from people who feel like their lives are on the line. I don’t know if I would have written the same book right now. I think I would have been angrier and I might not have been so forgiving, so it might actually not have worked as well to write it now.

There is kind of a weird irony in the fact that because all the stuff came out about Mike Pence supporting conversion therapy, it’s actually made conversion therapy a headline and now it’s easier to get people’s attention. I wouldn’t say I’m grateful for it, but it’s an opportunity. It’s unfortunate, but this is something the right has been invested in for a very long time. They’ll throw [the LGBTQ community] under a bus at any moment just to score political points.

We’re definitely at a turning point. It’s either going to go, hopefully, in the way of, “Let’s stop pretending respectability politics exist and let’s be as radical as we need to be in order to get shit done,” but it could easily go the other way.

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Nicole Kidman and Russell Crowe in Boy Erased Focus Features

He hopes people realize that conversion therapy and toxic masculinity affects everyone.

One of things I always say is conversion therapy doesn’t have to be done in a facility. If you’re taught to be a “certain type of man”, to act a certain way, and you’re taught by authority figures that being gay is evil, then that’s conversion therapy too. Conversion therapy can function as a metaphor for the kinds of brainwashing that we’ve all been given. Once you’re done looking at everyone’s side of the story, you can begin to see a system in place that harms everyone.

I often think about how I feel ashamed to be a man in this culture, and I talked to a trans activist named Thomas Page McBee who wrote Amateur and Man Alive about those feelings, and he was like, “You need to consider the fact that you’re harming yourself whenever you believe that masculinity is one thing and that it’s just the toxic brand.” It was just so eye-opening to hear that from someone like him who’d grown up conditioned to be a woman, then transitioned to a man, and had to deal with all that bullshit. I realized we need to look at the systems in place, and those systems can turn people into monsters.

Activists should recognize that there’s not a one-size-fits-all solution.

Faith is such a strange thing. It can be an incredibly powerful tool to survive something and it can also be something that keeps you locked in a fundamentalist worldview for a very long time. It covers up the moments of doubt. Getting out of that system is incredibly difficult. There are a lot of activists who call for people to move out of their towns and go somewhere else, but they’re often forgetting that people don’t have money, they don’t have the social capabilities to even do that without getting lost in the shuffle.

They also kind of ignore the psychological toil that comes from splitting from everything you’ve ever known. It’s not easy, and I think in larger metropolitan areas there can be a tendency to forget what it’s like to be on the ground in many of these towns across the country, and even if we don’t want to, we have to educate people who have perpetuated this bigotry from the very beginning.

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Garrard Conley and his mother, Martha, on the set of Boy Erased Kyle Kaplan/Focus Features

Conley’s own relationship with the South and Christianity is still evolving.

I try to be a strong voice for the South being a complex place, because I do believe there are pockets of real, amazing, radical work that’s being done in the South. Even in the more fundamentalist communities, there are people within that are fighting the good fight. That being said, I think the South and many churches have not reckoned with their past. There are affirming churches who do not talk about what they did in terms of conversion therapy and the lives that were lost as a result of the choices that they made, and I call bullshit on that.

They need to hold themselves accountable, just like they did in terms of how they treated other races or what they did with slavery in the past. They should continue to talk about that, because unless you do, you’re not going to have any moral standing whatsoever. You’re trying to say “come here, learn how to be a good person,” but how are you going to do that if you don’t address the horrible things that you’ve done to the [LGBTQ] community? And if you just say, “I did it out of love, but it was wrong, and I’m sorry,” then that’s fine, I’m okay with that. But you’ve got to say something.

In terms of my own personal faith, I’ve actually begun praying a lot more lately, which is an unusual and unexpected development. I don’t necessarily believe in fate, but I do feel like I’m in a very intense position with a lot of responsibility in terms of how I represent the survivor groups, how I represent LGBT people through the culture at large, and how I can end conversion therapy, while not sacrificing our community to do so. Because that’s incredibly confusing and scary to me, I’ve just started praying, and I don’t know who I’m praying to, but I try to just ask for guidance in some way.

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Ooh Ahhh “Sally’s Fake Orgasm Was A Group Effort”


One of the film’s key pleasures is its carefully organized structure. Even critics who were mostly negative about the film appreciated this, with 7 Days confirming: “The scenario is full of symmetry and recurrence,” and The Village Voice remarking on the film working “by reprises, choric refrains.” Indeed it is designed around paired or matching moments either in different sequences across the film, or within specific scenes.

