Tips for Online Video Production That People Will Get Talking

With the explosion of web video these days, you might also be thinking to upload your own content. We consider online videos as a different way to be entertained and get news. With the growing bandwidth, easy access to the means of production, and cheap storage, almost anyone can upload his/her video. However, be aware that with the enormous amount of videos that have been uploaded on the internet, there are millions of them which fail to capture their intended audience. In this article, we will tackle a number of tips in order to come up with a well-produced, entertaining and informative video. If you want a video which people will get people talking to, then, this article is for you.

Take the Time to Think about What You Want in Your Video

Before anything else, it might probably best if you outline what will happen in your video. Try to come up with an original concept in order for your content to stand out. This is the good thing about the internet. Here, you can express your imagination and you are your own creative force. Thus, sit down and come up with compelling characters as well as interesting situations for your video.

Recognizing the Medium of Your Video

As you write and prepare for your video production, be aware that the target length is five minutes or less. With that time period, you have to establish your beginning, middle and end of your video. Try to make your video as engaging as possible. Keep in mind as well that most people watch web videos alone and they often share this through social media. Thus, know the habits change between lone and group audiences.

Considering the Production Values

Meanwhile, there are a few basic things that should be considered when producing a web video. These might include simple things like getting the proper lighting and ensuring that all the dialogue can be heard. It is also important to make sure that the room tone matches. That means that everything should sound basically the same when you're cutting from one shot to another within one setting. If you already have a great script and good acting talent, you have to think of the decent production values as well. These things will set your video apart from thousands of your competitors.

So, those are just some of the simple tips that can help your original video off the ground. Hopefully, it will go out to the masses as well. On the other hand, you can also hire the services of a particular video production company to help your idea becomes a reality. Providing articles, reviews and writings on movies online.

The Rise To Fame of Classic Zombie Movies

When it comes to classic zombie movies, everyone has their own favorites, and most can still remember the first time they sat in front of the television, watching a black and white portrayal of the undead slowly, but determinedly, chasing down their bumbling prey. Classic zombie movies are still a favorite amongst diehard fans, because they lend an element of gritty morbidity that pop culture based movies seem to lack these days; while this shouldn't take away from the latest releases within this genre, it definitely adds to the authority of the films that preceded them.

The reason why classic zombie movies seem to come with the tag line this is what actual zombies are supposed to look like, is because the archetype for these creatures stemmed from the Voodoo religion, which is, in essence, Haitian. When William S. Seabrook returned from his voyage to Haiti and published his travelogue, The magic island, westerners found themselves enthralled with the concept of a creature that rises from the grave due to the powers of a sorcerer called a Brokor. This fascination led to some of the best classic films on the subject, and all within a matter of a few decades.

Bela Lugosi's 'White Zombie' is perhaps one of the most famous classic films on this subject. It follows the story of a prosperous businessman by the name of Murder Legendre, based in Haiti, who has the power to transform men into zombies. When a man falls in love with a woman who is to marry someone else, he approaches the voodoo master for assistance, who then turns his beloved into a zombie. The movie itself is said to closely follow the writings of Seabrook, even going as far as mentioning the potion that was supposed to turn corpses into the undead slaves of the voodoo priest.

George Romero's 'The Night of the Living Dead' was another classic which altered the face of this genre, and remakes of this film continue to be released up until today. The film was released in 1968 and its reception was marked by shock and outrage, although when this subsided, it quickly became one of the penultimate favorite films on the subject. One of the reasons for its initial negative reception was the fact that it was gory, contained nudity, and the protagonist of the film was ultimately killed in the end. Basically, this film was unlike any other that had been released in the past, and it remains one of the most popular films based on the undead to date.

'The Night of the Living Dead' did not only alter the horror genre; it also added to the lore and myth surrounding these supernatural creatures. In the past, zombies were the creation of dark voodoo priests, but in this feature, they could transfer their supernatural abilities to others through a bite. The film also references methods on how to kill these creatures - shoot them through the head- which has become the first method of defense against the undead in countless films and games to date.

While classic zombie movies might have changed slightly during the first few decades when they began making their debuts on big screens all over the world, one thing remains certain; they inspired a fascination with these creatures that continues to thrive today. Providing articles, reviews and writings on movies online.

Mad Men Commentary: Episode 511, The Other Woman

Joan and Peggy. These two have been the subject of much contrasting over five seasons of Mad Men, and this week's episode, titled The Other Woman, casts their differences in the sharpest relief yet.

That title - The Other Woman - refers to a mistress, which is how Don and his creative team think of Jaguar. As he explains it to Megan, "The Jaguar is beautiful, but unreliable. It comes with a toolkit the size of a typewriter. You basically have to have another car to go places. What we're saying is it's your gorgeous mistress." Megan is not impressed. "So, a wife is like a Buick in the garage?" "We're trying to make a weakness into a strength. We're selling to men," Don explains. "No, I get it. Doesn't being a mistress make the car immoral?" Megan asks. "The word 'mistress' won't be in the ad," Don says. To Don, this is simply a metaphor, but for Megan, it's a reminder of Don's past, and it stirs her insecurities.

The episode gives us other mistresses, second-place women who are looking to make it in a man's world and are thus making the weakness of femininity into a strength. We're talking about Joan and Peggy and the wildly diverging paths that each takes to a better position and what they're wiling to trade to get there. And though each is able to leverage herself to a new plateau, in the end, one will feel like a trap, while the other, though terrifyingly unknown, will feel like flying.

And in the middle of all of this is Don Draper, whose great victory will be tinged with bitterness and loss.

The episode opens with Don, Stan, Ginsberg, and some freelancers huddled up in the conference room, struggling to come up with a big idea for the Jaguar campaign. They've decorated one wall of the room with various photos and icons, designed to inspire. But it's not working.

Peggy catches Don in hallway, and asks him to approve some copy for Secor Laxatives, but he's in a rotten mood and brushes her off, telling her she's in charge of everything other than Jaguar and to make a decision. It's a great vote of confidence, but in life it's not so much the message, but how it's delivered that counts.

As this exchange is wrapping, Joan shows up with a fancy lunch - lobster - that is wheeled into the conference room courtesy of Roger Sterling. The men applaud as the covers are removed from the trays. Peggy watches this from the other side of the glass wall that separates her from the big time action.

While Don and the creatives tackle the look and feel of the campaign, Pete and Ken work on the politics of the campaign, securing it against some formidable competition. This includes wining and dining guys like Herb Rennet (Gary Basaraba), the president of the Jaguar dealer's association. Herb plays his cards close to the chest, until the end of the meal, when Pete assures him that SCDP will do whatever it takes to make him happy. Seeing his opportunity, Herb tells them that there is one thing that will certainly help them win his vote - a night with Joan Harris. A night in bed with Joan Harris. In a show filled with slimy guys and shady deals, this is a new depth. Luckily, Ken Cosgrove is at the table, but just as he's about to inform Herb that Joan is married, Pete cuts him off.

Herb excuses himself for a moment, and while he's away, Ken asks Pete why he didn't tell Herb the truth about Joan, rather than lead him on. Pete says that Herb himself is married, knows that Joan is married, and doesn't care about either. Ken is disgusted at this. "Well, we wanted to be in the car business," he says, lighting a cigarette.

Don arrives home from work to learn that Megan has a big audition the next day. She's nervous and needing support, but she shifts the attention to Don, asking him what he planned on doing. "I was just going to watch Carson and cry myself to sleep," he says, giving her a hangdog look. She tells him not to worry, that he'll think of something. He says that maybe she'll think of something, inviting her to help. She goes along, and asks for the strategy. That's when he tells her about the Jaguar being like a beautiful, high-maintenance mistress.

These two have been tiptoeing through a minefield these last few episodes, each always on the verge of saying or doing the wrong thing to set off an argument. This time it's Don who gets under Megan's skin, but rather than fight, she simply retreats to the living room, leaving him with Johnny Carson and his drink.

The next morning, Pete shows up early and corners Joan in her office. "I got bad news last night," he tells her. "And I hoped you'd help me deliver it." Like it was her responsibility.

Joan, being the gossip she is, is all ears, and Pete takes his time building up to the ask. "I don't know what to do," he says. "It turns out he wanted something we're not prepared to give. Something very unorthodox." "What does he want?" Joan asks. "We're going to lose Jaguar unless an arrangement is made between you and him," Pete says. Joan is shocked, but Pete piles insult on top of insult. "If you can think of some way to break this to the company, I'd appreciate it."

This launches Joan on the offensive, and she reminds Pete of her marital status and what an asshole he is. He simply throws up his hands, saying it's Herb bringing this up and not him - the don't-shoot-the-messenger defense.

