THE WOMAN KING	Jul. 7th, 2022 @ 10:25 am

Грядет величайший фильм Кайнозойской Эры о великой войне и великих воинах.

Через день после премьеры Голливуд будет сожжен, потому что снимать там будет больше нечего.

Бомбардировка Интернета начинается через 5 минут!

The woman king

The past couple of years have largely been about taking the good with the bad at the box office. Ever since movies like «Tenet» and «The New Mutants» tried (and failed) to get theaters back on their feet, it’s been a bumpy ride with a few very big highs, like «Spider-Man: No Way Home,» and pretty major lows, like this past weekend when «The Invitation» topped the charts with a mere 7 million. This, despite theaters being totally open and operational in North America. There is no good reason for things to be this bad right now, especially given that the industry is moving away from streaming being the be-all, end-all answer.

Despite having a straight-up robust summer led by blockbusters such as «Top Gun: Maverick» and «Jurassic World Dominion,» as well as Marvel’s usual hits like «Doctor Strange in the Multiverse of Madness» and «Thor: Love and Thunder,» Hollywood mysteriously

King Shaka: Everything We Know So Far About The Antoine Fuqua Showtime Series

Antoine Fuqua might have been known best for his big screen blockbuster work, but in the past few years, he’s made a pretty triumphant transition to streaming. Of course, it took some «adjusting» on the director’s part — with the Mark Wahlberg starrer «Infinite» quietly released on Paramount+, and the Jake Gyllenhaal-led thriller «The Guilty» making a similar debut on Netflix — but Fuqua has since found a major groove with television. With producer credits on the celebrated «Mayor of Kingstown» and the recent release of Prime Video series «The Terminal List,» Fuqua is enjoying the freedom that long-form entertainment affords.

«I found it to be a really positive thing,» Fuqua told /Film’s Jack Giroux. The freedom of the new streaming landscape reminds the filmmaker of the risk-taking on display in the ’70s. «You got a chance to just come in and try some things and be brave,» Fuqua added,

John Boyega says he’s “off” Star Wars franchise

Actor John Boyega, who played Resistance fighter Finn in the most recent Star Wars trilogy, has expressed zero interest in returning to the beloved franchise.

In a recent interview on SiriusXM, Boyega said: “At this point I’m cool off it. I’m good off it…I think Finn is at a good confirmation point where you can just enjoy him in other things, the games, the animation. But I feel like ‘[Episode] VII’ to ‘[Episode] IX’ was good for me.”

He followed up by stating his major focus now with his career is “versatility.” John Boyega’s Finn was one of the few major Black characters in the Star Wars franchise, following in the path of Billy Dee Williams’ Lando Calrissian and Samuel L. Jackson’s Mace motherf*ckin’ Windu. Even though Darth Vader was voiced by James Earl Jones, he was unmasked as a “crusty old white man”, forever pissing off the great Hooper X.

Why John Boyega Won’t Return To The Star Wars Franchise

John Boyega’s debut as Finn in 2015’s «Star Wars: The Force Awakens» was a momentous occasion for the franchise. Nearly 40 years into its existence, a galaxy far, far away was finally set to feature a Black man as its lead instead of a supporting player. But, sadly, what seemed like a promising start for both the actor and his character quickly fizzled out. As Finn was increasingly sidelined over the course of the next two movies in the Skywalker Saga, Boyega himself was subjected to an onslaught of racist abuse online, with little to no public support from the executive powers that be at Disney and Lucasfilm.

By the time «The Rise of Skywalker» came out in December 2019 (drawing the Skywalker Saga to a close), Boyega was already showing signs of being done and ready to move on from the property. He would only continue to air his grievances over the year that followed,

AMPAS Execs Heading To Fall Film Festivals, Academy’s Global Expansion And What The Oscars Will Look Like Post-Pandemic

The Academy of Motion Picture Arts and Sciences is going global in a big way, hitting major festivals around the world and the U.S. beginning with the fall trifecta of Venice, Telluride and Toronto. All that is according to new CEO Bill Kramer, who is continuing his inaugural outreach tour not just to members of AMPAS, but also to the press.

In addition to an A.Frame interview earlier this month with Kramer that was distributed to all 10,000-ish AMPAS members as well as media outlets, Kramer this week held a Zoom press conference with key consumer outlets as well as the Hollywood trades. He was keen to emphasize that the org is going to again be front and center at major events, and that means everywhere including reinstating their London membership meeting, and even adding one in Copenhagen.

“We’re an international organization. And at this point, 25 of our members are non-u.

‘King Shaka’: Charles Babalola To Star In Title Role Of Showtime Series From Antoine Fuqua, 4 Others Cast

Exclusive: The Outlaws star Charles Babalola is set to headline Showtime’s King Shaka, (fka Shaka: King of the Zulu Nation), executive produced by Antoine Fuqua.

Babalola will play the title role in the epic drama series, centered around one man’s personal journey from stigmatized childhood to warrior king, which hails from writers Olu Odebunmi and Tolu Awosika, Propagate, Fuqua Films and CBS Studios. Production kicks off next month in the historic KwaZulu-Natal (Kzn) South Africa province, the birthplace of King Shaka, and will be fully shot in South Africa for a 2023 debut on Showtime.

Also cast as series regulars in King Shaka are Aïssa Maïga (The Fear Index) as Nandi, Shaka’s devoted mother who will sacrifice everything to fulfill her son’s destiny; and Thando Dlomo (The Woman King) as Pampatha, a herder who finds her fate forever entwined with Shaka’s. Thapelo Mokoena (Bulletproof) will guest star as Gendeyana,

John Boyega is not returning to ‘Star Wars’ franchise

Actor John Boyega, who had a breakout moment with his role of Finn in the ‘Star Wars’ sequel trilogy, is not keen on returning to the galactic franchise.

John is currently awaiting the release of his films ‘Breaking’ and ‘The Woman King’, reports ‘Variety’.

“At this point I’m cool off it. I’m good off it,” Boyega said on SiriusXM’s ‘Tell Me Everything With John Fugelsang’, quoted by ‘Variety’. “I think Finn is at a good confirmation point where you can just enjoy him in other things, the games, the animation. But I feel like ‘(Episode) VII’ to ‘(Episode) IX’ was good for me.”