Diner Scenes
When, wrong-footed by Harry’s deadpan assumption of her sexual inexperience, Sally stumbles into the diner protesting the reverse, she manages to announce to the entire restaurant that she has had plenty of good sex. Meg Ryan performs Sally’s mortification extremely effectively: we can tell how embarrassed Sally is by the extreme angle at which she holds her head while she walks to their table, an angle which shields her from having to make eye contact with any of the diners to whom she has just made this intimate declaration. This incident obviously forecasts, and indeed results in, the more famous diner scene later in the movie; there Sally exacts her revenge on Harry for the humiliation he has caused her here by embarrassing him in return.

For this matched moment, in one of the most famous scenes in recent cinema, one interlude has already considered the context of the faked orgasm and another will look at parodies of it, so what else can one say of a scene that has become such a part of contemporary popular culture that even people who have never seen “When Harry Met Sally…” can recite the punchline? One thing to acknowledge is the collaborative nature of the scene’s genesis. As Reiner and Ephron make equally clear, both they and the two actors made contributions to its creation. (Ephron, 2013) Ephron states that Reiner and Scheinman, having appalled her with their revelations of men’s secrets, wanted to hear whether women did similar things. In addition to admitting that women sometimes send themselves flowers, which found its way into Marie’s story, Ephron revealed that women sometimes faked orgasms. Scheinman and Reiner loved the idea of incorporating this into the film and wrote a speech for Sally to deliver, but it was Ryan who suggested she actually act it out, “somewhere incongruous.” The famous punchline was then suggested by Crystal, and delivered in impeccably dry style by Estelle Reiner, the director’s mother.

The deli scene echoes and balances out the earlier diner moment, as this time Sally is in full control of the situation, willfully attracting attention and getting revenge on Harry. In both cases he is the bystander and she is the active one. In the former instance, she is embarrassed, but in the latter, it is her choice to make a scene, and smugly teach him a lesson.

The scene begins with Sally enquiring about Harry’s avoidance of post-intercourse intimacy, and announcing that she is pleased she never got involved with him because she would inevitably end up as just another one of the women he left at 3 am. This statement is enlightening as it reveals that she wants more from Harry than a one-night stand. He can see that she is angry, but fails to realize that this is tantamount to a declaration of her feelings for him. When he says “This is not about you,” and she retorts “Yes it is!” she is saying as clearly as she can at this point that being his friend is no longer enough. Sally, however, hides the avowal by burying her personal anger in feminine solidarity: he is “an affront to all women.” But it seems the resultant punishment by embarrassment is not only to pay him back for her discomfiture in the earlier diner scene, and not only for his hubris at thinking himself a phenomenal lover, but also because she is jealous of him sleeping with other women.

Besides Meg Ryan’s spirited performance, three more aspects of the scene illustrate why it is such a satisfying one to watch. First, Harry’s supreme sexual confidence is carefully established by Crystal’s decision to carry on eating while talking with Sally about his escape habits, though she slaps her sandwich down in annoyance: this precisely demonstrates Harry’s nonchalance about his behavior, and suggests he equates sex with food, a hunger for both being frequently aroused and simply assuaged. The other two micro-moments bookend Sally’s faking performance: Ryan conveys the moment Sally decides to teach him a lesson by a slight sideways look of her eyes, as if weighing something up, along with a tiny jutting motion of her jaw. She then goes into her exhibition, moaning, banging the table, tossing her head from side to side and attracting the attention of the other diner patrons. When she has finished, she breathes deeply once and then picks up her fork again, smiles at Harry and calmly takes a bite of food. The return to normal lunch behavior is evidence that she was putting on a show for him as, her actions imply, other women will have done. She considers her point proven. And it seems as if she is right, since, miraculously, for once Harry has nothing to say – he just smiles sheepishly. Of course any response from him is made unnecessary because of the riposte from Estelle Reiner, but denying Harry the last word feels like a victory for Sally here.

Sex Dream/Fantasy
These paired moments grant us further insights into the characters of the protagonists. Harry’s story sounds more like one of his comic routines than an actual dream, and underlines that though he is maturing, he still looks on sex as a competitive sport – and one at which he considers himself to be Olympic-standard. This vaunted expertise will be undermined in the celebrated deli scene, but for now Harry is left to boast, again revealing his fundamental belief in the differences between the desires of men and of women. His throwaway punchline, “Must’ve been the dismount,” links back to his conversation with Sally when he asserted all men wanted to leave straight after sex. Crudely the dismount can be taken as the moment when he rolls off his prone partner, but metaphorically it is the moment when he tries to disengage from intimacy and depart.