The scene is like a boxing match, and Pete counters Joan's moral outrage by being the amoral pragmatist. He brings up the idea that we all make mistakes in life - mistakes that don't get us anything. They're free. Well, this is a mistake that could help her tremendously. She could get paid from this mistake.

"You're talking prostitution," Joan says. "I'm talking about business at a very high level," Pete counters, sounding like the devil himself.

Pete goes for his knockout punch - the offer of power. "Do you think Cleopatra was a prositute?" he asks. "She was a queen," he continues. "What would it take to make you a queen?" "I don't think you could afford it," Joan says.

Round 1 - Joan Harris.

Next, we find Peggy and Ken in Harry's office. They're about to get on a conference call with Chevalier Blanc, who wants to pull their Beatles-inspired campaign. Harry asks if Peggy will pose as Ginsberg's assistant (Ginsberg can't be pulled away from Jaguar), but Peggy absolutely refuses, making Harry introduce her as Ginsberg's supervisor, which he does.

When they get on the call, Harry and Ken start off talking, but soon the hot potato is tossed in Peggy's lap, and she improvises a compelling new campaign, set in France with a Lady Godiva theme that the buyer from Chevalier Blanc loves.

Score one for Peggy - she maintains her dignity and saves the account in one call.

Pete gathers the partners together to tell them the news about the dinner with Herb Rennet and his demand. At first blush, all the men are shocked by this news and make a show of being outraged, but after Pete does the math for them, their moral outrage elasticizes, allowing for the proper rationalizations to be made that will allow them to sleep at night.

Bert simply gives way. Roger says he'll go along, but he won't pay for it. Lane makes a weak stand, telling Pete he has some nerve. "that's right," Pete says. "We've gone too far to walk away...over what?" It's a chilling remark, but Lane folds. It comes down to Don, who is no stranger to misogyny. He's against the proposal, but for mixed reasons. He's disgusted by the blatant filth and arrogance of the demand, but he also has his pride mixed up in his reasons. He thinks they can win despite Herb, based on the strength of his and his team's ideas. He wants to win the business fair and square or not at all. But Pete won't back down. Don states his position, and leaves to return to his work.

With Don gone, Pete does the math for the remaining partners, reminding them that they don't need Don's blessing to do this. "So, we're 75% of this company. There's no need to create a conspiracy by having a vote, is there?" Like Pontius Pilate, they wash their hands of Pete while giving him their blessing to pursue Joan for the deal. One by one, they slink out of the office.

Back in the writer's room, Don tells the guys to abandon the mistress concept. "It's vulgar. We're going back to racing heritage," he informs them, feeling not only the weight of what he's just witnessed, but the sting of Megan's judgment from before - that this is immoral.

So, just when Don is looking like Mr. Sensitive, in walks Harry, Ken, and Peggy, to tell him of the good news about Chevalier Blanc. It's interesting that so much of the time, Don's miscommunications with Peggy and even Pete come when they approach him right after some stress-inducing incident. Such is the case here.

They tell Don that Peggy has saved the day with a brilliant idea. Peggy plays the humble card, but there's no need. Don doesn't really hear a word they say, until Peggy gets snippy with him. He bursts her bubble by reminding her that it's Ginsberg's account, which causes her to fire back with "I guess I'm not in charge of everything else after all," which is a call-back to his earlier sarcasm. This causes him to explode on her, in front of Harry and Ken. "You want to go to France?" he asks, yelling and pulling a wad of money from his pocket. "Here! Go to France!" he says, throwing the money in her face. It's an unconscionable move, and it sends her out of the office, followed closely by Ken and then Harry.

But ain't that the way life is? One minute, you're the hero, and then you turn around and you're the world's biggest asshole.

And the same goes for Peggy. Ken follows her to her office, where she assures him that she's not crying. When he tells her he didn't think that she was, she gets nasty with him, asking "What? Suddenly, we're all interested in each other's lives?" Megan was right about them. They're SO jaded.

Ken ignores the insult and tries to soften the blow by telling her that Jaguar is slipping away, and that Don is feeling the pinch. Peggy says she doesn't care. Ken, who's turned into one of the only decent men on the show, tells her he'll get her to France, and if he doesn't then they'll leave together. She fixes him with a condescending look. "You and your stupid pact," she says. "Save the fiction for your stories." Ken says nothing. He just turns and leaves her there. Alone.

Lane may have given up in front of the partners, but he decides to pay Joan a visit, to give her an idea. When he brings up the demand, she is offended by the intrusion, misinterpreting his motives. Of course, his motives are as much self-serving as they are altruistic, but he does show her a way to become a queen. He points out that a payoff will not do much for her or her son's future, but if she were to push for a partnership and 5% of the company, then she'd be looking out for their future for a very long time.

There's a moment of great irony in the scene. When Joan still thinks that Lane is in it only for the company, she points out that she makes around $13,000 a year. "I guess you wouldn't even be tempted," she tells him, not realizing, of course, that he's been tempted and seduced by $8,000.

That night, as Don and his team pull a late-night writing session, they are visited by Megan and her friend Julia, the redhead whom Megan was helping audition for Dark Shadows a couple of episodes ago.

As Megan takes Don back to his office, for a little pre-audition hanky-panky to boost her confidence, Julia entertains the writers by climbing on the conference room table and crawling across it on all fours, growling and clawing at the men like a jaguar. I couldn't help but feel that, with her red hair, and the way she was shot from behind, with her butt hanging out of her panties, she was meant to be a stand-in for Joan, that it was a commentary on her role in this ecosystem - the sex kitten.

At home, Pete reads to his daughter before retreating to his hi-fi system, where he listens to classical music under a pair of headphones. Trudy comes to him, once their daughter is in bed, and he starts griping about how he was in a good mood when he left work, but the long trip home exhausts him. He informs her that once the Jaguar account is landed, he'll have to get an apartment in the city, to which she says absolutely not.

"It's an epic poem to get home, and you're dressed for bed at dinner," he complains. She tells him that his love affair with Manhattan has to end. "How can you stand living out in this cemetery?" he asks her. "There's not any good night noises anywhere." She ends the argument by telling him that she wants to raise her children in the fresh air.

It's funny how at work, he can get people to do the most immoral acts, but at home, he wields none of that influence.

Another fruitless domestic argument takes place at the Draper residence when Megan tells Don that she's gotten a call back for Little Murders, the play she needed the confidence for. At first, Don is happy, but when he learns that Megan will be traveling to Boston for out of town tryouts for a few months, he tells her to forget it. This lights the fuse to a big fight that ends with her telling Don that she's doing it anyway and storming off.

The next morning, Joan meets with Pete to discuss the arrangement. She wears a stunning brown dress with a collar done in a print - tiger...or jaguar - that provides a call-back to Megan's friend Julia.

Joan is all business with Pete. She gives him her terms, exactly as Lane advised, and when he starts to protest, she cuts him off. After a beat, he agrees.

As she gets up to leave, she pauses at the door to ask which one he is. "He's not bad," Pete assures her. "He's doing this," she says, then leaves.

Later, Ginsberg interrupts Don in his office to bounce an idea off him. "I know I'm not a manager," Ginsberg says. "But it's hard to get things done with you in another room." "Well, I obviously have the opposite feeling," Don says. "Permission to speak freely," Ginsberg says. "What?" Don is frustrated by him, but it's a funny scene that builds to a breakthrough.

Ginsberg can't quit thinking about the mistress angle, and he drops a line on Don. "Jaguar, at last, something beautiful you can truly own." Don takes a beat, closes his eyes, and sighs a sigh of relief, signifying that at last, the words have been found on which the campaign will be built. Don's relief is palpable.

At about the same time, Peggy is having lunch with Freddie Rumsen, always a welcome sight. She vents to one who knows about the peculiarities of working for Don Draper. "I can never tell, Ballerina, if you're ambitious or if you like to complain," he tells her. She wonders why she can't do both.

During the course of their conversation, Freddie gives her a ton of sound advice, reminding her finally that if Don were sitting where he sits, and he wasn't the subject of the conversation, he'd tell her the same thing - make your move.

This is hard for Peggy to digest, and as she backs away from the idea, he gets her. "You let him know you're not some secretary from Brooklyn who's dying to help out." It's that line that seals the deal because it's so true, at least from Peggy's perspective. He tags the scene by reminding Peggy that she can't get mad if he goes after he job, once it's vacant.

