Eric D. Wilkinson with one bold move has become the coolest person of the week. The screenwriter has taken out a full-page in The Hollywood Report to pitch his idea for Die Hard 6. Wilkinson directed his open letter to Bruce Willis, Lorenzo di Bonaventura, and Len Wiseman. All three are working on the sixth film.
A Good Day To Die Hard was such a bad film and Wilkinson figures out how to keep that film in the mythos and return to John McClane’s gritty roots, read the story pitch below.
Former hero cop John McClane, 60 years old and beat to shit, is a convicted felon, being carted off to a Federal prison. Why?
Flashback to 1979, where 24-year-old New York City Patrol Officer John McClane is part of a team of cops assigned to investigate the murder of 6-year-old Ethan Peller, working under the direction of an up-and-coming Detective Stan Winshaw. Strong police work leads McClane to suspect possible sex trafficker Clarence Sutton, who mysteriously vanishes moments before McClane can make the arrest. The rule-breaking McClane and his superior Winshaw butt heads. The trail goes cold and the case is never solved. When McClane makes unprovable accusations about Winshaw he is transferred to the city’s bleakest division.
34 years later, Detective John McClane takes a personal leave and heads to Moscow to help his estranged son, who is being tried in a Russian court. While McClane is out of the country, the remains of Clarence Sutton are discovered, not only with DNA evidence linking Sutton to the murder of Ethan Peller, but additional evidence that ties John McClane to Sutton’s killing.
Upon McClane’s return from Russia, he is arrested, tried and convicted for the murder of Clarence Sutton. He is given a 30-year prison sentence in ADX Florence, an ultra-maximum-security, or ”supermax” prison which houses some of the most dangerous criminals in the country, including Omar Al-Maqdisi and Abdul bin Saeed, masterminds of the two worst terrorist attacks on American soil.
Following the Russian adventure, John had successfully reunited his family and reconnected with his wife Holly. Now, while he serves his sentence, Holly has been spending all of her time and effort on his appeal – especially once new evidence surfaces which may not only exonerate McClane, but also implicate Stan Winshaw (now a decorated police Captain) who may have framed John for the murder of the suspect they were chasing nearly forty years ago. However the day Holly goes to the prison to deliver this news personally to John, a riot breaks out, and before she can safely leave, the prison is put on lockdown.
But this is no ordinary prison riot.
By nightfall, inmates control the facility, holding Holly McClane and many other hostages. We soon learn that the riot itself was a distracting subterfuge… part of a plan to break both Al-Maqdisi and bin Saeed out of prison so they can help complete a horrific new terrorist attack in New York City.
However the one thing the terrorists didn’t count on was the one man who is always in the wrong place at the wrong time… And when it comes to John McClane, old habits die hard.
Willy Wonka and the Chocolate Factory, the musical adaptation of Roald Dahl’s classic children’s novel debuted in 1971. Some of the cast reunited for the 44th anniversary of the film.
The film was directed by Mel Stuart and starred Gene Wilder as Willy Wonka, Jack Albertson as Grandpa Joe, and Peter Ostrum as Charlie.
Ostrum, made no other films. He later became a veterinarian. In fact, of all the children in this movie, Julie Dawn Cole (Veruca Salt) is the only one still acting.
Willy Wonka and the Chocolate Factory opened on February 2, 1971, and made $2,126,226 its opening weekend. The film had a budget of $3 million.
In anticipation of the November 25th release of CREED, we’ll be taking a look back at the ROCKY franchise and discussing why these characters and this world are still relevant and necessary forty years later.
Rocky III is the most interestingly confusing and inadvertently entertaining entry in this series. It scrapes right along side what many might call a “guilty pleasure” as elements here firmly plant Rocky III into goofy movie territory. The sillier aspects Stallone cements into the Rocky canon would be much easier to accept if the character of Rocky felt like the same person we fell in love with during the first two installments. Here, we just have a Rocky Balboa who stands around, numbly watching events unfold around him and being far more reactionary than instinctual.