Boyega added: “To be fair, (with) the allies that I’ve found within Joel Taylor and Jamie Foxx, Teyonah Parris, Viola Davis, all these people I’ve been working with… versatility is my path.”

According to ‘Variety’, Boyega also discussed his experience facing racism in the ‘Star Wars’ fandom,

John Boyega Got ‘Emotional’ Watching Ewan McGregor Defend ‘Obi-Wan’ Co-Star Moses Ingram Against Racist Trolls

John Boyega has never shied away from speaking out about the racist bullying he received for his work as Finn in the “Star Wars” franchise. Things got so bad, he convened a meeting with Disney and Lucasfilm execs to express his disappointment in their lack of support during the targeted attacks.

While Boyega has now said he has no plans to return to “Star Wars,” he’s proud of “Obi-Wan” star Ewan McGregor coming to his co-star Moses Ingram’s defense after she became the target of online hate when their series premiered on Disney+ in May.

“I don’t know how Disney have done, and I don’t know how they’ve moved with everything,” Boyega tells me on this week’s episode of the “Just for Variety” podcast. “All I know is about specifically Lucasfilm, about the Obi-Wan Kenobi stuff. And I saw that Ewan McGregor video. And that kind of got me,

John Boyega Doesn’t Plan on Returning to Star Wars: «I’m Good»

John Boyega joined the Star Wars franchise as ex-stormtrooper and Resistance fighter Finn in 2015’s «Star Wars: The Force Awakens» and reprised his role in «Star Wars: The Last Jedi» in 2017, before returning for «Star Wars: The Rise of Skywalker» in 2019. But now he’s doubling down on his previous statement that he won’t be back in the universe.

In 2020, he spoke out against how he had been treated while part of the franchise, and in an Aug. 24 interview with John Fugelsang on Sirius Xm’s «Tell Me Everything,» Boyega said he’s still not planning on making any more Star Wars movies. «At this point, I’m cool off it,» he said. «I’m good off it. I think Finn is at a good confirmation point where you can just enjoy him in other things, the games, the animation. But I feel like ‘VII’ to ‘IX’ was good for me.»

In a September 2020 interview with GQ,

Why Heidi Klum Declined to Participate in Hulu’s Victoria’s Secret Docuseries

Welcome to this week’s “Just for Variety.”

Heidi Klum may have been one of the most famous models associated with Victoria’s Secret, but she says she turned down an invite to be interviewed for Hulu’s “Victoria’s Secret: Angels and Demons.” “They asked me if I wanted to be part of it,” Klum tells me on this week’s “Just for Variety” podcast. “And I was like, ‘If you’re looking for a negative story, you’re barking up the wrong tree because I had the most wonderful time there.’”

TIFF announces In Conversation With…, talent development programmes

TIFF has announced the In Conversation With… series and the talent development programmes and participants.

On-stage conversation participants include Eddie Redmayne, Viola Davis and Lee Jung-jae, while Sarah Gadon is announced as the TIFF Micki Moore Residency.

The festival has also unveiled the 10 Industry Selects roster of acquisition titles. TIFF runs from September 8-1.

In Conversation With…

The In Conversation With… series features Damien Chazelle, the director of La La Land and Whiplash whose December release Babylon is expected to be an awards contender; Viola Davis and Gina Prince-Bythewood,

Kirill Sokolov Tapped To Direct Thriller ‘Ultra’ For TriStar Pictures

Exclusive: Kirill Sokolov set to direct TriStar Pictures’ thriller Ultra, with script penned by Colin Bannon. TriStar preemptively purchased the spec amid significant buzz in November 2021, just before it placed in the Top 10 on the Black List in December. Plot details are being kept under wraps.

Sukee Chew of Sugar23 is producing. Caellum Allan is overseeing the project on behalf of TriStar.

Sokolov made his feature directorial debut with Why Don’t You Just Die, which screened in competition at Sitges. His follow-up film, No Looking Back, premiered at SXSW 2022. Sokolov is represented by CAA and Good Fear.

Bannon most recently sold his Black List script First Ascent to Netflix in a bidding war. The project is being produced by Chew and Scott Free. Bannon is repped by Verve and Sugar23.

Chew joined Sugar23 last June and was previously at Hopscotch Pictures which she founded. There, she was most recently

The Toronto International Film Festival might be the most populist fall fest, but it’s also a strong Oscar bellwether

The Toronto International Film Festival (aka TIFF) has been around since 1976, and is one of the largest publicly attended film festivals in the world, when you consider how many movies premiere there each year, reportedly in the hundreds some years. Toronto is slightly more accessible to journalists from America, Canada and the rest of the world than Venice or Telluride, since Toronto is a major metropolis with plenty of hotels and theaters that can cater to such a vast attendance.

TIFF is famous for its lavish gala premieres that bring the stars out in their finest red carpet attire. Many studios not only regularly choose to premiere their fall releases at TIFF but will also junket those films there, which means that journalists attend from all over the world for interviews, which is not necessarily true of other September festivals. Studios like Sony, Universal, 20th Century Fox, Focus Features, Searchlight,

How Nope Star Daniel Kaluuya Changed John Boyega’s Approach To Acting

John Boyega’s feature film debut came in 2011 with the release of Joe Cornish’s excellent alien invasion film «Attack the Block.» Boyega, striking and intense, immediately caught the attention of those who saw Cornish’s film, and he would almost immediately go on to appear in numerous British TV and film projects like «Becoming Human» and «Law & Order: UK.» In 2015, he appeared before a global audience with the release of «Star Wars: The Force Awakens,» one of the biggest box office hits of all time. Despite his immediate high profile, Boyega remained pragmatic, even cynical about his new place in the pop culture firmament. In a 2019 interview with Variety, Boyega was asked about the potential of expanding his «Star Wars» role beyond feature films, to which he responded, «You ain’t gonna Disney+ me.»

Indeed, Boyega often seems to have an eye on his career trajectory. In a recent interview with The Daily Beast,

John Boyega Says He’s No Longer The ‘Elephant In The Room’ Following Disney’s Support Of Moses Ingram: ‘It’s Fantastic’

During a recent interview, John Boyega recalled his experience with racist backlash while starring in the “Star Wars” franchise.