That night, the night before the pitch, Pete pays a visit to Don as he's wrapping up at the office. Pete compliments Don on the tagline. Pete being Pete, he's got a hidden agenda, and we soon see what it is when he tells Don that all impediments have been removed, that it will all boil down to the pitch. What Pete means is that, "Hey Don, I've Don the hard work, now you just go in there and say your magic words."

This doesn't sit well with Don, and as he leaves, he tells Pete that he doesn't want it this way. Pete couldn't be happier.

Don races to Joan's apartment, where her mother answers the door. After a short wait, Joan appears in an emerald green kimono. The mother disappears. "I wanted to tell you that it's not worth it," Don says. "And if we don't get Jaguar, so what? Who wants to be in business with people like that?" Joan seems surprised. "I was told everyone was on board." Don explains that he said no, but that they voted after he left the room. "You're a good one, aren't you?" she says. "So, you understand what I'm saying?" "Yes I do," Joan says. "I'm all right. And thank you."

As Don leaves, Joan sends him off with a tender touch to the cheek. He goes home to prepare, feeling as though he's saved Joan and preserved his chance to win fair and square.

The next day is the pitch, and this is where the show hit another level, putting on par with some of the best episodes in the entire five season run.

Don shows up at the Jaguar showroom, flanked by Roger, Pete, Ken, and the creative team, and as they stride down the middle of the showroom, a competing agency walks past, going in the opposite direction. It's like an old west showdown.

As Don gets into his pitch, he's in old form. But there's a twist.

"You must get tired of hearing what a beautiful thing this car is, but I've met a lot of beautiful women in my life, and despite their protestations, they never tire of hear it," he says. "But when deep beauty is encountered, it arouses deep emotions, because it creates a desire."

At this moment, there's a cut to the night before, as Joan shows up at Herb Rennet's place. It turns out that she did go to him. But why?

Don continues the pitch, and as he does, Joan's night with Herb is intercut, a contrast to the words Don uses, the mistress metaphor.

Finally, as Don closes his pitch, he ends with these words. "Gentlemen, what price would we pay? What behavior would we forgive? If they weren't pretty, if they weren't temperamental, if they weren't beyond our reach, and a little out of our control, would we love them like we do? Jaguar. At last, something truly beautiful you can truly own."

And here, we get the twist. The moment of brilliance. It turns out that Don showed up at Joan's just after she returned from Herb's hotel. It turns out Don was too late.

The pitch was a beautifully constructed scene that reminded me of the end of the Godfather 1, when Michael settles family business as he becomes godfather to his nephew. Don's words, used to sell a car, are perverted by the offer of the man who sits in judgment of him. Don thinks nothing of the metaphor, but Megan was right - the car has become immoral because it was bought with dirty money.

Fade to Don's triumphant return to the office. He's exultant, and as he sees Joan, he asks if she wants to have a drink with the rest of the team. She declines.

At Megan's meeting with the producers and playwright (Jules Pfeiffer), she is asked to turn around in her short dress, so they can look at her. It's a brief moment, but one that is meant, I think, to level the playing field a little. Megan doesn't get off unscathed either.

Next, it's Peggy's turn. She's at a diner, dressed up and waiting. After a moment, Ted Chaough (Kevin Rahm) shows up. He's a nemesis of Don, a hated rival, and he's eager to win Peggy over to his agency - Cutler Gleason and Chaough. Ted praises Peggy to the moon, and asks her what it will take to get her away from Don. Peggy pulls out a SCDP note pad and writes "Copy Chief $18,000/year" on it. Ted takes the pad, crosses out SCDP and $18,000 and writes $19,000 and checks the words "Copy Chief" and pushes the pad back to Peggy. "If this is your last meeting," he offers as his only condition. Peggy starts doing that nervous Peggy thing, where she jerks her head like a bird and says she needs a chocolate shake.

That night, Don returns home, surprised to find Megan there. He learns that she didn't win the role, and tries to console her. She asks about the pitch, and he keeps it low key. She knows better, and says she bets he was great. He says the same about her. "The difference is, I want you to get it," Megan says. Like Betty never would, she calls out his bad behavior, pointing out the reasons why it has to change if their marriage is to work. She reaffirms her love for him, telling him that if it came to acting or him, she's choose him - but she'd hate him for being put in the position to choose. He pulls her to him, telling her that he doesn't want her to fail.

Things seem okay for now.

The next morning, Don shows up for work to learn that Peggy is looking for him. As he calls her to his office, all hell breaks loose, as the word begins to reach SCDP of the agencies who didn't get the Jaguar business. As it becomes clear that Don won the account, Peggy fades into the background.

Roger calls for all the partners to gather in his office, and as they do, Don is shocked to see Joan enter in an emerald green dress - the same color as the emerald in the necklace that was a gift from Herb.

Finally, the official call comes. Roger takes it and thanks Jaguar for making the right choice. As he hangs up the phone, a cheer goes through the room. But Don's not celebrating. After a pause, Pete looks to Joan. "Shall we address the men?" Pete asks.

Don follows the partners to the conference room, where the rest of the company has gathered to celebrate. Peggy is in the hallway. "You wanted to talk to me?" Don asks. "Aren't you busy?" Peggy asks. "I'm not in the mood," Don says, referring to the celebrating. "You really have no idea when things are good, do you?" Again, Peggy catches him at one of those bad moments.

Don gestures that they go to his office, where he asks her to have a drink with him. Peggy goes into her windup. She takes her time, and remains standing as he sits.

"I want you to know that the day you saw something in me, well my whole life changed. And since then, it's been my privilege to not only be at your side, but to be treated like a protégé and for you to be my mentor. And my champion."

Don shifts uncomfortably. "But..." he says.

"But, I think I've reached a point where it's time for me to have a new experience." "Really?" Don says, not taking her seriously. "I'm giving my notice. I've accepted another offer."

Don tries to buy her back with an extravagant raise, but she's made up her mind. Unlike Joan, she won't be bought. And once Don gets it, the look on his face is devastating - the realization that she's really leaving. He asks where she's going, and when she tells him, his reaction is visceral. He tells her to forget about the notice, that she can leave immediately. It's a painful goodbye, and when she offers her hand, rather than shake it, he gives it a long kiss, causing her to tear up. "Don't be a stranger," she says, choking back tears.

She leaves him there, and returns to her office, where she gets her coat, her purse, a thermos, and a mug. The rest she leaves behind. As she leaves SCDP one final time, she passes the celebration that carries on in the conference room, and as she disappears to the lobby, Joan catches a glimpse of her. The look on Joan's face provided the final contrast between these two women. As Peggy leaves on her own terms, a free woman, Joan is left behind, trapped by the bargain she's made. Yes, Joan made partner, but is she truly free?

The episode ends as Peggy takes a final look back. It's a heartbreaking moment. But as the elevator pings and the door opens, Peggy smiles as she steps into the future. And as she does, the opening riff of the Kinks' You Really Got Me sends her on her way. Providing articles, reviews and writings on movies online.

Adaptation Decay

When a franchise reaches a certain level of popularity, it has become a noticeable trend to adapt written works, comic books and even video games into Hollywood Pictures. This practice has become prevalent in a number of recent motion pictures: Harry Potter, Twilight, The Hunger Games, the numerous superhero movies, Transformers and games like Resident Evil and Tekken. While seeing these materials in motion is definitely a big draw of a film adaption, there is often one thing that long time fans of a franchise end up looking at when these movies finally come out: How faithful the movie is to the source material.

For fans, it often does not matter how pretty the effects are or how famous the cast and production crew are, the film is rendered pointless if nothing resembles the original. Books seem to get off the easiest in this department, as at worst content is omitted due to the fact they need to compress a large amount of content into a relatively small time frame by comparison. It is the same with comics, though they are spared because an issue is often a self-contained story and does not reach the length of a novel, though skipping through big events is still a problem present in these...

Other franchises are not as lucky however. Video games seem to lose the most when they are ported from the home consoles to the big screen. Starting with the concept with something as simple as a fighting game it was a wonder how so much was changed in regards to Tekken. The characters were not recognizable beyond their names and most of the fighting styles were not even similar, and this is taking into account the transition from video game design to real life. Resident Evil is another game series that falls short in the film adaption department, whose story has absolutely nothing to do with the games beyond there are zombies in them.

Children's franchises also take a hit here, with Transformers and Avatar the Last Air Bender also receiving a number of negative criticisms in regards to how faithful they were to the original concepts. Admittedly while Micheal Bay's Transformers is its own universe, it does not really make people think of the classics beyond wondering what happened to them and why they are like this in his version. Avatar on the other hand just has a number of problems utilizing the original's content and is once more not recognizable by fans beyond their names.