In Rocky III, Rocky Balboa is an international star and American hero. Having beaten Apollo Creed for the Heavyweight Championship of the World, Rocky has successfully defended his belt numerous times and has earned quite a lifestyle in doing so. Paulie has come to resent Rocky for not giving him enough to do and enough money in doing so because of Rocky’s newfound fortune (this series switches back and forth on Paulie so often, it’s a testament to Burt Young‘s performances that we believe him each time out). We also see Rocky taking on exhibition matches, fighting the “Ultimate Male”, Thunderlips (Hulk Hogan), in a ridiculous set piece that exemplifies the circus that Balboa now represents. All the while, lurking in the background and climbing up the boxing ranks is Clubber Lang (Mr. T).
Clubber Lang is the embodiment of what Rocky used to be. The movie makes apparent that Rocky has now shifted into the Apollo role, training in lavish environments, mugging for the press, while Clubber is industrious, using his natural, stripped-to-the-bone environment to perfect his techniques. This dichotomy is supremely interesting and it is unfortunate that the movie doesn’t explore it more thoroughly. When confronting and challenging Rocky on the Philadelphia Art Museum steps, he’s not wrong when saying that America doesn’t want to give a man like him the chance. No one wants to see an angry black man like Clubber Lang holding up boxing’s most treasured title. Instead of sticking to these interesting socio-political guns, Stallone’s script makes Clubber Lang the supreme villain. He is crass, rude and gross (just listen to those grunts and look at those faces he makes). Rocky then only accepts his challenge once Clubber insists that Adrian come visit him tonight so she can be with a “real man”.
Rocky’s softened demeanor is exposed and he is beaten quickly by Clubber. As Rocky is defeated in the ring, Mickey’s (Burgess Meredith) heart gives out and he dies in the locker room. This is the first loss in the series that shakes Rocky to his core. In steps Apollo Creed to take over training duties and show to Rocky the edge he’s missing in order to beat Clubber. Apollo takes Rocky to his training facility in LA where he is introduced to an entirely black community of pugilists, training in a dank, dark hole of a gym. The suggestion here is that Rocky must gain back the “Eye of the Tiger” (the song debuting here for the first time and earning itself an Oscar nomination) he once had when he fought Creed. Paulie also doesn’t spare any words when it comes to his racial views and belief that Rocky can’t train like “them”.
Here begins one of the most memorable montages of the series. Rocky is training with Creed, dealing with the ups and downs of changing his entire approach to the ring. Stallone and Carl Weathers are absolutely drenched in sweat, juking and moving to the beat of the music. They race each other on the beach, Creed coming out on top each and every time. It isn’t until a motivational speech from Adrian (Talia Shire) that Rocky is able to master his new moves and beat Apollo in the beach race, igniting a furious splashing celebration between the two friends.
This training sequence is important because of how utterly tone deaf it is. It is entertaining, for sure, but not for the reasons that makes a sequence like this actually good in context. Each Rocky movie prior to this has had similar training montages that work within the characters and symbolize the experience they must go through to achieve their goals. Here, Stallone believes he knows what the sequence should look like but just can’t execute it without it being laughable. The sexual tension between Rocky and Apollo isn’t a misreading if you were to view this sequence out of context. It very much reads like a love story between the two and in some ways it is! These two characters were once mortal enemies who have now come to understand each other’s points of view. It’s a perfect melding of two different American classes, perfectly symbolizing the melting pot of this country’s culture. It should be a beautiful thing. The fact that the sequence reads as more laughable is entirely on Stallone.
In the end, Rocky gets his revenge on Clubber Lang with the audience watching the fight in real time instead of skipping any rounds. The fight itself is merely ok, never landing a big moment like the culminating bouts in the previous two films. Rocky and Creed settle their differences one last time as the two fight completely alone in a dark, empty gym. The image freezes just as the two come to blows for the first time, allowing us to imagine who comes out on top of that one (my vote: love).
The cultural impact made by Rocky III is indelible and not for the greatest of reasons. This is the first Rocky film to feel like more of a joke than a serious film. To be sure, the previous two movies aren’t without great moments of levity, but most of those stem from the flaws of the characters. The comedy here is derived largely through plot contrivance and mishandling of tone. Rocky III could have easily marked another masterful entry in the series if the film had just paid more attention to who Rocky was as a person, allowing him to handle these situations like the lovable oaf he is, instead of the audience surrogate he has become. Clubber Lang is a deservingly wonderful villain, posing a real threat to Balboa, even though his impact would have been greater if he was made to do less mustache twirling.