While speaking with SiriusXM’s John Fugelsang, the British actor said that seeing Moses Ingram, who stars in the “Obi-Wan Kenobi” series, “being protected” by Disney after racism was thrown at her, makes him “feel protected.”

Read More: John Boyega On Speaking Out About ‘Star Wars’, Being A BLM Advocate: ‘This Is Who I Am’

“It makes me feel like, ‘Okay, cool. I am not the elephant in the room’ because when I started it, [it] wasn’t really a conversation you could bring up,” Boyega said, referring to when he called out Disney for race issues in “Star Wars”.

“You know how they [Disney] went through it. It was kind of like, let’s just be silent. It wasn’t a conversation you could bring up. But now to see how blatant it is,

John Boyega Says He Won’t Return to ‘Star Wars’ Franchise

John Boyega became an international breakout star playing Finn in the “Star Wars” sequel trilogy. But the actor, who stars in upcoming films “Breaking” and “The Woman King,” doesn’t have much of an interest in returning to the galactic franchise.

“At this point I’m cool off it. I’m good off it,” Boyega said on SiriusXM’s “Tell Me Everything With John Fugelsang.” “I think Finn is at a good confirmation point where you can just enjoy him in other things, the games, the animation. But I feel like ‘[Episode] VII’ to ‘[Episode] IX’ was good for me.”

Boyega added: “To be fair, [with] the allies that I’ve found within Joel Taylor and Jamie Foxx, Teyonah Parris, Viola Davis, all these people I’ve been working with… versatility is my path.”

Boyega also discussed his experience facing racism in the “Star Wars” fandom, an issue that “Obi-Wan Kenobi” star Moses Ingram

John Boyega Says Sitdown with Daniel Kaluuya Helped Him Rethink His Career

John Boyega has shut down Marvel rumors, voiced his support for independent films, and now, the “Breaking” actor is revealing one of his biggest career turning points: a heart-to-heart with fellow Brit, Oscar winner Daniel Kaluuya.

“I invited Daniel Kaluuya to my house because I was thinking about a lot of stuff. We had a sit-down, and I told him everything about how I felt,” Boyega recalled to The Daily Beast about the time he spent “reassessing all aspects” of his career during the Covid-19 lockdowns.

‘Elvis’ Rocks To Baz Luhrmann’s Highest-Grossing Movie At Domestic Box Office

Wise men say only fools predict that adult-skewing films won’t work at the pandemic box office. But older moviegoers kept falling in love with Warner Bros’ Elvis this summer, to the point where it’s now director Baz Luhrmann’s highest-grossing movie ever in U.S. and Canada with 144.851 million, beating the original run of his 2013 title The Great Gatsby, which made 144.84M.

Elvis in its ninth weekend made 1.98M, down 23 week over week, at 1,741 locations.

The Great Gatsby, the take of the F. Scott Fitzgerald classic novel starring Leonardo DiCaprio, Carey Mulligan and Tobey Maguire, counts a lifetime gross in the U.S. and Canada of 144.857M, and Elvis will clearly boogey past that today as well. Worldwide, the Austin Butler-Tom Hanks biopic at 269.8M ranks as Luhrmann’s second highest-grossing movie of his career after Great Gatsby‘s 353.6M. Luhrmann also produced and co-wrote Elvis.

Fall 2022 Movie Preview for Film Lovers of All Types

With summer nearly over, it’s time to turn our attention to the fall, where a host of exciting new movies are due to hit theaters and streamers. But instead of a more traditional Fall Movie Preview, we at TheWrap have crafted a curated a guide to new releases this season for each and every type of film-lover. Craving a good drama? We’ve got selections for that. How about a compelling detective story? We’ve got picks for that too.

Below, we’ve rounded up a list of 30 movies coming out this fall that fit into different categories for movie lovers, from comedies to dramas to documentaries to thrillers. There’s truly something for everyone.

So light your pumpkin-scented candle, grab a cozy blanket and get comfy as we preview what’s ahead over the next few months.

If you’re … … Ready for a fright “Pearl” (A24)

The 7 Best New Movies on HBO Max in August

As the summer comes to a close, catch up on new releases and library titles that hit HBO Max this month.

A new documentary revealing archival footage of Princess Diana, a coming-of-age drama surrounding an Irish family in the 1960s and a cult classic about basketball and romance are only some of the notable films that made their debut on HBO Max in August.

This month also sees the release of a slew of A24 movies onto the streaming service, including Jenny Slate’s “Obvious Child” and Miles Teller and Shailene Woodley’s “The Spectacular Now.”

The Best Movies on HBO Max Right Now “Ex Machina” (Available Aug. 1) “Ex Machina” (A24)

“Ex Machina” enters HBO Max this month as a part of A24’s big collection release on the platform. The sci-fi award-winner follows a computer programmer, named Caleb, played by Domhnall Gleeson, who is chosen to evaluate

Дорама Лучезарная красавица эпохи Цинь смотреть онлайн серия 1

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Woman King

From Wikipedia, the free encyclopedia

Review scores
Source	Rating
Allmusic	[1]
Kludge	(6/10) [2]
Pitchfork Media	(8.5/10) [3]
PopMatters	(9/10) [4]
Rolling Stone	[5]

Woman King is the fourth EP from Iron & Wine (aka Samuel Beam), released on February 22, 2005, by Sub Pop Records.

Woman King expanded on the studio sounds that marked his previous LP, Our Endless Numbered Days, and also included electric guitars. Each track featured a spiritual female figure and had subtle Biblical undertones, although Beam has said in interviews that he is agnostic [1].

