Florence Faivre (Julie Mao) is The Muse in AMERICAN MIRROR: INTIMATIONS OF IMMORTALITY (the title is a reference to William Wordsworth’S “Ode: Intimations of Immortality from Recollections of Early Childhood“). In the film, Susan Sarandon sits for a portrait by Armenian post-modern hyperrealist painter Tigran Tsitoghdzyan, and as he paints, they discuss how beauty and aging are seen to be in conflict in modern society. AMERICAN MIRROR was written and directed by Arthur Balder. (Mark Petrie wrote the original soundtrack.) Filmed over a period of three years, it will next screen at the ARPA International Film Festival (4 November at 2:30pm at the Egyptian Theatre in Hollywood). The Canadian premiere will take place on 17 November at the Pomegranate Film Festival Gala in Toronto. A trailer (in three parts) is available on Instagram. Continue reading →
Cara Gee (Drummer) is Hazel James in BIRDLAND, the story of ex-cop Sheila Hood (Kathleen Munroe), who hides cameras in her home to observe her ornithologist husband’s affair with Hazel’s older sister Merle (Melanie Scrofano). When Merle falls to her death from a bridge and another of her lovers, Ray Starling (Joris Jarsky), is found dead in his own hotel, Hood is pulled into a dark world of corruption, sex and death and her surveillance footage forms the backbone of a police investigation that threatens to incriminate her and destroy her marriage. Directed by Peter Lynch (who Norm Wilner of Toronto’s NOW Magazine once said was “a director fascinated by obsessive outsiders”), BIRDLAND will be released on VOD in both Canada and the US on 26 January (Amazon, Google, Xbox, and iTunes). It will begin showing at the Carlton Cinema in Toronto on 26 January as well. Continue reading →
THE EXPANSE – Season 2 Episode 5 – SPOILERS
Joe Miller (Thomas Jane), sitting on a catwalk on the surface of Eros, says two very interesting things. First he says: “If Eros stopped rotating that quick, I’d be dead as a bug on a windshield.” Then later: “If Eros isn’t spinning anymore, then how can I still have gravity?” Eros is roughly cylindrical, so Miller must be on a circular catwalk on the end of the cylinder where the docking ports are located. Otherwise, he would not feel the effects of pseudo-gravity on the outside of Eros, even if it was spinning.
Here’s a theory. It is possible that the protomolecule absorbed and redirected the spin of Eros. If the energy of rotation along with the orbital momentum were somehow channeled into a propulsive force, some of which could be stored for future acceleration, that process might generate the waste heat described by Naomi and would likely be sufficient to account for the asteroid’s acceleration. It would work kind of the way Star Trek‘s inertial dampers work, only on a much larger scale. It would also explain why Miller doesn’t feel any acceleration when Eros speeds up. He is inside a giant inertial damping field.
Having dodged The Nauvoo, protomolecular Eros puts itself on a collision course with Earth. We get a hint of Earth’s total population when estimates of casualties from the projected impact are 7 to 10 billion immediately, and another 10 billion from lingering environmental effects. That means there are more than 20 billion people on Earth and to sustain that level of population one might speculate that they must be using some Soylent-Green-like approach to the food supply.
Earth fires half of its planetary defense missiles at Eros. We learn from how quickly they get out of the Earth’s gravity well that those missiles must be equipped with fusion drives. Eros decides not to reflect radar anymore, and the missiles become useless, unable to track the target.
As a last resort, Miller does the sensible thing. He carts his pet nuke (long story not worth telling) inside Eros and finds what’s left of Julie Mao. He has reasoned out that Julie’s intelligence, being the first absorbed, is serving as the control center for the protomolecule. He locates proto-Julie and finds out that she is steering the asteroid to Earth because she is homesick. When Miller tries to get her to stop, she says: “We can’t stop the work.” Miller quickly adapts, saying: “Ok, we can’t stop the work. But we don’t have to go to Earth, right? Why don’t we go to Venus?”
Proto-Julie makes a course correction. Earth is saved. Venus, which has apparently been completely ignored by humans in their colonization of the solar system, is selected as the place for the protomolecule to do its “work” (whatever that might be). Miller and Julie kiss, and Eros crash-lands.
Jean Yoon (Captain Theresa Yao in episodes 1.3 and 1.4) received an ACTRA Toronto award for outstanding performance by a female for her role as Umma in the CBC comedy KIM’S CONVENIENCE. Accepting the award, Yoon said, “I’m really proud to be working on a show about immigrants in a time of nationalist intolerance.” Cara Gee (Drummer) tweeted that “For all my new pals from The Expanse, @jean_yoon (Captain Yao) once played my mom on stage in The Rez Sisters. And I love her.” (“The Rez Sisters” is a 1986 play by Tomson Highway.)
Shawn Doyle (Sadavir Errinwright) is Police Chief Peter Welland in the TV drama BELLEVUE In the first episode, (which aired 20 February), a transgender teen, who is also the best hockey player in town, goes missing. Co-showrunner Jane Maggs, speaking to Stephanie Beaumont of Sea and Be Scene described the series as: “a complex human drama dressed up as a thrilling mystery. It’s about loss, pain, rage, mistakes and outsiders. And at its core it’s about love – desperate love and the way that love can take us over, can drive us to our most extreme selves and can blind us.” BELLEVUE airs Mondays at 9pm on CBC.
Doyle is also Owen in AWAY FROM EVERYWHERE, which co-stars Joanne Kelly and Jason Priestley, and is about a love triangle involving a struggling writer, his brother, and his brother’s wife. The film will be in theatres in St. John’s, NL (Scotiabank Theatre) on 1 March, Ottawa on 3 March, and Toronto on 4 March. A trailer is available on Vimeo.