Sally’s fantasy is similarly illuminating, but about her lack of an adult sex drive and imagination, rather than lack of commitment. Comically, Harry again manages to get her to recount her fantasy, even though she thinks it’s embarrassing, by telling her not to tell him. She then relates her desire for a faceless man to rip off her clothes. Nothing else happens in this fantasy, which is pointedly lacking both in detail and in actual sex. It is the run-up, rather than the act, which Sally thinks about, or rather the costuming, since the only variable element in the fantasy is what she is wearing. These symmetrical scenes demonstrate not only how comfortable the friends now are with each other, but also that they belong together. Sex with Harry will show Sally just what she has been missing, increase her satisfaction with her sex life, while committing to Sally will be a sign of maturity in Harry. He will give the faceless man an identity, as she will help him with his dismount problem.

 

By Tamar Jeffers Mcdonald\Via Salon.Com

 

Honorable Fake

 

First drive: 2019 Mustang Bullitt chases legends in San Francisco


 

 

By: Mark Phelan\Detroit Free Press

(Video By Roadshow)

SAN FRANCISCO — The greatest chase scene in movie history would’ve ended a lot sooner if Steve McQueen could’ve got his hands on a 2019 Ford Mustang Bullitt. The Dodge Charger that eluded McQueen’s 1968 Mustang fastback for 12 minutes of brilliant filmmaking never would have stood a chance.

Just in time for the 50th anniversary of the movie “Bullitt,” the car is everything a Mustang fan or movie lover could ask for: Fast, smooth, responsive and steeped in the same effortless cool McQueen brought to the movie and the chase scene he helped choreograph and drive.

The Dark Highland Green 2019 Bullitt I drove through the streets of San Francisco, surrounding hills and coastline didn’t scream for attention, but still drew admiring looks and questions. The 480-hp V8’s rumbling back-pressure burps turned heads, but don’t worry, electronic exhaust controls provide a stealth mode so you won’t wake the neighbors or alert the hit men you stake out.

That exhaust note, incidentally, was tuned from recordings of the same ’68 GT McQueen drove in the movie. Ford engineers listened to 1968 soundtrack masters the filmmakers recorded of the car racing around Willow Springs race track in California.

Filming the legendary chase scene

It took 10 days shooting, 12 hours a day to nail the chase scene, a whopping one-sixth of “Bullitt’s” total shooting schedule, University of Southern California film school prof Danny Bilson said.

McQueen was an avid car fan, and director Peter Yates began his career as a race car driver and team manager.

“I don’t want a crash-fest. I want a realistic pursuit,” Yates said at the time.

McQueen later said he saw the film as a modern Western, in which his character strapped on the Mustang like a gun belt. He drove the car during parts of the chase. You can recognize most of those scenes because you can see McQueen’s famous blue eyes in the rearview mirror. The mirror was removed for scenes with stunt drivers.

A famous shot in which McQueen misses a turn and leans out to look back as he reverses furiously to continue chasing the hit men’s Charger was a mistake. McQueen really did miss the corner and kept going to avoid ruining the painstakingly arranged shoot. That’s the only moment in the whole chase where the final edit of the movie made it appear faster than what happened, Bilson said.

Other facts about the chase scene:

  • In addition to McQueen’s Mustang and the villains’ Dodge Charger, there are eight other cars driven by stunt drivers.
  • The Charger loses eight hubcaps during the chase.
  • The portions within the city were shot in a 20- to 30-block section of the Pacific Heights neighborhood.
  • The crew shot in brief segments as SFPD closed a couple of blocks at a time.
  • The cars pass the same green VW Bug four times during the scene.
  • The long shot that shows both cars going airborne as they come down a steep hill required eight cameras.
  • No ramps were used for the jumps, just San Francisco’s natural geography.
  • About 50 crew members with walkie-talkies kept an eye out for oncoming traffic.
  • Modifications to the cars were minor, mostly stiffer shocks, springs and Firestone tires.
  • The script included a chase across the Golden Gate Bridge. Yates increased the amount of time on the hills when he couldn’t get permission for that.