Лучезарная красавица эпохи Цинь | Женщина короля

Лучезарная красавица эпохи Цинь | Женщина короля дорама 2017 смотреть

Ин Чжэн, став императором в очень юном возрасте, вырос жестоким, целеустремленным правителем, и был не уязвим, пока одна встреча не изменила его жизнь. Девушка-воин спасает жизнь правителю, и он узнает в ней и ее спутнике двух давно забытых друзей детства — Сунь Ли и Цзин Кэ. Из детей они превратились в смелых и благородных воинов, а Сунь Ли еще и выросла невероятной красавицей, любящей своего соученика Цзин Кэ всем сердцем. Но властного императора не смогло остановить даже это. Очарованный красотой девушки, он хитростью вынуждает её прийти во дворец, где она и остаётся, став его женой. Со временем чувства Ин Чжэня становятся взаимны, но даже после этого, император больше всего жаждущий власти над всем миром и выросший в постоянных интригах дворца, не может довериться хоть кому-то, даже своей любимой Сунь Ли…

Так, это»Приключение армянки» меня утомили. Кто кого любит не понятно. Один ТИРАН другая ДУРА. На разок сойдёт.

Дорама хорошая. Только конец печальный😭😭😭😭😭

Чжан Бинь великолепен

Дорама очень интересная, только плохо заканчивается и это печально 😥. Если знала бы, что в конце будет, лучше не смотрела. Главный герой в конце дорамы убьёт свою любимую, но почему он её так сильно любил и всё таки убил……….

Конец очень печальный 😢

Я хочу посмотреть как думаете стоит

дорама, аж сердце замерает, дух захватывает, чем же все закончится? Потряса.щая история…….Надеюсь,что озвучка будет на все серии.

5 раз пересматривала и ревела просто почему так

Фильм потрисащий. История про династию Цинь это божественно какой был умный правитель я в восторге 👍👍👍👍👍. Фильм очень хороший только мне очень обидно что не все серии не в русском озвучке это не удобно.

И опять сводит с ума красота и в то же время мужественность главных героев.

Согласна с Ольгой! Смотрю 12 серию, на одном дыхании.. Император (Чжан Бинь Бинь) потрясающе мужественен, один взгляд чего стоит! Мурашки по телу!! Пересмотрела все дорамы с ним — никакие роли его не портят, не жестокие, не романтически- нежные! Талантливый актер!! Дильраба тоже живая актриса- не чувствуется наигранность… Советую к просмотру…

Дорама прекрасная! Я с удовольствием пересматриваю её уже много раз, хотя видела уже большое количество красивых дорам — сравнить есть с чем. Больше всего меня восхищает император, им можно любоваться и любоваться. Главная актриса тоже очень впечатляет. Раздражает ее младший соученик своими бесконечными слезами, к старшему соученику испытываешь уважение. Жаль, что фильм печально заканчивается, я до последнего ждала другой развязки. Но теперь, пересматривая, последние серии не смотрю. Мне нравятся те моменты, когда рождалась между главными героями эта прекрасная любовь, нравится очень процесс завоевания императором любимой женщины (было трудно на каждом шагу получить сердце этой независимой, гордой, умной красавицы). Смотрю дорамы только с субтитрами: никакой перевод не заменит тембр голоса китайских актеров, а еще я заинтересовалась изучением китайского языка. Просмотр с субтитрами — прекрасное аудирование, а если не успели прочитать, можно и на паузу поставить. Я уже даже стала слышать иногда не точный перевод. Тем, кто любит смотреть красивую любовь, кто понимает причины поведения героев, которым статус диктует одно, хотя сердце говорит другое, кто любит боевые искусства, дворцовые интриги, кому нравятся фильмы, где властный мужчина пытается заставить полюбить себя любимую женщину, насильно удерживает ее во дворце, но при этом уважает ее чувства и берет не силой, а терпением, искренне рекомендую этот фильм к просмотру. Поверьте, посмотрите с большим удовольствием! А если кому не нравится такой сюжет, просто подберите себе дораму по душе, но и других не отговаривайте от просмотра этой дорамы. Она восхитительна.

По моему мнению дорама очень интересна актёры справились передали всю суть героев. Конец очень печальный так хотелось чтоб было все хорошо у них но увы видимо не судьба

Дорама не интересная, поэтому и нет озвучки. Гг красивые, только и всего.

Почему только одна озвучка жалко очень ведь оно вышло в 2017 году главная актриса мне очень нравится очень хочу эту дораму смотреть но без озвучки даже немного не интересно 💔💔💔😢😭😨 6 из 10 эх эх эх

The woman king

But these pills are different. They are like regular Darvon only in that they are grey gelatine capsules. But they are bigger, what his dead father used to call hosscock pills. The box says Asp. 350 gr, Darvon 100 gr, and could she chew them even if he was to give them to her? Would she? The house is still running; the refrigerator runs and shuts off, the furnace kicks in and out, every now and then the Cuckoo bird pokes grumpily out of the clock to announce an hour or a half. He supposes that after she dies it will fall to Kevin and him to break up housekeeping. She’s gone, all right. The whole house says so. She is in the Central Maine Hospital, in Lewiston. Room 312. She went when the pain got so bad she could no longer go out to the kitchen to make her own coffee. At times, when he visited, she cried without knowing it.

The elevator creaks going up, and he finds himself examining the blue elevator certificate. The certificate makes it clear that the elevator is safe, creaks or no creaks. She has been here for nearly three weeks now and today they gave her an operation called a ‘cortotomy’. He is not sure if that is how it’s spelled, but that is how it sounds. The doctor has told her that the ‘cortotomy’ involves sticking a needle into her neck and then into her brain. The doctor has told her that this is like sticking a pin into an orange and spearing a seed. When the needle has poked into her pain centre, a radio signal will be sent down to the tip of the needle and the pain centre will be blown out. Like unplugging a TV. Then the cancer in her belly will stop being such a nuisance.

The thought of this operation makes him even more uneasy than the thought of suppositories melting warmly in his anus. It makes him think of a book by Michael Crichton called The Terminal Man, which deals with putting wires in people’s heads. According to Crichton, this can be a very bad scene. You better believe it.

The elevator door opens on the third floor and he steps out. This is the old wing of the hospital, and it smells like the sweet-smelling sawdust they sprinkle over puke at a county fair. He has left the pills in the glove compartment of his car. He has not had anything to drink before this visit.

The walls up here are two-tone: brown on the bottom and white on top. He thinks that the only two-tone combination in the whole world that might be more depressing than brown and white would be pink and black. Hospital corridors like giant Good ‘n’ Plentys. The thought makes him smile and feel nauseated at the same time.