Yet, here we are. Rocky and Creed are best friends. Paulie is back to being a drunk fool. Adrian still has nothing to do. Mickey has gone to the boxing ring in the sky. Now we go into the true nadir of the series as Rocky takes on the USSR in Rocky IV.
Thor: Ragnarok is already looking to be an interesting film, as it will follow Guardians of the Galaxy 2 and will be the lead into Avengers: Infinity War Part 1. Then you add Mark Ruffalo as the Hulk, Birth.Death.Movie. is reporting that this will be the darkest film to date, and then Taika Waititi was brought in to direct.
Other interesting elements to the movie are the possibility of the introduction of Valkyrie, and the Marvel Cinematic Universe’s first major female villain.
“If Valkyrie is really coming to the big screen, that will make two high-profile female roles being cast in Ragnarok, because I have heard that Marvel is also planning on bringing their first major female villain into their cinematic universe. I don’t know who the character is for sure, but there are a couple likely candidates from Asgard: Amora the Enchantress, a sorceress; or Hela, Queen of the Dead (and also Loki’s daughter but that won’t necessarily be the case if Hela does indeed get the cinematic treatment),” posted Lainey Gossip.
What villain do you want to see enter the MCU; Hela ‘Queen of the Dead,’ or Amora the Enchantress?
Julianne Moore, Charlize Theron or Nicole Kidman would be a perfect Hela. Emma Watson would make and interesting Valkyrie, to where Olivia Wilde would be the badass choice.
Hela ‘Queen of the Dead’ The three Asgardian goddesses of fate, the Norns, are said to have warned the Asgardian gods that Hela would prove to be a great danger to them. Odin, ruler of the Asgardian gods, decreed that Hela would become goddess and ruler of the spirits of the dead on the day of her maturity. These spirits were in the other-dimensional realms of Hel and Niflheim, two more of the Nine Worlds, both of which Hela ruled. However, Odin himself directly ruled the souls of Asgardians and their human worshippers who died in battle as heroes, and had the palace of Valhalla built in a distant section of Asgard to house them.
Amora the Enchantress Amora was born somewhere in Asgard, her parentage unknown. While still in adolescence, she ran away to the land of the Norns and apprenticed herself to Karnilla, one of the most powerful sorceresses in all the Asgardian dimension. There she studied all the basic arts of Asgardian magic until Karnilla expelled her for being too undisciplined. She picked up further mystical skills from seducing other Asgardian magi and wizards. (source: Marvel Database)
Thor: Ragnarok is directed by Taika Waititi, Christopher Yost and Craig Kyle are working on the script, and the film stars Chris Hemsworth, Mark Ruffalo, Tom Hiddleston, Jaimie Alexander, Ray Stevenson, and Anthony Hopkins.
Thor: Ragnarok will destroy the universe on November 3, 2017.
Marvel Studios is currently filming Doctor Strange in Nepal, but according to The Wrap, Amy Landecker has just joined the cast the film in a key role. Marvel has yet to announce the character Landecker will play in the film.
The film stars Cumberbatch, Rachel McAdams, Tilda Swinton, Mads Mikkelsen, Chiwetel Ejiofor, and Michael Stuhlbarg.
Cumberbatch plays neurosurgeon Stephen Strange, who after a horrific car accident discovers a hidden world of magic and alternate dimensions.
Doctor Strange is directed by Scott Derrickson, with screenplay by Jon Sphaits, and is expected in theaters on November 4, 2016.
As the Star Wars: The Force Awakens press tour kicks off with the Entertainment Weekly interviews, details about the film are starting to emerge.
Turn back now if you don’t want anything spoiled.
The Jedi were the villains of the story.
According to EW, the First Order Stormtroopers are recruited as children and fed propaganda about the war between the Empire and the Rebellion. The Imperial Forces are portrayed as the good guys in those stories. Finn has been taught that Luke Skywalker was “a villain who destroyed the benevolent Empire.”
There is a new General in the galaxy.
According to EW, Princess Leia has a new title that reflects her role as the rebel leader. “She’s referred to as General,” said Abrams. “But … there’s a moment in the movie where a character sort of slips and calls her ‘Princess.’”
Han!
Star Wars: The Force Awakens opens in theaters December 18, 2015.