While it is not true to say all adaptations of different media are bad, they suffer a lot in the transition and makes people question whether it was really worth it in the end. Further there are times when the creator is not even consulted for such and thus the distance between the adaptation and the original becomes even further. There is no real line to be drawn at what can and cannot be done in a movie, which is what makes these creative liberties happen. Providing articles, reviews and writings on movies online.

Wes Anderson's Throwback 'Moonrise Kingdom' Brings Innocent Quirkiness to the Forefront

We've all been there. We've all felt detached at some point, with the need to make some sort of genuine connection. Whether it be as a child, feeling left out of the more popular kids' game of tag or as an on-the-go adult with very little personal time, let alone time to find some smidgeon of companionship with a partner. How about being a child, with multiple siblings, feeling total estrangement from your parents - who are both there, but really aren't? These are all themes explored by indie filmmaker Wes Anderson's latest little film; the quirky, cute and sometimes hilarious Moonrise Kingdom.

Despite being the supreme film buff that I am, it pains me to let you (indie film purists) know that I would be leading you astray, via a bold faced lie, if I sat here and claimed I feel Wes Anderson to be the GOD of all things cinematic. That's simply not true, in my very humble opinion of course. As sarcastic and dry as I can be, nor am I a big fan of his style of humor. However, I completely get it - and on occasion - he'll catch me off guard, having written lines (when delivered properly, by the right actor) that will come off in absolute gut-busting fashion. See Gene Hackman and Danny Glover's kitchen exchange in The Royal Tenenbaums for proof. Moonrise Kingdom is no exception to this rule. Anderson's uncomfortably longer-than-usual takes, awkward scene transitions and character interactions leave you feeling like you're seeing too much past what was originally intended. Like watching a neighbor walk through their front door, only to peek through the side window (not that we've ever done anything that sick...what are we, voyeurs?)...moving on.

In Moonrise Kingdom, we follow a 1965 New England Boy Scout Troup, headed by Scout Master Ward (played brilliantly simple by Edward Norton) as he sets out with his group of gangly boys to find young scout Sam (the talented Jared Gilman) who has apparently given up and gone AWOL, having fallen in love with little, eerily dark Suzy (Kara Hayward), with whom he feels a genuine enough connection to flee. Needless to say, on a small (but larger than you might think) island, two missing 11 year olds can be cause for panic, despite Sam's "commendable" scouting abilities. Ward and his khaki scouts, flanked by Suzy's worn down, together-for-the-kids, attorney parents (Bill Murray and Francis McDormand), Bruce Willis' subtly hilarious Captain Sharp and Tilda Swinton as Social Services, who is disturbingly hellbent on retrieving abandoned children, turn the small town upside down looking for the runaways.

At each and every turn, we find someone trying to make a connection with someone else. Either that, or fleeing any situation where a connection hasn't been or can't quite be made, in utter desperation. There is simply no denying Anderson has a phenomenal eye, using unconventional methods of cutting - as opposed to the 180 degree line when shooting two people in conversation - he'll shoot a medium angle of both subjects perpendicular to the action or cut back and forth, straight on, between the subjects and their interaction. It's completely awkward, but really allows the viewer to access the full emotional range given by the actors, who are all wonderful here. Particularly Gilmore and Hayward, who anchor the film in innocence.

Seeing the sense of urgency, created out of the burning desire to be wanted, reminds us of just how fast kids of today are growing up and becoming "old souls" too far ahead of their time. Let's face it, half of the technological breaches of the world, post 2000 have been accomplished by prepubescents who haven't stopped wetting the bed or watching Mighty Morphin Power Rangers. While most parents past 35 still don't know what "LOL" means. Kingdom also happens to come off as a call to parents to be more parental, taking more of an interest in their children and their need for that support structure, lest they run off and attempt to elope at the ripe age of 12...living in a tent on the rocky surface of some small, coastal New England town.

Despite stretches of some slow pacing (par for the course in Anderson's films), with a couple of pretty hilarious cameos from indie faves Harvey Keitel and Jason Schwartzman, as well as a great musical selection, Moonrise Kingdom is innocent fun with a good moral message for everyone. Having the film based in simpler time, where the very same issues being dealt with by people today don't really differ all that much, speaks to Anderson's brilliance as a filmmaker. The juxtaposition offers just enough contrast to make you really pay attention to the things that need tending to in your own life. While not quite as funny as some of his previous offerings, this is another solid character study, masked in a quirky innocence.

3/5 Taped Glasses. Providing articles, reviews and writings on movies online.

HBO's Game of Thrones, As Good As The Book?

Game of Thrones is the title of the first book in a yet to be finished fantasy series by George R.R. Martin, entitled A Song Of Fire And Ice. Game Of Thrones is also a recently released game on 360 and PS3, a board game, a card game, a tabletop role playing game, a graphic novel, the subject of several iOS and Google Play apps, and an upcoming Facebook game. It's also one of the hottest IP's around right now, thanks largely in part to the wildly popular HBO program currently airing its second season, as well as the DVD/Blu-ray release of the Emmy and Golden Globe winning first season, available now.

I'll be honest. I'm a proponent of the tenet that the book is always better than the movie. Only in the cases where the book was written first, that is. If it says "The novelization based on the film" on the cover, then it's kindling. I'm snooty that way. Even when I know that the book is better, because it's always better, I'm still occasionally drawn to see a film adaptation. Maybe it's because a friend, or naive critic, says something like, "every bit as good as the book." Sometimes it's because I'm such a fan of the source material that I have to see how they butcher it with my own eyes.

Either way, whenever I see a film based on a book I've read, I always have one of three reactions: 1) Pleasantly surprised (i.e. Fight Club, Fear and Loathing in Las Vegas, Shawshank Redemption, The Green Mile). 2) Decidedly indifferent (Trainspotting, Stephen King's It,). 3) Desporrified, a made-up word combining despair and horrified (Breakfast of Champions, everything else Stephen King's let become a movie that's not already listed here). In every case, whether surprised, indifferent or desporrified, I still come away thinking the book is superior to the film in every way. Until Game of Thrones that is. Now my worldview has been shattered.

To HBO's credit, the show remains very true to the source material, differing on only the very slightest of details. Much of the dialogue is straight from the novel, and in retrospect the pacing of the book is almost ideal for screenwriting. This may be due to Martin's previous work as a television writer, most notably for the mid-80's revival of The Twilight Zone. From the outset, the show seems to focus on Eddard Stark, Lord of Winterfell and Warden of the North.

Early on in the series, he's tapped by his old friend Robert Baratheon, who has become King of the Seven Kingdoms, to help him rule as the king's top advisor, the Hand. Over the course of 10 episodes we're introduced to a myriad of nobles, charlatans, rogues and scoundrels, but at the close of season one it is apparent that the only real stars of the show are intrigue, the machinations of the court, and the things people will do while chasing power. Of course while people play their game, the shadow of a larger threat looms. Winter is coming.

It's hard to deny that the show is outstanding, as evidenced by the aforementioned Emmy and Golden Globe wins in Outstanding Drama Series and Best Television Series-Drama respectively. The casting is superb, and includes Peter Dinklage, who also won an Emmy for his portrayal of Tyrion Lannister, and Sean Bean as Eddard 'Ned' Stark. Bean is probably best known for his portrayal of Boromir in Peter Jackson's Lord of the Rings trilogy (Pleasantly surprised on that one, if you're keeping track).

The cinematography is excellent as well, and adds a visual element somewhat lacking in the books. Martin's writing is focused primarily on the characters, and flowery descriptions of the environments are few and far between. Largely shot in Northern Ireland and Malta, the sets and supporting shots are beautiful, and bring to life the keeps and castles in a way that Martin himself doesn't.

Although jokingly described as "The Sopranos in Middle-earth" by series co-creator David Benioff, the description is quite apt. Like Tolkien's trilogy, Game of Thrones would have to be considered "high fantasy" due to the presence of creatures of myth and mystical/magical elements. However these things play more in the background of Martin's books, as well as the show, with Game of Thrones leaning more towards the Middle Ages than Middle-earth. The Sopranos comparison is a little more apt. Like it, and many other HBO shows, Game of Thrones is decidedly adult. Nudity and gratuitous violence abound throughout the series, and are the only real source of complaint voiced by critics of the show.

However, if you're looking for a show that has all the backstabbing and violence of The Sopranos, all of the sex of Californication, and as many people covered in dirt as Deadwood, you should probably come down to Slackers and order the first season of Game of Thrones on Blu-ray or DVD today. Even if you're not looking for a new show to watch, you still need to check this one out. I can hardly believe I'm saying this, but it really is as good as the book. Providing articles, reviews and writings on movies online.