Two corridors meet in a T in front of the elevator, and there is a drinking fountain where he always stops to put things off a little. There are pieces of hospital equipment here and there, like strange playground toys. A litter with chrome sides and rubber wheels, the sort of thing they use to wheel you up to the ‘OR’ when they are ready to give you your ‘cortotomy’. There is a large circular object whose function is unknown to him. It looks like the wheels you sometimes see in squirrel cages. There is a rolling IV tray with two bottles hung from it, like a Salvador Dali dream of tits. Down one of the two corridors is the nurses’ station, and laughter fuelled by coffee drifts out to him.

He gets his drink and then saunters down towards her room. He is scared of what he may find and hopes she will be sleeping. If she is, he will not wake her up.

Above the door of every room there is a small square light. When a patient pushes his call button this light goes on, glowing red. Up and down the hall patients are walking slowly, wearing cheap hospital robes over their hospital underwear. The robes have blue and white pinstripes and round collars. The hospital underwear is called a ‘johnny’. The ‘johnnies’ look all right on the women but decidedly strange on the men because they are like knee-length dresses or slips. The men always seem to wear brown imitation-leather slippers on their feet. The women favour knitted slippers with balls of yarn on them. His mother has a pair of these and calls them ‘mules’.

The patients remind him of a horror movie called The Night of the Living Dead. They all walk slowly, as if someone had unscrewed the tops of their organs like mayonnaise jars and liquids were sloshing around inside. Some of them use canes. Their slow gait as they promenade up and down the halls is frightening but also dignified. It is the walk of people who are going nowhere slowly, the walk of college students in caps and gowns filing into a convocation hall.

He pauses outside his mother’s room and for a while there he was freaked enough to come drunk. It made him ashamed to be drunk in front of his mother even though she was too doped and full of Elavil to know. Elavil is a tranquilizer they give to cancer patients so it won’t bother them so much that they’re dying.

The way he worked it was to buy two six-packs of Black Label beer at Sonny’s Market in the afternoon. He would sit with the kids and watch their afternoon programmes on TV. Three beers with ‘Sesame Street’, two beers during ‘Mister Rogers’, one beer during ‘Electric Company’. Then one with supper.

He took the other five beers in the car. It was a twenty-two-mile drive from Raymond to Lewiston, via Routes 302 and 202, and it was possible to be pretty well in the bag by the time he got to the hospital, with one or two beers left over. He would bring things for his mother and leave them in the car so there would be an excuse to go back and get them and also drink another half beer and keep the high going.

It also gave him an excuse to piss outdoors, and somehow that was the best of the whole miserable business. He always parked in the side lot, which was rutted, frozen November dirt, and the cold night air assured full bladder contraction. Pissing in one of the hospital bathrooms was too much like an apotheosis of the whole hospital experience: the nurse’s call button beside the hopper, the chrome handle bolted at a 45-degree angle, the bottle of pink disinfectant over the sink. Bad news. You better believe it.

The urge to drink going home was nil. So left-over beers collected in the icebox at home and when there were six of them, he would never have come if he had known it was going to be this bad. The first thought that crosses his mind is She’s no orange and the second thought is She’s really dying quick now, as if she had a train to catch out there in nullity. She is straining in the bed, not moving except for her eyes, but straining inside her body, something is moving in there. Her neck has been smeared orange with stuff that looks like Mercurochrome, and there is a bandage below her left ear where some humming doctor put the radio needle in and blew out 60 per cent of her motor controls along with the pain centre. Her eyes follow him like the eyes of a paint-by-the-numbers Jesus.

— I don’t think you better see me tonight, Johnny. I’m not so good. Maybe I’ll be better tomorrow.

— It itches. I itch all over. Are my legs together?

He can’t see if her legs are together. They are just a raised V under the ribbed hospital sheet. It’s very hot in the room. No one is in the other bed right now. He thinks:

Room-mates come and room-mates go, but my mom stays on for ever. Christ!

— They’re together, Mom.

— Move them down, can you, Johnny? Then you better go. I’ve never been in a fix like this before. I can’t move anything. My nose itches. Isn’t that a pitiful way to be, with your nose itching and not able to scratch it?

He scratches her nose and then takes hold of her calves through the sheet and pulls them down. He can put one hand around both calves with no trouble at all, although his hands are not particularly large. She groans. Tears are running down her cheeks to her ears.

— Can you move my legs down?

— Oh. That’s all right, then. I think I’m crying. I don’t mean to cry in front of you. I wish I was out of this. I’d do anything to be out of this

— Would you like a smoke?

— Could you get me a drink of water first, Johnny? I’m as dry as an old chip.

He takes her glass with a flexible straw in it out and around the corner to the drinking fountain. A fat man with an elastic bandage on one leg is sailing slowly down the corridor. He isn’t wearing one of the pinstriped robes and is holding his ‘johnny’ closed behind him.

She chokes on the water a little and it frightens him even though he has been thinking about giving her pills. He asks her again if she would like a cigarette and she says:

— If it’s not any trouble. Then you better go. Maybe I’ll be better tomorrow.

He shakes a Kool out of one of the packages scattered on the table by her bed and lights it. He holds it between the first and second fingers of his right hand, and she puffs it, her lips stretching to grasp the filter. Her inhale is weak. The smoke drifts from her lips.

— I had to live sixty years so my son could hold my cigarettes for me.

She puffs again and holds the filter against her lips so long that he glances away from it to her eyes and sees they are closed.

The eyes open a little, vaguely.

— How long have you been here?

— Not long. I think I better go. Let you sleep.

He snuffs the cigarette in her ashtray and slinks from the room, thinking: I want to talk to that doctor. Goddamn it, I want to talk to the doctor who did that.

Getting into the elevator he thinks that the word ‘doctor’ becomes a synonym for ‘man’ after a certain degree of proficiency in the trade has been reached, as if it was an expected, provisioned thing that doctors must be cruel and thus attain a special degree of humanity. But

‘I don’t think she can really go on much longer,’ he tells his brother later that night. His brother lives in Andover, seventy miles west. He only gets to the hospital once or twice a week.

‘But is her pain better?’ Kev asks.