Tuesday afternoon, at noon on the nose to be exact, the ever eccentric, always bizarre, and consistently fascinating Hollywood anti-superstar Shia LaBeouf commandeered a small screen at an Angelika Theater in New York City. His plan: to screen all of his movies (27) in reverse chronological order, and live stream himself watching his movies. Not live stream the movies, just himself watching himself, in a theater open to the public. #AllMyMovies. It’s simply his most recent bizarre performance art, for a performer who has grown increasingly offbeat over the last twenty months, ever since he showed up at the Berlin Film Festival premiere of Nymphomaniac in February, 2014, wearing a paper bag over his head with “I Am Not Famous Anymore” scribbled across the front. A few weeks before that curious move, LaBeouf famously plagiarized a short film based on a Daniel Clowes comic and claimed to have done it all in the name of a publicity stunt, or performance art, or something… His past is littered with weird behavior, alcoholism, and what always seems to be the crushing weight of celebrity expectations.
Last year, Shia staged #IAmSorry, where he sat in a room and invited the general public in with him where they could say whatever they wanted to say directly to his face. He would remain silent, as he is in the theater this week. It broke down the barrier that exists – that ever-so-safe troll barrier – for internet critics with Twitter muscles who found themselves in a room with another human being. Not some out-of-touch superstar. It broke down that barriers so intensely that LaBeouf was allegedly sexually assaulted – or ALMOST sexually assaulted depending on the account – by one of his visitors.
Which leads us to #AllMyMovies. Dave Ehlrich of Rolling Stone already wrote on this most recent stunt at fascinating and insightful length, so there’s no need to re-hash what he’s already said better than I ever could. I’ll just build off what he says in my own way. Ehlrich’s piece points out Shia LaBeouf’s attempt to crush convention, deconstruct celebrity, and invert the fishbowl back on itself. I have found myself drawn into the live stream from time to time. I have the schedule of the films, so I know what he’s watching when. There’s no need to watch for more than a moment at a time. But there’s something hypnotizing about seeing LaBeouf seeing himself. It’s an existential, Lynchian examination that deserves attention. Sure, it’s easy to dismiss LaBeouf as an out-of-touch Hollywood nut job looking for attention; that just means you aren’t paying attention yourself.
LeBeouf is anything except an out-of-touch Hollywood type. He appears to have been crushed by the weight of an extremely un-ordinary life of adulation and the inability to function as a normal human being. For all of his strange quirks and interplanetary ramblings, I contend, much like Ehlrich, that Shia LaBeouf has figured out a way to deconstruct the celebrity detachment better than Clooney could ever do when he was busy damning paparazzi. Watching #AllMyMovies form time to time, a strange thing happens: you start to identify with this person, just another human being in a theater, watching movies. The fact he is in these movies becomes secondary, and his reactions to certain films we know are ridiculous breaks down an invisible wall we know exists, but are never able to pinpoint. Think about how bizarre and detached the life of a celebrity is, then reconsider what LaBeouf is doing.
Laugh all you want, dismiss Shia LaBeouf as another aloof moron Hollywood type. I see merit in what he’s doing. I’ve always been fascinated (mostly amused) by his antics, and as the buzz has built surrounding #AllMyMovies, my chuckles transformed into a strange fascination I can’t quite comprehend. Though I’m trying. And that’s what LaBeouf wants; he wants us to think, to dissect, to not simply gaze at navels and blindly accept the way things are between this gaggle of powerful celebrities and you and I wandering around the rest of the world. Consider what’s been happening as this stunt has grown in popularity: between films Wednesday night he spendt his time taking selfies with fans. They are obsessed with being there, with him, in that room, and having proof. They are proving his point. It’s a vanity project, sure, but isn’t everything we all do, all the time, an exercise in some sort of vanity?
Disney and Lucasfilms released the second TV spot for Star Wars: The Force Awakens.
Lucasfilm and visionary director J.J. Abrams join forces to take you back again to a galaxy far, far away as “Star Wars” returns to the big screen with Star Wars: The Force Awakens.
Episode VII in the Star Wars Saga, Star Wars: The Force Awakens, opens in theaters December 18, 2015.
Star Wars: The Force Awakens, directed by J.J. Abrams from a screenplay by Lawrence Kasdan & Abrams, features a cast including actors John Boyega, Daisy Ridley, Adam Driver, Oscar Isaac, Andy Serkis, Academy Award winner Lupita Nyong’o, Gwendoline Christie, Crystal Clarke, Pip Andersen, Domhnall Gleeson, and Max von Sydow. They will join the original stars of the saga, Harrison Ford, Carrie Fisher, Mark Hamill, Anthony Daniels, Peter Mayhew, and Kenny Baker.