Tips for Online Video Production That People Will Get Talking

With the explosion of web video these days, you might also be thinking to upload your own content. We consider online videos as a different way to be entertained and get news. With the growing bandwidth, easy access to the means of production, and cheap storage, almost anyone can upload his/her video. However, be aware that with the enormous amount of videos that have been uploaded on the internet, there are millions of them which fail to capture their intended audience. In this article, we will tackle a number of tips in order to come up with a well-produced, entertaining and informative video. If you want a video which people will get people talking to, then, this article is for you.

Take the Time to Think about What You Want in Your Video

Before anything else, it might probably best if you outline what will happen in your video. Try to come up with an original concept in order for your content to stand out. This is the good thing about the internet. Here, you can express your imagination and you are your own creative force. Thus, sit down and come up with compelling characters as well as interesting situations for your video.

Recognizing the Medium of Your Video

As you write and prepare for your video production, be aware that the target length is five minutes or less. With that time period, you have to establish your beginning, middle and end of your video. Try to make your video as engaging as possible. Keep in mind as well that most people watch web videos alone and they often share this through social media. Thus, know the habits change between lone and group audiences.

Considering the Production Values

Meanwhile, there are a few basic things that should be considered when producing a web video. These might include simple things like getting the proper lighting and ensuring that all the dialogue can be heard. It is also important to make sure that the room tone matches. That means that everything should sound basically the same when you're cutting from one shot to another within one setting. If you already have a great script and good acting talent, you have to think of the decent production values as well. These things will set your video apart from thousands of your competitors.

So, those are just some of the simple tips that can help your original video off the ground. Hopefully, it will go out to the masses as well. On the other hand, you can also hire the services of a particular video production company to help your idea becomes a reality. Providing articles, reviews and writings on movies online.

Adaptation Decay

When a franchise reaches a certain level of popularity, it has become a noticeable trend to adapt written works, comic books and even video games into Hollywood Pictures. This practice has become prevalent in a number of recent motion pictures: Harry Potter, Twilight, The Hunger Games, the numerous superhero movies, Transformers and games like Resident Evil and Tekken. While seeing these materials in motion is definitely a big draw of a film adaption, there is often one thing that long time fans of a franchise end up looking at when these movies finally come out: How faithful the movie is to the source material.

For fans, it often does not matter how pretty the effects are or how famous the cast and production crew are, the film is rendered pointless if nothing resembles the original. Books seem to get off the easiest in this department, as at worst content is omitted due to the fact they need to compress a large amount of content into a relatively small time frame by comparison. It is the same with comics, though they are spared because an issue is often a self-contained story and does not reach the length of a novel, though skipping through big events is still a problem present in these...

Other franchises are not as lucky however. Video games seem to lose the most when they are ported from the home consoles to the big screen. Starting with the concept with something as simple as a fighting game it was a wonder how so much was changed in regards to Tekken. The characters were not recognizable beyond their names and most of the fighting styles were not even similar, and this is taking into account the transition from video game design to real life. Resident Evil is another game series that falls short in the film adaption department, whose story has absolutely nothing to do with the games beyond there are zombies in them.

Children's franchises also take a hit here, with Transformers and Avatar the Last Air Bender also receiving a number of negative criticisms in regards to how faithful they were to the original concepts. Admittedly while Micheal Bay's Transformers is its own universe, it does not really make people think of the classics beyond wondering what happened to them and why they are like this in his version. Avatar on the other hand just has a number of problems utilizing the original's content and is once more not recognizable by fans beyond their names.

While it is not true to say all adaptations of different media are bad, they suffer a lot in the transition and makes people question whether it was really worth it in the end. Further there are times when the creator is not even consulted for such and thus the distance between the adaptation and the original becomes even further. There is no real line to be drawn at what can and cannot be done in a movie, which is what makes these creative liberties happen. Providing articles, reviews and writings on movies online.

HBO's Game of Thrones, As Good As The Book?

Game of Thrones is the title of the first book in a yet to be finished fantasy series by George R.R. Martin, entitled A Song Of Fire And Ice. Game Of Thrones is also a recently released game on 360 and PS3, a board game, a card game, a tabletop role playing game, a graphic novel, the subject of several iOS and Google Play apps, and an upcoming Facebook game. It's also one of the hottest IP's around right now, thanks largely in part to the wildly popular HBO program currently airing its second season, as well as the DVD/Blu-ray release of the Emmy and Golden Globe winning first season, available now.

I'll be honest. I'm a proponent of the tenet that the book is always better than the movie. Only in the cases where the book was written first, that is. If it says "The novelization based on the film" on the cover, then it's kindling. I'm snooty that way. Even when I know that the book is better, because it's always better, I'm still occasionally drawn to see a film adaptation. Maybe it's because a friend, or naive critic, says something like, "every bit as good as the book." Sometimes it's because I'm such a fan of the source material that I have to see how they butcher it with my own eyes.

Either way, whenever I see a film based on a book I've read, I always have one of three reactions: 1) Pleasantly surprised (i.e. Fight Club, Fear and Loathing in Las Vegas, Shawshank Redemption, The Green Mile). 2) Decidedly indifferent (Trainspotting, Stephen King's It,). 3) Desporrified, a made-up word combining despair and horrified (Breakfast of Champions, everything else Stephen King's let become a movie that's not already listed here). In every case, whether surprised, indifferent or desporrified, I still come away thinking the book is superior to the film in every way. Until Game of Thrones that is. Now my worldview has been shattered.

To HBO's credit, the show remains very true to the source material, differing on only the very slightest of details. Much of the dialogue is straight from the novel, and in retrospect the pacing of the book is almost ideal for screenwriting. This may be due to Martin's previous work as a television writer, most notably for the mid-80's revival of The Twilight Zone. From the outset, the show seems to focus on Eddard Stark, Lord of Winterfell and Warden of the North.

Early on in the series, he's tapped by his old friend Robert Baratheon, who has become King of the Seven Kingdoms, to help him rule as the king's top advisor, the Hand. Over the course of 10 episodes we're introduced to a myriad of nobles, charlatans, rogues and scoundrels, but at the close of season one it is apparent that the only real stars of the show are intrigue, the machinations of the court, and the things people will do while chasing power. Of course while people play their game, the shadow of a larger threat looms. Winter is coming.

It's hard to deny that the show is outstanding, as evidenced by the aforementioned Emmy and Golden Globe wins in Outstanding Drama Series and Best Television Series-Drama respectively. The casting is superb, and includes Peter Dinklage, who also won an Emmy for his portrayal of Tyrion Lannister, and Sean Bean as Eddard 'Ned' Stark. Bean is probably best known for his portrayal of Boromir in Peter Jackson's Lord of the Rings trilogy (Pleasantly surprised on that one, if you're keeping track).

The cinematography is excellent as well, and adds a visual element somewhat lacking in the books. Martin's writing is focused primarily on the characters, and flowery descriptions of the environments are few and far between. Largely shot in Northern Ireland and Malta, the sets and supporting shots are beautiful, and bring to life the keeps and castles in a way that Martin himself doesn't.

Although jokingly described as "The Sopranos in Middle-earth" by series co-creator David Benioff, the description is quite apt. Like Tolkien's trilogy, Game of Thrones would have to be considered "high fantasy" due to the presence of creatures of myth and mystical/magical elements. However these things play more in the background of Martin's books, as well as the show, with Game of Thrones leaning more towards the Middle Ages than Middle-earth. The Sopranos comparison is a little more apt. Like it, and many other HBO shows, Game of Thrones is decidedly adult. Nudity and gratuitous violence abound throughout the series, and are the only real source of complaint voiced by critics of the show.

However, if you're looking for a show that has all the backstabbing and violence of The Sopranos, all of the sex of Californication, and as many people covered in dirt as Deadwood, you should probably come down to Slackers and order the first season of Game of Thrones on Blu-ray or DVD today. Even if you're not looking for a new show to watch, you still need to check this one out. I can hardly believe I'm saying this, but it really is as good as the book. Providing articles, reviews and writings on movies online.

Wes Anderson's Throwback 'Moonrise Kingdom' Brings Innocent Quirkiness to the Forefront

We've all been there. We've all felt detached at some point, with the need to make some sort of genuine connection. Whether it be as a child, feeling left out of the more popular kids' game of tag or as an on-the-go adult with very little personal time, let alone time to find some smidgeon of companionship with a partner. How about being a child, with multiple siblings, feeling total estrangement from your parents - who are both there, but really aren't? These are all themes explored by indie filmmaker Wes Anderson's latest little film; the quirky, cute and sometimes hilarious Moonrise Kingdom.