‘She says she itches.’ He has the pills in his sweater pocket. His wife is safely asleep. He takes them out, stolen loot from his mother’s empty house, where they all once lived with the grandparents. He turns the box over and over in his hand as he talked, like a rabbit’s foot.

‘Well then, she’s better.’ For Kev everything is always better, as if life moved towards some sublime vertex. It is a view the younger brother does not share.

‘Does it matter at this point?’

‘Of course it matters!’ he bursts out, thinking of her legs under the white ribbed sheet.

‘John, she’s dying.’

‘She’s not dead yet.’ This in fact is what horrifies him. The conversation will go around in circles from here, the profits accruing to the telephone company, but this is the nub. Not dead yet. Just lying in that room with a hospital tag on her wrist, listening to phantom radios up and down the hail. And she’s going to have to come to grips with time, the doctor says. He is a big man with a red, sandy beard. He stands maybe six foot four, and his shoulders are heroic. The doctor led him tactfully out into the hall when she began to nod off.

The doctor continues:

— You see, some motor impairment is almost unavoidable in an operation like the ‘cortotomy’. Your mother has some movement in the left hand now. She may reasonably expect to recover her right hand in two to four weeks.

The doctor looks at the drilled-cork ceiling of the corridor judiciously. His beard crawls all the way down to the collar of his plaid shirt, and for some ridiculous reason Johnny thinks of Algernon Swinburne; why, he could not say. This man is the opposite of poor Swinburne in every way.

— I should say not. She’s lost too much ground.

— She’s going to be bedridden for the rest of her life?

— I think that’s a fair assumption, yes.

He begins to feel some admiration for this man who he hoped would be safely hateful. Disgust follows the feeling; must he accord admiration for the simple truth?

— How long can she live like that?

— It’s hard to say. (That’s more like it.) The tumour is blocking one of her kidneys now. The other one is operating fine. When the tumour blocks it, she’ll go to sleep.

— Yes, the doctor says, but a little more cautiously. ‘Uremia’ is a techno-pathological term usually the property of doctors and medical examiners alone. But Johnny knows it because his grandmother died of the same thing, although there was no cancer involved. Her kidneys simply packed it in and she died floating in internal piss up to her rib-cage. She died in bed, at home, at dinnertime. Johnny was the one who first suspected she was truly dead this time and not just sleeping in the comatose, open-mouthed way that old people have. Two small tears had squeezed out of her eyes. Her old toothless mouth was drawn in, reminding him of a tomato that has been hollowed out, perhaps to hold egg salad, and then left forgotten on the kitchen shelf for a stretch of days. He held a round cosmetic mirror to her mouth for a minute, and when the glass did not fog and hide the image of her tomato mouth, he called for his mother. All of that had seemed as right as this did wrong.

— She says she still had pain. And that she itches.

The doctor taps his head solemnly, like Victor DeGroot in the old psychiatrist cartoons.

— She imagines the pain. But it is nonetheless real. Real to her. That is why time is so important.. Your mother can no longer count time in terms of seconds and minutes and hours. She must restructure those units into days and weeks and months.

He realizes what this burly man with the beard is saying, and it boggles him. A bell dings softly. He cannot talk mort to this man. He is a technical man. He talks smoothly of time, as though he has gripped the concept as easily as a fishing rod. Perhaps he has.

— Can you do anything more for her?

But his manner is serene, as if this were right. He is, after all, ‘not offering false hope’.

— Can it be worse than a coma?

— Of course it can. We can’t chart these things with any real degree of accuracy. It’s like having a shark loose in your body. She may bloat.

— Her abdomen may swell and then go down and then swell again. But why dwell on such things now? I believe we can safely say that they would do the job, but suppose they don’t? Or suppose they catch me? I don’t want to go to court on a mercy-killing charge. Not even if I can beat it. I have no causes to grind. He thinks of newspaper headlines screaming MATUCIDE and grimaces.

Sitting in the parking lot, he turns the box over and over in his hands. DARVON COMPLEX. The question still is: Can he do it? Should he? She has said: I wish I were out of this. I’d do anything to be out of this. Kevin is talking of fixing her a room at his house so she won’t die in the hospital. The hospital wants her out. They gave her some new pills and she went on a raving bummer. That was four days after the ‘cortotomy’. They’d like her someplace else because no one has perfected a really foolproof ‘cancerectomy’ yet. And at this point if they got it all out of her she’d be left with nothing but her legs and her head.

He has been thinking of how time must be for her, like something that has got out of control, like a sewing basket full of threaded spools spilled all over the floor for a big mean tomcat to play with. The days in Room 312. The night in Room 312. They have run a string from the call button and tied it to her left index finger because she can no longer move her hand far enough to press the button if she thinks she needs the bedpan.

It doesn’t matter too much anyway because she can’t feel the pressure down there; her midsection might as well be a sawdust pile. She moves her bowels in the bed and pees in the bed and only knows when she smells it. She is down to ninety-five pounds from one-fifty and her body’s muscles are so unstrung that it’s only a loose bag tied to her brain like a child’s sack puppet. Would it be any different at Kev’s? Can he do murder? He knows it is murder. The worst kind, matricide, as if he were a sentient foetus in an early Ray Bradbury horror story, determined to turn the tables and abort the animal that has given it life. Perhaps it is his fault anyway. He is the only child to have been nurtured inside her, a change-ofAife baby. His brother was adopted when another smiling doctor told her she would never have any children of her own. And of course, the cancer now in her began in the womb like a second child, his own darker twin. His life and her death began in the same place: Should he not do what the other is doing already, so slowly and clumsily?

He has been giving her aspirin on the sly for the pain she imagines she has. She has them in a Sucrets box in her hospital-table drawer, along with her get-well cards and her reading glasses that no longer work. They have taken away her dentures because they are afraid she might pull them down her throat and choke on them, so now she simply sucks the aspirin until her tongue is slightly white.

Surely he could give her the pills; three or four would be enough. Fourteen hundred grains of aspirin and four hundred grains of Darvon administered to a woman whose body weight has dropped 33 per cent over five months.