Details define the car:

  • Unique metallic-flake dark green paint, a color not available on any other Ford. The Bullitt’s alternate color, black, is from Ford’s regular palette.
  • Specifications for the cue-ball shift knob were so demanding that several suppliers turned down the job
  • The cue ball is permanently attached to the shifter and doesn’t screw off, to discourage petty thieves.
  • The shifter has a sintered copper core for weight and feel. The plastic shell is molded around the core and gets a laser-etched shift pattern.
  • A Bullitt Mustang appears briefly in the instrument cluster when the engine starts, replacing other Mustangs’ pony logo.
  • A serial number on the dash.
  • Freer breathing, including an intake manifold from the exotic Shelby GT 350 Mustang boosts power 20 hp to 480.
  • Six-speed manual transmission with rev-matching.
  • Chrome accent edges on 19-inch gloss black wheels.
  • Honeycomb gloss-black grille.
  • Gunsight-style logo and stylized Bullitt badge evolved from 2008, the last time Ford built a Bullitt.
  • The rear valence, below the rear bumper, has a flat-black ceramic finish. “I’ve never gone to so much trouble to hide a beautiful piece of stainless steel,” Mustang chief engineer Carl Wildmann said.
  • Top speed is 163 mph. The Bullitt’s unique speedometer goes to 180 mph.
  • The leather seats were designed to look like retro 1968 seats, but have modern comfort and features such as power adjustment, heating and ventilation.

Ford plans a limited run for the 2019 and 2020 model years. Output is restricted by how many of the Bullitt’s unique parts suppliers can make.

I drove a green Bullitt with the MagneRide adjustable damping, navigation, B&O audio, blind spot alert and more. It stickered at $50,390, excluding destination charges.

The tuned exhaust note delivers satisfying rumbles when you ease off the gas and roars when wide open. Acceleration is immediate, and the upgraded six-speed manual’s rev-matching makes it easy to shift and keep running hard.

The suspension is comfortable over bumps and keeps the car securely planted in quick maneuvers, while six-piston red-painted Brembo brakes provide plenty of stopping power. The steering is light and precise, with a good on-center feel.

I drove it hard and fast on country and coastal roads outside San Francisco, but took it easy on the city’s famously narrow and crowded streets.

The new Bullitt is more than a match for the movie’s 1968 fastback, but only a fool would try to fill Steve McQueen’s driver’s seat.

Contact Mark Phelan: mmphelan@freepress.com. Follow him on Twitter @mark_phelan

2019 Ford Mustang Bullitt at a glance

Vehicle type:
Rear-wheel-drive fastback.

Base price: $46,595

Engine tested: 5.0L V8

Power: 480 hp; 420 pound-feet or torque

Transmission: 6-speed manual with rev-matching

Assembly site: Flat Rock, Michigan

 

The ‘Black Panther’ Director Would Love to Make a Spinoff About the Women of Wakanda


Marvel

 

By:Kayleigh Roberts\ Marie Claire

Black Panther is a worldwide box office and critical hit, so we all know Marvel is going to make sequels (yes, probably plural). According to director Ryan Coogler, one of those movies could focus on the women of Wakanda.

“Oh man,” Coogler said Thursday at the Cannes Film Festival when asked about the possibility of a spinoff film focusing on Wakanda’s badass ladies. “That would be amazing if the opportunity came up. They did it in the comic-book version.”

He went on to praise the women in the Black Panther cast, because credit where credit is due.

“We have these actresses who could easily carry their own movie,” he said, referencing some of the film’s female stars, like Lupita Nyong’o, Danai Gurira, and Letitia Wright. “Some of them have before!”

No kidding they could carry their own movies. Make this happen, please, Marvel. It sounds like Coogler would be more than down to helm the women of Wakanda project, considering one of his favorite parts of Black Panther is when the women are on their own for a while—you know, carrying the movie.

“That’s one of my favorite parts of the movie when I watched it, and I didn’t expect that,” Coogler said of the section after (SPOILER) T’Challa is thrown over a cliff to his apparent death by Killmonger and the action focuses on Nyong’o, Wright, and Angela Bassett’s characters taking charge.

“That part of the movie you feel like you’re watching something fresh and new,” Coogler continued. “That part of it was exciting.”

Clearly Coogler gets it. Now, if only he can convince the people who sign the checks at Marvel, we’ll be in business.

They were SERIOUS about their “Panther” seats There is a bullet hole in the theater ceiling to prove it.!


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Photo: Google

Remember way back in day, when you could go see a movie and sit anywhere?

Well that is so, 2015.  Today in some of the newer theaters, with  power loungers the seats are assigned.  So it often much longer to buy a ticket in the new style theaters.  To make matters worse because of the space they require the new theaters have fewer seats.  Image result for amc fire tower 12

A few weeks ago here in Sacratomatoville, I saw “I Tanya”  in one of the newer theaters. The theater wasn’t much larger than my living room * 44 seats.