Despite being the supreme film buff that I am, it pains me to let you (indie film purists) know that I would be leading you astray, via a bold faced lie, if I sat here and claimed I feel Wes Anderson to be the GOD of all things cinematic. That's simply not true, in my very humble opinion of course. As sarcastic and dry as I can be, nor am I a big fan of his style of humor. However, I completely get it - and on occasion - he'll catch me off guard, having written lines (when delivered properly, by the right actor) that will come off in absolute gut-busting fashion. See Gene Hackman and Danny Glover's kitchen exchange in The Royal Tenenbaums for proof. Moonrise Kingdom is no exception to this rule. Anderson's uncomfortably longer-than-usual takes, awkward scene transitions and character interactions leave you feeling like you're seeing too much past what was originally intended. Like watching a neighbor walk through their front door, only to peek through the side window (not that we've ever done anything that sick...what are we, voyeurs?)...moving on.

In Moonrise Kingdom, we follow a 1965 New England Boy Scout Troup, headed by Scout Master Ward (played brilliantly simple by Edward Norton) as he sets out with his group of gangly boys to find young scout Sam (the talented Jared Gilman) who has apparently given up and gone AWOL, having fallen in love with little, eerily dark Suzy (Kara Hayward), with whom he feels a genuine enough connection to flee. Needless to say, on a small (but larger than you might think) island, two missing 11 year olds can be cause for panic, despite Sam's "commendable" scouting abilities. Ward and his khaki scouts, flanked by Suzy's worn down, together-for-the-kids, attorney parents (Bill Murray and Francis McDormand), Bruce Willis' subtly hilarious Captain Sharp and Tilda Swinton as Social Services, who is disturbingly hellbent on retrieving abandoned children, turn the small town upside down looking for the runaways.

At each and every turn, we find someone trying to make a connection with someone else. Either that, or fleeing any situation where a connection hasn't been or can't quite be made, in utter desperation. There is simply no denying Anderson has a phenomenal eye, using unconventional methods of cutting - as opposed to the 180 degree line when shooting two people in conversation - he'll shoot a medium angle of both subjects perpendicular to the action or cut back and forth, straight on, between the subjects and their interaction. It's completely awkward, but really allows the viewer to access the full emotional range given by the actors, who are all wonderful here. Particularly Gilmore and Hayward, who anchor the film in innocence.

Seeing the sense of urgency, created out of the burning desire to be wanted, reminds us of just how fast kids of today are growing up and becoming "old souls" too far ahead of their time. Let's face it, half of the technological breaches of the world, post 2000 have been accomplished by prepubescents who haven't stopped wetting the bed or watching Mighty Morphin Power Rangers. While most parents past 35 still don't know what "LOL" means. Kingdom also happens to come off as a call to parents to be more parental, taking more of an interest in their children and their need for that support structure, lest they run off and attempt to elope at the ripe age of 12...living in a tent on the rocky surface of some small, coastal New England town.

Despite stretches of some slow pacing (par for the course in Anderson's films), with a couple of pretty hilarious cameos from indie faves Harvey Keitel and Jason Schwartzman, as well as a great musical selection, Moonrise Kingdom is innocent fun with a good moral message for everyone. Having the film based in simpler time, where the very same issues being dealt with by people today don't really differ all that much, speaks to Anderson's brilliance as a filmmaker. The juxtaposition offers just enough contrast to make you really pay attention to the things that need tending to in your own life. While not quite as funny as some of his previous offerings, this is another solid character study, masked in a quirky innocence.

3/5 Taped Glasses. Providing articles, reviews and writings on movies online.

Mad Men Commentary: Episode 511, The Other Woman

Joan and Peggy. These two have been the subject of much contrasting over five seasons of Mad Men, and this week's episode, titled The Other Woman, casts their differences in the sharpest relief yet.

That title - The Other Woman - refers to a mistress, which is how Don and his creative team think of Jaguar. As he explains it to Megan, "The Jaguar is beautiful, but unreliable. It comes with a toolkit the size of a typewriter. You basically have to have another car to go places. What we're saying is it's your gorgeous mistress." Megan is not impressed. "So, a wife is like a Buick in the garage?" "We're trying to make a weakness into a strength. We're selling to men," Don explains. "No, I get it. Doesn't being a mistress make the car immoral?" Megan asks. "The word 'mistress' won't be in the ad," Don says. To Don, this is simply a metaphor, but for Megan, it's a reminder of Don's past, and it stirs her insecurities.

The episode gives us other mistresses, second-place women who are looking to make it in a man's world and are thus making the weakness of femininity into a strength. We're talking about Joan and Peggy and the wildly diverging paths that each takes to a better position and what they're wiling to trade to get there. And though each is able to leverage herself to a new plateau, in the end, one will feel like a trap, while the other, though terrifyingly unknown, will feel like flying.

And in the middle of all of this is Don Draper, whose great victory will be tinged with bitterness and loss.

The episode opens with Don, Stan, Ginsberg, and some freelancers huddled up in the conference room, struggling to come up with a big idea for the Jaguar campaign. They've decorated one wall of the room with various photos and icons, designed to inspire. But it's not working.

Peggy catches Don in hallway, and asks him to approve some copy for Secor Laxatives, but he's in a rotten mood and brushes her off, telling her she's in charge of everything other than Jaguar and to make a decision. It's a great vote of confidence, but in life it's not so much the message, but how it's delivered that counts.

As this exchange is wrapping, Joan shows up with a fancy lunch - lobster - that is wheeled into the conference room courtesy of Roger Sterling. The men applaud as the covers are removed from the trays. Peggy watches this from the other side of the glass wall that separates her from the big time action.

While Don and the creatives tackle the look and feel of the campaign, Pete and Ken work on the politics of the campaign, securing it against some formidable competition. This includes wining and dining guys like Herb Rennet (Gary Basaraba), the president of the Jaguar dealer's association. Herb plays his cards close to the chest, until the end of the meal, when Pete assures him that SCDP will do whatever it takes to make him happy. Seeing his opportunity, Herb tells them that there is one thing that will certainly help them win his vote - a night with Joan Harris. A night in bed with Joan Harris. In a show filled with slimy guys and shady deals, this is a new depth. Luckily, Ken Cosgrove is at the table, but just as he's about to inform Herb that Joan is married, Pete cuts him off.

Herb excuses himself for a moment, and while he's away, Ken asks Pete why he didn't tell Herb the truth about Joan, rather than lead him on. Pete says that Herb himself is married, knows that Joan is married, and doesn't care about either. Ken is disgusted at this. "Well, we wanted to be in the car business," he says, lighting a cigarette.

Don arrives home from work to learn that Megan has a big audition the next day. She's nervous and needing support, but she shifts the attention to Don, asking him what he planned on doing. "I was just going to watch Carson and cry myself to sleep," he says, giving her a hangdog look. She tells him not to worry, that he'll think of something. He says that maybe she'll think of something, inviting her to help. She goes along, and asks for the strategy. That's when he tells her about the Jaguar being like a beautiful, high-maintenance mistress.

These two have been tiptoeing through a minefield these last few episodes, each always on the verge of saying or doing the wrong thing to set off an argument. This time it's Don who gets under Megan's skin, but rather than fight, she simply retreats to the living room, leaving him with Johnny Carson and his drink.

The next morning, Pete shows up early and corners Joan in her office. "I got bad news last night," he tells her. "And I hoped you'd help me deliver it." Like it was her responsibility.

Joan, being the gossip she is, is all ears, and Pete takes his time building up to the ask. "I don't know what to do," he says. "It turns out he wanted something we're not prepared to give. Something very unorthodox." "What does he want?" Joan asks. "We're going to lose Jaguar unless an arrangement is made between you and him," Pete says. Joan is shocked, but Pete piles insult on top of insult. "If you can think of some way to break this to the company, I'd appreciate it."

This launches Joan on the offensive, and she reminds Pete of her marital status and what an asshole he is. He simply throws up his hands, saying it's Herb bringing this up and not him - the don't-shoot-the-messenger defense.

The scene is like a boxing match, and Pete counters Joan's moral outrage by being the amoral pragmatist. He brings up the idea that we all make mistakes in life - mistakes that don't get us anything. They're free. Well, this is a mistake that could help her tremendously. She could get paid from this mistake.

"You're talking prostitution," Joan says. "I'm talking about business at a very high level," Pete counters, sounding like the devil himself.

Pete goes for his knockout punch - the offer of power. "Do you think Cleopatra was a prositute?" he asks. "She was a queen," he continues. "What would it take to make you a queen?" "I don't think you could afford it," Joan says.