The film is being produced by Kathleen Kennedy, J.J. Abrams, and Bryan Burk, and
“In the not too distant future,” is the opening many know started a show by the name of Mystery Science Theater 3000, where a janitor who was shot into space by his bosses watched cheesy movies and made fun of them along with his two robot sidekicks. The show is a favorite among both scifi and comedy fans around the world and inspired many a person to make turn a bad movie into a golden opportunity for comedy. And just when they thought it was gone and would never grace the land of television ever again, the legendary show which made everyone look forward to watching bad films just might be coming back.
Series creator, Joel Hodgson has started a kickstarter and is looking to raise two million dollars and create a new batch of episodes produced to get a whole new generations of fans addicted to this legendary series. He insists it will feature a new made scientist who will force a new man to watch movies with the bot sidekicks of infamy, Tom Servo and Crow T. Robot. As of this article, they are already more than half of the way through the initial goal of the creation of three episodes. With any luck they will hit their full goal of five million dollars and an entire 12 episode season will be created. Come on MSTies (Mystery Science Theater Fans), this is your time! You want the crew of the SOL (satellite of love) back, then click the link and give til it hurts! Now, push button Frank.
Though it certainly has its moments of uplifting, inspiring verve, The 33 most often looks and sounds like an expensive made-for-TV dramatization. The film’s heart is certainly in the right place, as it brings to life in a very personal, intimate way both the struggle for survival of the 33 Chilean miners trapped 700 meters below ground for 69 days in late 2010, as well as the ordeal of the miners’ families as they clung to hope day after agonizing day. But in terms of execution, the film’s script is often heavy-handed, and the performances of its leads prove wildly uneven. It’s not a terrible film, but it’s one that should have been better.
August 5th, 2010 begins much like any other day for the men who made their daily living bringing gold and copper up from the depths of the San Jose copper mine in Chile’s Atacama Desert. Led by their shift foreman, “Don Lucho” Luis Urzua (Lou Diamond Phillips), the crew that makes its way into the mine includes devoted family man Mario Sepúlveda (Antonio Banderas), avid Elvis Presley enthusiast Edison “Elvis” Peña (Jacob Vargas), town philanderer Yonni Barrios (Oscar Nuñez), troubled alcoholic Dario Segovia (Juan Pablo Raba), Bolivian national Carlos Mamani (Tenoch Huerta), former professional footballer Franklin Lobos (Alejandro Goic), Mario Gomez (Gustavo Angarita), the eldest of the miners, two weeks from his retirement, and the group’s youngest, Alex Vega (Mario Casas), whose along with his wife Jessica (Cote de Pablo) are expectant parents.
Not long after the team sets to work, the ancient mine, which for months Don Lucho had reported to its owners was unsafe due to the mountain being unstable and proper safety precautions such as ladders up the mine’s ventilation shafts not being complete, suffers a massive rock fall. A solid mass of rock twice the size and weight of the Empire State Building shifts within the mountain and comes crashing down between the miners and the tunnels that are their only way out. Don Lucho gathers the group inside “The Refuge”, an emergency space in the deepest part of the mine where food and medical supplies are kept, and prepares them for the worst, as he knows the stores they have there will sustain them for three days at best. But Sepúlveda refuses to accept their fate, and works hard to rally the men and keep their spirits high.
Meanwhile, on the surface, Chilean Mining Minister Laurence Golborne (Rodrigo Santoro) convinces the nation’s president, Sebastián Piñera (Bob Gunton), that the government should respond and lead the rescue efforts, however slim the chances are for success. Once on site, he finds himself face to face with an angry mob comprised of the miners’ families, who have been kept in the dark about the fate of their loved ones by the mine owners. Among them is Maria Segovia (Juliette Binoche), Dario’s elder sister, whose voice is the loudest in denouncing the mine owners’ silence and challenging the government’s sincerity when Laurence pledges to do everything possible to rescue the survivors.