No one knows he has the pills, not Kevin, not his wife. He thinks that maybe they’ve put someone else in Room 312’s other bed and he won’t have to worry about it. He can cop out safely. He wonders if that wouldn’t be best, really. If there is another woman in the room, his options will be gone and he can regard the fact as a nod from Providence. He thinks

— You’re looking better tonight.

— Sure. How do you feel?

— Oh, not so good. Not so good tonight.

— Let’s see you move your right hand.

She raises if off the counterpane. It floats splay-fingered in front of her eyes for a moment, then drops. Thump. He smiles and she smiles back. He asks her,

— Did you see the doctor today?

— Yes, he came in. He’s good to come every day. Will you give me a little water, John?

He gives her some water from the flexible straw.

— You’re good to come as often as you do, John. You’re a good son.

She’s crying again. The other bed is empty, accusingly so. Every now and then one of the blue and white pinstriped bathrobes sails by them up the hall. The door stands open halfway. He takes the water gently away from her, thinking idiotically: Is this glass half empty or half full?

— How’s your left hand?

She raises it. It has always been her smart hand, and perhaps that is why it has recovered as well as it has from the devastating effects of the ‘cortotomy’. She clenches it. Flexes it. Snaps the fingers weakly. Then it falls back to the counterpane. Thump. She complains,

— But there’s no feeling in it.

— Let me see something.

He goes to the wardrobe, opens it, and reaches behind the coat she came to the hospital in to get at her purse. She keeps it in here because she is paranoid about robbers; she has heard that some of the orderlies are rip-off artists who will lift anything they can get their hands on. She has heard from one of her room-mates who has since gone home that a woman in the new wing lost five hundred dollars which she kept in her shoe. His mother is paranoid about a great many things lately, and has once told him a man sometimes hides under her bed in the late-at-night. Part of it is the combination of drugs they are trying on her. They make the bennies he occasionally dropped in college look like Excedrin. You can have your pick from the locked drug cabinet at the end of the corridor just past the nurses’ station: ups and downs, highs and bummers. Death, maybe, merciful death like a sweet black blanket. The wonders of modern science.

He takes the purse back to her bed and opens it.

— Can you take something out of here?

He says persuasively:

The left hand rises from the counterpane like a crippled helicopter. It cruises. Dives. Comes out of the purse with a single wrinkled Kleenex. He applauds:

But she turns her face away.

— Last year I was able to pull two full dish trucks with these hands.

If there’s to be a time, it’s now. It is very hot in the room but the sweat on his forehead is cold. He thinks: If she doesn’t ask for aspirin, I won’t. Not tonight. And he knows if it isn’t tonight it’s never. Okay.

Her eyes flick to the half-open door slyly.

— Can you sneak me a couple of my pills, Johnny? It is how she always asks. She is not supposed to have any pills outside of her regular medication because she has lost so much body weight and she has built up what his druggie friends of his college days would have called ‘a heavy thing’. The body’s immunity stretches to within a fingernail’s breadth of lethal dosage. One more pill and you’re over the edge. They say it is what happened to Marilyn Monroe.

— I brought some pills from home.

— They’re good for pain.

He holds the box out to her. She can only read very close. She frowns over the large print and then says,

— I had some of that Darvon stuff before. It didn’t help me.

— This is stronger.

Her eyes rise from the box to his own. Idly she says,

He can only smile foolishly. He cannot speak. It is like the first time he got laid, it happened in the back of some friend’s car and when he came home his mother asked him if he had a good time and he could only smile this same foolish smile.

— Can I chew them?

— I don’t know. You could try one.

— All right. Don’t let them see.

He opens the box and prises the plastic lid off the bottle. He pulls the cotton out of the neck. Could she do all that with the crippled helicopter of her left hand? Would they believe it? He doesn’t know. Maybe they don’t either. Maybe they wouldn’t even care.

He shakes six of the pills into his hand. He watches her watching him. It is many too many, even she must know that. If she says nothing about it, he will put them all back and offer her a single Arthritis Pain Formula.

A nurse glides by outside and his hand twitches, clicking the grey capsules together, but the nurse doesn’t look in to see how the ‘cortotomy kid’ is doing.

His mother doesn’t say anything, only looks at the pills like they were perfectly ordinary pills (if there is such a thing). But on the other hand, she has never liked ceremony; she would not crack a bottle of champagne on her own boat.

he says in a perfectly natural voice, and pops the first one into her mouth.

She gums it reflectively until the gelatine dissolves, and then she winces.

— Taste bad? I won’t.

He gives her another. And another. She chews them with that same reflective look. He gives her a fourth. She smiles at him and he sees with horror that her tongue is yellow. Maybe if he hits her in the belly she will bring them up. But he can’t. He could never hit his mother.

— Will you see if my legs are together?

— Just take these first.

He gives her a fifth. And a sixth. Then he sees if her legs are together. They are. She says,

— I think I’ll sleep a little now.

— All right. I’m going to get a drink.

— You’ve always been a good son, Johnny.

He puts the bottle in the box and tucks the box into her purse, leaving the plastic top on the sheet beside her. He leaves the open purse beside her and thinks: She asked for her purse. I brought it to her and opened it just before I left. She said she could get what she wanted out of it. She said she’d get the nurse to put it back in the wardrobe.

He goes out and gets his drink. There is a mirror over the fountain, and he runs out his tongue and looks at it.

When he goes back into the room, she is sleeping with her hands pressed together. The veins in them are big, rambling. He gives her a kiss and her eyes roll behind their lids, but do not open.

He feels no different, either good or bad.

He starts out of the room and thinks of something else. He goes back to her side, takes the bottle out of the box, and rubs it all over his shirt. Then he presses the limp fingertips of her sleeping left hand on the bottle. Then he puts it back and goes out of the room quickly, without looking back.

He goes home and waits for the phone to ring and wishes he had given

‘The Woman King’ To Conquer Toronto With World Premiere

Anthony D’Alessandro

Editorial Director/Box Office Editor

More Stories By Anthony

Director Gina Prince-Bythewood’s epic, starring and produced by Oscar winner Viola Davis, opens theatrically September 16 in U.S. and Canada.