“Black Panther”is the hottest movie ticket in America today.

On Friday February 23th,  30 year old Shameka Latrice Lynch bought a ticket at the AMC Fire Tower 12 in Greenville, North Carolina, for the 11.45 showing of the Black Panther Movie.

When Shameka arrived in the theater she discovered someone in her seat and it wasn’t Goldilocks.    Because their names was on the Police report I’m guessing it was either  Deandre Cox or Randy Jones sitting in her seat and I’m guessing  they wouldn’t move.

Ms Lynch, paid for the  tickets and wanted to sit in her seat.  Quick, fast and before previews!   To get their attention, a National Rifle Association approved 32 caliber pistol was fired into the ceiling.

Not only did she get the full attention of the two men allegedly sitting in her seats.  She had the full attention of the people in theater.

When the police arrived, Ms Lynch seat was empty. In fact all the seats were empty, not only in theater two ,but in all twelve theaters.   The police evacuated the entire complex.

Ms  Lynch turned herself in on Saturday (24th )where she is being held until $250,000 until her court date on March 14th.

Early news reports say’s she was the person who fired the gun.  Witnesses in the theater says a black man, wearing a blue and white striped shirt and hat fired the gun.

A couple of days later (26th), Greenville police arrested Chadwick Cherry.  The Tarboro, North Carolina resident, is facing two charges of assault with a deadly weapon and one count of discharging a weapon in an enclosure to incite fear. Mr Cherry is being held on a $300,00 bond.Image result for chadwick cherry north carolina

 

 

One wonders, what would have happened if someone would have asked a theater employee for assistance.  For all of their actions, they may have to wait for “Black Panther’  to appear on TV.

I still haven’t seen “Black Panther and when I do.  I’m going to an old school movie theater with ordinary seats. Excuse me please ,sorry didn’t mean to step on your toe. SORRY!

CityFella

*My living room doesn’t have 44 seats.

HollywoodPay Disparity? Mark Wahlberg paid 1.5 mil… Co-Star Michelle Williams paid less than one thousand dollars.


Image result for mark wahlberg michelle williams

Michael Wahlberg, Michelle Willaims and Director Ridley Scott (photo google)

It is said the best thing that happened to the movie “All the money in the world” was replacing Kevin Spacey with Christopher Plummer.

Perhaps the worst thing is learning Mark Wahlberg was paid 1.5 million dollars to re-shoot scenes with Christopher Plummer while his co-star Michelle Williams was reportedly paid the per diem minumum of $80 per day for a total less than one thousand dollars.

Kevin Spacey was replaced after allegations of sexual abuse in the November.  The scenes were quickly re-shot and edited to make its planned Christmas Release date for Sony Pictures.

Director Ridley Scott told the press “Everybody did it for nothing”

A rep for SAG-AFTRA, which is the union representing both actors, said that the organization is looking at the circumstances of the pay disparity.

“We are unambiguously in favor of pay equity between men and women in this industry and support every action to move in this direction. At the same time, performers at this level negotiate their above-scale rates through their agents,” said a SAG-AFTRA spokesperson.

Scott, Wahlberg and Williams are all repped by WME, which has not commented. Imperative Entertainment, which financed the re-shoots for a reported $10 million, has not commented nor has Sony.

 

12 of the Craziest ‘Star Wars: The Last Jedi’ Fan Theories


Since the credits rolled on “The Force Awakens,” fans have taken to the Internet to theorize the answers to the dangling mysteries left unsolved. Who or what is Snoke? Who are Rey’s parents? What’s the deal with the reclusive Luke Skywalker? In the two years since “Episode VII,” theories have ranged from possible, unlikely, to straight up baffling.  With “The Last Jedi” right around the corner we’re looking at some of the best — and craziest — theories from around the web.

The Knights of Ren were Luke’s Students

Of all the theories out there, this one rings seems pretty plausible. Around the halfway point of “The Force Awakens,” Rey is given Luke’s old lightsaber — the one he lost in his fight with Darth Vader in “The Empire Strikes Back.” When she touches it she sees a number of visions, one of them being of Kylo Ren and a group of equally hooded baddies called The Knights of Ren.

Click the link below for the rest of the Jedi Theories

http://variety.com/2017/film/news/star-wars-last-jedi-fan-theories-1202634147/