Round 1 - Joan Harris.

Next, we find Peggy and Ken in Harry's office. They're about to get on a conference call with Chevalier Blanc, who wants to pull their Beatles-inspired campaign. Harry asks if Peggy will pose as Ginsberg's assistant (Ginsberg can't be pulled away from Jaguar), but Peggy absolutely refuses, making Harry introduce her as Ginsberg's supervisor, which he does.

When they get on the call, Harry and Ken start off talking, but soon the hot potato is tossed in Peggy's lap, and she improvises a compelling new campaign, set in France with a Lady Godiva theme that the buyer from Chevalier Blanc loves.

Score one for Peggy - she maintains her dignity and saves the account in one call.

Pete gathers the partners together to tell them the news about the dinner with Herb Rennet and his demand. At first blush, all the men are shocked by this news and make a show of being outraged, but after Pete does the math for them, their moral outrage elasticizes, allowing for the proper rationalizations to be made that will allow them to sleep at night.

Bert simply gives way. Roger says he'll go along, but he won't pay for it. Lane makes a weak stand, telling Pete he has some nerve. "that's right," Pete says. "We've gone too far to walk away...over what?" It's a chilling remark, but Lane folds. It comes down to Don, who is no stranger to misogyny. He's against the proposal, but for mixed reasons. He's disgusted by the blatant filth and arrogance of the demand, but he also has his pride mixed up in his reasons. He thinks they can win despite Herb, based on the strength of his and his team's ideas. He wants to win the business fair and square or not at all. But Pete won't back down. Don states his position, and leaves to return to his work.

With Don gone, Pete does the math for the remaining partners, reminding them that they don't need Don's blessing to do this. "So, we're 75% of this company. There's no need to create a conspiracy by having a vote, is there?" Like Pontius Pilate, they wash their hands of Pete while giving him their blessing to pursue Joan for the deal. One by one, they slink out of the office.

Back in the writer's room, Don tells the guys to abandon the mistress concept. "It's vulgar. We're going back to racing heritage," he informs them, feeling not only the weight of what he's just witnessed, but the sting of Megan's judgment from before - that this is immoral.

So, just when Don is looking like Mr. Sensitive, in walks Harry, Ken, and Peggy, to tell him of the good news about Chevalier Blanc. It's interesting that so much of the time, Don's miscommunications with Peggy and even Pete come when they approach him right after some stress-inducing incident. Such is the case here.

They tell Don that Peggy has saved the day with a brilliant idea. Peggy plays the humble card, but there's no need. Don doesn't really hear a word they say, until Peggy gets snippy with him. He bursts her bubble by reminding her that it's Ginsberg's account, which causes her to fire back with "I guess I'm not in charge of everything else after all," which is a call-back to his earlier sarcasm. This causes him to explode on her, in front of Harry and Ken. "You want to go to France?" he asks, yelling and pulling a wad of money from his pocket. "Here! Go to France!" he says, throwing the money in her face. It's an unconscionable move, and it sends her out of the office, followed closely by Ken and then Harry.

But ain't that the way life is? One minute, you're the hero, and then you turn around and you're the world's biggest asshole.

And the same goes for Peggy. Ken follows her to her office, where she assures him that she's not crying. When he tells her he didn't think that she was, she gets nasty with him, asking "What? Suddenly, we're all interested in each other's lives?" Megan was right about them. They're SO jaded.

Ken ignores the insult and tries to soften the blow by telling her that Jaguar is slipping away, and that Don is feeling the pinch. Peggy says she doesn't care. Ken, who's turned into one of the only decent men on the show, tells her he'll get her to France, and if he doesn't then they'll leave together. She fixes him with a condescending look. "You and your stupid pact," she says. "Save the fiction for your stories." Ken says nothing. He just turns and leaves her there. Alone.

Lane may have given up in front of the partners, but he decides to pay Joan a visit, to give her an idea. When he brings up the demand, she is offended by the intrusion, misinterpreting his motives. Of course, his motives are as much self-serving as they are altruistic, but he does show her a way to become a queen. He points out that a payoff will not do much for her or her son's future, but if she were to push for a partnership and 5% of the company, then she'd be looking out for their future for a very long time.

There's a moment of great irony in the scene. When Joan still thinks that Lane is in it only for the company, she points out that she makes around $13,000 a year. "I guess you wouldn't even be tempted," she tells him, not realizing, of course, that he's been tempted and seduced by $8,000.

That night, as Don and his team pull a late-night writing session, they are visited by Megan and her friend Julia, the redhead whom Megan was helping audition for Dark Shadows a couple of episodes ago.

As Megan takes Don back to his office, for a little pre-audition hanky-panky to boost her confidence, Julia entertains the writers by climbing on the conference room table and crawling across it on all fours, growling and clawing at the men like a jaguar. I couldn't help but feel that, with her red hair, and the way she was shot from behind, with her butt hanging out of her panties, she was meant to be a stand-in for Joan, that it was a commentary on her role in this ecosystem - the sex kitten.

At home, Pete reads to his daughter before retreating to his hi-fi system, where he listens to classical music under a pair of headphones. Trudy comes to him, once their daughter is in bed, and he starts griping about how he was in a good mood when he left work, but the long trip home exhausts him. He informs her that once the Jaguar account is landed, he'll have to get an apartment in the city, to which she says absolutely not.

"It's an epic poem to get home, and you're dressed for bed at dinner," he complains. She tells him that his love affair with Manhattan has to end. "How can you stand living out in this cemetery?" he asks her. "There's not any good night noises anywhere." She ends the argument by telling him that she wants to raise her children in the fresh air.

It's funny how at work, he can get people to do the most immoral acts, but at home, he wields none of that influence.

Another fruitless domestic argument takes place at the Draper residence when Megan tells Don that she's gotten a call back for Little Murders, the play she needed the confidence for. At first, Don is happy, but when he learns that Megan will be traveling to Boston for out of town tryouts for a few months, he tells her to forget it. This lights the fuse to a big fight that ends with her telling Don that she's doing it anyway and storming off.

The next morning, Joan meets with Pete to discuss the arrangement. She wears a stunning brown dress with a collar done in a print - tiger...or jaguar - that provides a call-back to Megan's friend Julia.

Joan is all business with Pete. She gives him her terms, exactly as Lane advised, and when he starts to protest, she cuts him off. After a beat, he agrees.

As she gets up to leave, she pauses at the door to ask which one he is. "He's not bad," Pete assures her. "He's doing this," she says, then leaves.

Later, Ginsberg interrupts Don in his office to bounce an idea off him. "I know I'm not a manager," Ginsberg says. "But it's hard to get things done with you in another room." "Well, I obviously have the opposite feeling," Don says. "Permission to speak freely," Ginsberg says. "What?" Don is frustrated by him, but it's a funny scene that builds to a breakthrough.

Ginsberg can't quit thinking about the mistress angle, and he drops a line on Don. "Jaguar, at last, something beautiful you can truly own." Don takes a beat, closes his eyes, and sighs a sigh of relief, signifying that at last, the words have been found on which the campaign will be built. Don's relief is palpable.

At about the same time, Peggy is having lunch with Freddie Rumsen, always a welcome sight. She vents to one who knows about the peculiarities of working for Don Draper. "I can never tell, Ballerina, if you're ambitious or if you like to complain," he tells her. She wonders why she can't do both.

During the course of their conversation, Freddie gives her a ton of sound advice, reminding her finally that if Don were sitting where he sits, and he wasn't the subject of the conversation, he'd tell her the same thing - make your move.

This is hard for Peggy to digest, and as she backs away from the idea, he gets her. "You let him know you're not some secretary from Brooklyn who's dying to help out." It's that line that seals the deal because it's so true, at least from Peggy's perspective. He tags the scene by reminding Peggy that she can't get mad if he goes after he job, once it's vacant.

That night, the night before the pitch, Pete pays a visit to Don as he's wrapping up at the office. Pete compliments Don on the tagline. Pete being Pete, he's got a hidden agenda, and we soon see what it is when he tells Don that all impediments have been removed, that it will all boil down to the pitch. What Pete means is that, "Hey Don, I've Don the hard work, now you just go in there and say your magic words."

This doesn't sit well with Don, and as he leaves, he tells Pete that he doesn't want it this way. Pete couldn't be happier.

Don races to Joan's apartment, where her mother answers the door. After a short wait, Joan appears in an emerald green kimono. The mother disappears. "I wanted to tell you that it's not worth it," Don says. "And if we don't get Jaguar, so what? Who wants to be in business with people like that?" Joan seems surprised. "I was told everyone was on board." Don explains that he said no, but that they voted after he left the room. "You're a good one, aren't you?" she says. "So, you understand what I'm saying?" "Yes I do," Joan says. "I'm all right. And thank you."

