You may or may not consider it a telling indication of what stage we’re at culturally that the first victims in the shiny new Halloween reboot are a pair of true crime podcasters. Before meeting their end at the hands of slasher icon Michael Myers, the film pokes subtle fun at their desire to wring narrative value and meaning out of a slew of senseless spree murders (“I’m an investigative journalist,” one of them says self-assuredly, hours before getting their head kicked in by a serial killer.) This winking satire reflects a growing malaise among audiences of the phenomenally popular true crime revival: does any of this really have a point beyond lurid entertainment? Does it really matter, in the way the creators tell us it does?
Part of that feeling comes down to oversaturation. Since the new wave of true crime kicked into gear with podcasts
Twenty years later, Kimber Biggs still vividly recalls what she encountered on her Mesa, Arizona, street the day her older sister, 11-year-old Mikelle Biggs, vanished.
Kimber, 9 years old at the time, and Mikelle were playing outside just a few houses away from their own home in the twilight hour of Jan. 2, 1999, as the streetlamps began to flicker on around 6 p.m. Mikelle was riding her sister’s pink-and-white bike and carrying quarters given to her by their mother to meet the ice cream truck Mikelle heard approaching in the distance.
Patricia Arquette is one of America’s great actresses, but she has spent her career burrowing under the skin of characters in a way that keeps her just below the radar. In an era when women were often relegated to girlfriend, wife, and mom slots, Arquette always found startling ways to make her roles feel raw and real. Think of the sweet prostitute-turned-outlaw in 1993’s Quentin Tarantino-scripted True Romance, the luminous new mom of David O. Russell’s Flirting with Disaster in 1996, the femme fatale doppelgänger in David Lynch’s Lost Highway in 1997. But Arquette didn’t get nominated for an Oscar until 2015, when she won a supporting-actress award for Boyhood. It was a movie in which we watched her mature over the film’s 12-year production—something quite remarkable in an industry that still discourages actresses from looking their age.
Her latest project, Showtime’s limited series Escape at Dannemora
Four actors. One room. An interrogation based word-for-word on real transcripts. Story Films co-founder Dave Nath tells us how they brought a 20-year-old case to life for Channel 4.
Tom Hardy carries the entire movie Locke on his own for 85 minutes sat in a car. It was bold, evocative and original – an approach to film-making that I really admired. When Channel 4 gave me an opportunity to write and direct a low-budget drama two years ago, the result was The Watchman, a thriller set in a single location, a CCTV control room, with one actor: This is England’s Stephen Graham.
Both films were like plays – one for cinema, one for TV. This concentrated, singular and claustrophobic form of story telling is the antithesis of contemporary mainstream TV drama with its lavish sets, multiple locations and sprawling casts, but in a very
NEW YORK, NY – November 13, 2018 – Oxygen Media, the destination for high-quality crime programming, gifts you with season three of “Homicide for the Holidays” premiering Sunday, December 9 at 8pm ET/PT and shifting to a new timeslot at 7pm ET/PT starting Sunday, December 16. The limited series delves into three horrific cases of holidays turned upside down.
The holiday season is usually thought to be the most wonderful time of the year, where many of us are surrounded by loved ones. However, as joyous as the season may be, it’s not exempt from the chilling crimes committed by the ones closest to you. This season of “Homicide for the Holidays” brings you cases of a young mother slain just before Christmas to a New Year’s that shook one suburban town, these gut-wrenching stories unwraps the horrors that some families face during the season of cheer.
OXYGEN’S “HOMICIDE FOR THE HOLIDAYS”
One of Hollywood’s most beloved actors, Joe Manganiello, has a new project unlike any he has done before called ‘The Angel Of Vine’. Created by Ryan Martz and Oliver Vaquer, ‘The Angel Of Vine’ is a 10-episode scripted true crime podcast about a journalist who uncovers the audio tapes of a 1950s private eye who cracked the greatest unsolved mystery in Hollywood.
MEAWW spoke to Manganiello, who was drawn to the project because of the fascinating way that writer and co-creator Vaquer told the story, along with his fascination of detective stories and the noir genre.
“The writing was absolutely top notch. It was a page turner that kept me intrigued all the way. I also loved the theatrical convention of the found tapes. I thought that was a brilliant way into the story. Also, I’m a fan of detective stories and the noir genre and especially ones in which they
True crime is all the rage right now in the world of entertainment. Whether it’s TV series, movies, podcasts, or books, people just can’t seem to get enough of hearing about actual crimes in their pop culture. The abundance of the genre means that almost every crime drama may sound, on some level, like it’s based in reality. Take for instance the new film Widows. It’s about a group of widows who continue their deceased criminal husbands’ crime spree in dramatic fashion. But is Widows based on a true story like so many other pieces of entertainment these days, or is it a work of fiction?
Widows is not based on true events, but it’s not an entirely new story, either. The film has got some heavy hitters behind it, as it’s directed by 12 Years a Slave helmer Steve McQueen, who co-wrote the script with Read more at: https://www.bustle.com/p/is-widows-based-on-a-true-story-the-heist-drama-film-tells-a-familiar-tale-13101794