Laurence, however, does prove true to his word, staying on site and acting as a liaison between the families and the rescue efforts as teams of engineers and massive drills are brought in to bore into the mountain in an effort to reach the 33. He also provides the means for the families to build a tent city on the outskirts of the mine site, so that they can stay close to the rescue efforts while keeping their children in school and maintaining a semblance of normal life.
But everyone above and below the surface knows just how close to impossible the task in front of them is. As days and weeks pass, maintaining hope in the face of growing obstacles and time running out proves just as daunting a challenge to overcome as the tons of rock separating the 33 from their freedom, and the question becomes just how far will everyone go in their efforts before they surrender to what seems to be inevitable.
In terms of what works in The 33, the production proves very effective in its efforts to depict the terrifying mine collapse and the claustrophobic conditions in which the miners managed to survive. The rock fall sequence comes fairly early on in the film, and the way it’s brought to life truly drives home how fortunate the men were to survive that initial catastrophe at all. Production design above ground is equally impressive, with the recreation of “Camp Esperanza” and the varied efforts of the government’s rescue operation and the challenges they faced depicted clearly, albeit with much exposition in the script. In short, where The 33 does excel as a film is in recreating the experience of being in midst of that tense and emotional scene for weeks on end, and all the many difficulties faced by everyone involved.
Where the film falls short is in terms of the script and director Patricia Riggan’s very approach to the material, which is as conventional and safe as it comes and as such results in a fairly predictable and occasionally saccharine film. Of course, it makes sense that the production is a relatively “safe” one in terms of its storytelling, as all involved have to be mindful of the 33 families to whom the film is beholden for its story, and just how close in recent memory and well documented these events truly were. But still, aside from some jarring tonal shifts — there’s a very odd and jarring dream-like sequence that plays out like a shared mirage experienced by the miners during their most desperate hours, to name one example — any savvy movie goer familiar with the progression of how survival dramas work on film can and will spot the tropes at work here, which invariably takes away from immersion in the story and its drama.
In terms of actor performances in The 33, the work turned in here by Antonio Banderas runs in parallel to the film itself in terms of its highs and lows. Portraying the man who came to be known throughout Chile and around the world as “Super Mario” Sepulveda for the energy and humor he displayed in the video journals sent to the media on the surface once rescuers established contact with the miners, Banderas’ depiction, particularly in moments meant to convey high tension, freely crosses the line into hammy territory. The script doesn’t do him any favors — when you’re asked to deliver such groaners as “That was the heart of the mountain. She finally broke,” and “I believe we’ll make it out of here because I CHOOSE to believe it! All 33 of us!” without laughing, well, it’s clearly not an easy task. In quieter, lighter, and less pensive moments, on the other hand, Banderas’ easy, playful charm and charisma works well in terms of selling just how this man came to be the beating heart of the group’s survival effort.
In comparison, Juliette Binoche is a steady and rock solid presence throughout the film as the formidable but flawed Maria, but she’s simply not in the film enough for her work to balance out the other actors’ uneven contributions. Plus, the presence of such non-Hispanic performers as Bob Gunton and Gabriel Byrne in such prominent roles here proves to be nothing but distracting, and don’t be fooled by veteran actor James Brolin’s high placement in the cast billing. Brolin’s is little more than a cameo appearance with a handful of lines of dialogue that are mostly engineering techno-babble. As for Santoro, ostensibly the film’s third lead and protagonist, he’s as underwritten and bland as bland gets. He may not miss all the body paint and piercings that made him so memorable in the 300 films, but audiences sure will, seeing him have so little fun here.
All that said, by the end of The 33 it’s tough not to walk out smiling at least a little, considering that this really is one of those amazing true-life stories that did have a happy ending and whose legacy is one of positive values such as loyalty, brotherhood, and perseverance. Again, it’s not a bad film, by any means, and most likely if you give it a chance and you don’t nitpick individual performances and line reads, you can enjoy it for what it is.
But make no mistake, considering just how compelling this story was when it played out on CNN and world news sources for those two months in 2010, and how the world as a whole celebrated when the story came to a triumphant end, the film version could have been, and should have been, much better.
The 33
Starring Antonio Banderas, Rodrigo Santoro, Juliette Binoche, James Brolin, Lou Diamond Phillips, with Bob Gunton and Gabriel Byrne. Directed by Patricia Riggen.
Running Time: 127 minutes
Rated PG-13 for a disaster sequence and some language
Amora the Enchantress