The Woman King tells the story of the Agojie, the all-female unit of warriors who protected the African Kingdom of Dahomey in the 1800s with skills and a fierceness unlike anything the world has ever seen. Inspired by true events, Davis plays General Nanisca as she trains the next generation of recruits and readies them for battle against an enemy determined to destroy their way of life. Some things are worth fighting for.

Thuso Mbedu, Lashana Lynch, Sheila Atim, Hero Fiennes Tiffin and John Boyega also star in the pic from TriStar Pictures and eOne.

Bythewood directed The Woman King from a story by Maria Bello and Dana Stevens and the screenplay by Stevens. In addition to Davis and Julius Tennon, The Woman King is produced by Oscar-winning Crash producer Cathy Schulman. Bello and Peter McAleese serve as EPs. Sony first showed off the trailer to The Woman King at CinemaCon.

TIFF has yet to unveil its full festival lineup for the 47th edition, which runs September 8-18. The Woman King is the fifth world premiere to be announced for Toronto after Netflix’s Rian Johnson sequel Glass Onion: A Knives Out Story, Clement Virgo’s Brother, the Paramount Players/Paramount+ movie On the Come Up from Emmy nominee Sanaa Lathan and Universal’s Billy Eichner gay romantic comedy Bros.

eOne Boarding Tri-Star Pictures’ ‘The Woman King’ As Co-Financier

Anthony D’Alessandro

Editorial Director/Box Office Editor

More Stories By Anthony

EXCLUSIVE: Entertainment One (eOne) will be co-financing Tri-Star Pictures’ historical epic The Woman King which is inspired by true events which took place in The Kingdom of Dahomey, one of the most powerful states of Africa in the 18th and 19th centuries.

eOne is handling distribution in the United Kingdom and Canada while TriStar Pictures will release the movie in all other territories.

Oscar winner Viola Davis stars in the Gina Prince-Bythewood directed feature opposite John Boyega, International Emmy Award nominated South African actress Thuso Mbedu, Lashana Lynch, Sheila Atim, Adrienne Warren, Jayme Lawson and Hero Fiennes-Tiffin.

The Woman King follows Nanisca, General of the all-female military unit, and Nawi, an ambitious recruit, who together fought enemies who violated their honor, enslaved their people, and threatened to destroy everything they’ve lived for.

Pic is based on an original screenplay by Dana Stevens with current draft by Stevens and Prince-Bythewood. Oscar winning producer Cathy Schulman is producing though her Welle Entertainment. Schulman is currently the EP and show runner of Showtime’s upcoming series The First Lady, which also stars Davis. Davis and Julius Tennon of JuVee Productions and Maria Bello of Jack Blue Productions are also producing.

eOne currently has the feature Broadway musical Come From Away streaming on AppleTV+. The film studios which develops, produces, finances and distributes is part of Hasbro.

She Is the King

Edit Locked

When a woman reigns, or otherwise holds some position of power or importance, she may do so with a masculine title and all of the authority that goes with it, instead of using the title’s feminine equivalent. The most common version of this takes the trope name literally (a female monarch titled as «King» instead of «Queen»), but there are many other gender-specific titles that can be used instead, one of the more common ones being «Queen-Regnant».

This might be because:

This trope is frequently employed as a means of Gender Misdirection.

Gender Inversions (i.e. He Is The Queen) are far less common, but they do happen. It could be because the society is a matriarchy, the title refers to the king’s spouse, or for some other reason. Note that a female character using a gender-neutral title is not this trope because that’s what gender-neutral titles are for. Somewhat surprisingly, this trope only very rarely involves a transgender monarch.

See also Matriarchy. For other unexpected titles of rulership, see Princesses Rule and Just the First Citizen.

‘The Woman King’: Jayme Lawson, Hero Fiennes Tiffin & Masali Baduza Join TriStar Viola Davis Historical Epic

Anthony D’Alessandro

Editorial Director/Box Office Editor

More Stories By Anthony

EXCLUSIVE: Jayme Lawson, Hero Fiennes Tiffin and Masali Baduza are joining TriStar’s Gina Prince-Bythewood directed historical African epic The Woman King which stars Oscar winner Viola Davis.

“We are so lucky to catch these three rising phenoms who are bringing their incredible passion and talent to this beautiful ensemble,” said Prince-Bythewood.

The pic is based on true events that took place in The Kingdom of Dahomey, one of the most powerful states of Africa in the 18th and 19th centuries. The story follows Nanisca (Davis), General of the all-female military unit, and Nawi (International Emmy nominated Thuso Mbedu), an ambitious recruit, who together fought enemies who violated their honor, enslaved their people, and threatened to destroy everything they’ve lived for. Lawson will play the ambitious and cunning head wife to Dahomey’s ruler, King Ghezo, played by John Boyega. As the warrior cast is being rounded out, Adrienne Warren and Sheila Atim will play warriors in Nanisca’s elite unit.

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Dana Stevens wrote the original screenplay off her draft with Prince-Bythewood. Pic is being produced by Oscar winner Cathy Schulman though her Welle Entertainment. Schulman is currently the EP and show runner of Showtime’s upcoming series The First Lady, which also stars Davis and Lawson as Michelle Obama.

Davis and Julius Tennon of JuVee Productions and Maria Bello of Jack Blue Productions are also producing.

Lawson made her feature film debut in Farewell Amor last year and she’ll next appear in Matt Reeves’ The Batman as Bella Real opposite Robert Pattinson.

Fiennes Tiffin broke out in the box office hit After trilogy, based on the Anna Todd novels. His other film credits include The Silencing, starring Nikolaj Coster-Waldau and Annabelle Wallis and Harry Potter and the Half Blood Prince. He will next be seen in First Love, opposite Diane Kruger and Jeffrey Donovan.

South African actress Baduza most recently starred in the BBC’s critically acclaimed dystopian drama Noughts + Crosses, based on Malorie Blackman’s best-selling YA novels. She also starred in South African crime thriller Trackers, which was M-Net’s top performing show for 2019.

Lawson is repped by UTA and Gang Tyre. Fiennes Tiffin is repped by ICM Partners, Vybe Trybe, The Artists Partnership in the UK, and Ziffren Brittenham. Baduza is repped by ICM Partners, The Artists Partnership and Artistes Personal Management.

The woman king

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