As Don leaves, Joan sends him off with a tender touch to the cheek. He goes home to prepare, feeling as though he's saved Joan and preserved his chance to win fair and square.

The next day is the pitch, and this is where the show hit another level, putting on par with some of the best episodes in the entire five season run.

Don shows up at the Jaguar showroom, flanked by Roger, Pete, Ken, and the creative team, and as they stride down the middle of the showroom, a competing agency walks past, going in the opposite direction. It's like an old west showdown.

As Don gets into his pitch, he's in old form. But there's a twist.

"You must get tired of hearing what a beautiful thing this car is, but I've met a lot of beautiful women in my life, and despite their protestations, they never tire of hear it," he says. "But when deep beauty is encountered, it arouses deep emotions, because it creates a desire."

At this moment, there's a cut to the night before, as Joan shows up at Herb Rennet's place. It turns out that she did go to him. But why?

Don continues the pitch, and as he does, Joan's night with Herb is intercut, a contrast to the words Don uses, the mistress metaphor.

Finally, as Don closes his pitch, he ends with these words. "Gentlemen, what price would we pay? What behavior would we forgive? If they weren't pretty, if they weren't temperamental, if they weren't beyond our reach, and a little out of our control, would we love them like we do? Jaguar. At last, something truly beautiful you can truly own."

And here, we get the twist. The moment of brilliance. It turns out that Don showed up at Joan's just after she returned from Herb's hotel. It turns out Don was too late.

The pitch was a beautifully constructed scene that reminded me of the end of the Godfather 1, when Michael settles family business as he becomes godfather to his nephew. Don's words, used to sell a car, are perverted by the offer of the man who sits in judgment of him. Don thinks nothing of the metaphor, but Megan was right - the car has become immoral because it was bought with dirty money.

Fade to Don's triumphant return to the office. He's exultant, and as he sees Joan, he asks if she wants to have a drink with the rest of the team. She declines.

At Megan's meeting with the producers and playwright (Jules Pfeiffer), she is asked to turn around in her short dress, so they can look at her. It's a brief moment, but one that is meant, I think, to level the playing field a little. Megan doesn't get off unscathed either.

Next, it's Peggy's turn. She's at a diner, dressed up and waiting. After a moment, Ted Chaough (Kevin Rahm) shows up. He's a nemesis of Don, a hated rival, and he's eager to win Peggy over to his agency - Cutler Gleason and Chaough. Ted praises Peggy to the moon, and asks her what it will take to get her away from Don. Peggy pulls out a SCDP note pad and writes "Copy Chief $18,000/year" on it. Ted takes the pad, crosses out SCDP and $18,000 and writes $19,000 and checks the words "Copy Chief" and pushes the pad back to Peggy. "If this is your last meeting," he offers as his only condition. Peggy starts doing that nervous Peggy thing, where she jerks her head like a bird and says she needs a chocolate shake.

That night, Don returns home, surprised to find Megan there. He learns that she didn't win the role, and tries to console her. She asks about the pitch, and he keeps it low key. She knows better, and says she bets he was great. He says the same about her. "The difference is, I want you to get it," Megan says. Like Betty never would, she calls out his bad behavior, pointing out the reasons why it has to change if their marriage is to work. She reaffirms her love for him, telling him that if it came to acting or him, she's choose him - but she'd hate him for being put in the position to choose. He pulls her to him, telling her that he doesn't want her to fail.

Things seem okay for now.

The next morning, Don shows up for work to learn that Peggy is looking for him. As he calls her to his office, all hell breaks loose, as the word begins to reach SCDP of the agencies who didn't get the Jaguar business. As it becomes clear that Don won the account, Peggy fades into the background.

Roger calls for all the partners to gather in his office, and as they do, Don is shocked to see Joan enter in an emerald green dress - the same color as the emerald in the necklace that was a gift from Herb.

Finally, the official call comes. Roger takes it and thanks Jaguar for making the right choice. As he hangs up the phone, a cheer goes through the room. But Don's not celebrating. After a pause, Pete looks to Joan. "Shall we address the men?" Pete asks.

Don follows the partners to the conference room, where the rest of the company has gathered to celebrate. Peggy is in the hallway. "You wanted to talk to me?" Don asks. "Aren't you busy?" Peggy asks. "I'm not in the mood," Don says, referring to the celebrating. "You really have no idea when things are good, do you?" Again, Peggy catches him at one of those bad moments.

Don gestures that they go to his office, where he asks her to have a drink with him. Peggy goes into her windup. She takes her time, and remains standing as he sits.

"I want you to know that the day you saw something in me, well my whole life changed. And since then, it's been my privilege to not only be at your side, but to be treated like a protégé and for you to be my mentor. And my champion."

Don shifts uncomfortably. "But..." he says.

"But, I think I've reached a point where it's time for me to have a new experience." "Really?" Don says, not taking her seriously. "I'm giving my notice. I've accepted another offer."

Don tries to buy her back with an extravagant raise, but she's made up her mind. Unlike Joan, she won't be bought. And once Don gets it, the look on his face is devastating - the realization that she's really leaving. He asks where she's going, and when she tells him, his reaction is visceral. He tells her to forget about the notice, that she can leave immediately. It's a painful goodbye, and when she offers her hand, rather than shake it, he gives it a long kiss, causing her to tear up. "Don't be a stranger," she says, choking back tears.

She leaves him there, and returns to her office, where she gets her coat, her purse, a thermos, and a mug. The rest she leaves behind. As she leaves SCDP one final time, she passes the celebration that carries on in the conference room, and as she disappears to the lobby, Joan catches a glimpse of her. The look on Joan's face provided the final contrast between these two women. As Peggy leaves on her own terms, a free woman, Joan is left behind, trapped by the bargain she's made. Yes, Joan made partner, but is she truly free?

The episode ends as Peggy takes a final look back. It's a heartbreaking moment. But as the elevator pings and the door opens, Peggy smiles as she steps into the future. And as she does, the opening riff of the Kinks' You Really Got Me sends her on her way. Providing articles, reviews and writings on movies online.

The Rise To Fame of Classic Zombie Movies

When it comes to classic zombie movies, everyone has their own favorites, and most can still remember the first time they sat in front of the television, watching a black and white portrayal of the undead slowly, but determinedly, chasing down their bumbling prey. Classic zombie movies are still a favorite amongst diehard fans, because they lend an element of gritty morbidity that pop culture based movies seem to lack these days; while this shouldn't take away from the latest releases within this genre, it definitely adds to the authority of the films that preceded them.

The reason why classic zombie movies seem to come with the tag line this is what actual zombies are supposed to look like, is because the archetype for these creatures stemmed from the Voodoo religion, which is, in essence, Haitian. When William S. Seabrook returned from his voyage to Haiti and published his travelogue, The magic island, westerners found themselves enthralled with the concept of a creature that rises from the grave due to the powers of a sorcerer called a Brokor. This fascination led to some of the best classic films on the subject, and all within a matter of a few decades.

Bela Lugosi's 'White Zombie' is perhaps one of the most famous classic films on this subject. It follows the story of a prosperous businessman by the name of Murder Legendre, based in Haiti, who has the power to transform men into zombies. When a man falls in love with a woman who is to marry someone else, he approaches the voodoo master for assistance, who then turns his beloved into a zombie. The movie itself is said to closely follow the writings of Seabrook, even going as far as mentioning the potion that was supposed to turn corpses into the undead slaves of the voodoo priest.

George Romero's 'The Night of the Living Dead' was another classic which altered the face of this genre, and remakes of this film continue to be released up until today. The film was released in 1968 and its reception was marked by shock and outrage, although when this subsided, it quickly became one of the penultimate favorite films on the subject. One of the reasons for its initial negative reception was the fact that it was gory, contained nudity, and the protagonist of the film was ultimately killed in the end. Basically, this film was unlike any other that had been released in the past, and it remains one of the most popular films based on the undead to date.

'The Night of the Living Dead' did not only alter the horror genre; it also added to the lore and myth surrounding these supernatural creatures. In the past, zombies were the creation of dark voodoo priests, but in this feature, they could transfer their supernatural abilities to others through a bite. The film also references methods on how to kill these creatures - shoot them through the head- which has become the first method of defense against the undead in countless films and games to date.

While classic zombie movies might have changed slightly during the first few decades when they began making their debuts on big screens all over the world, one thing remains certain; they inspired a fascination with these creatures that continues to thrive today. Providing articles, reviews and writings on movies online.