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Gallery Exhibit Featuring Early Appalachian Photography to Open at GSC

Selections from the Glenville State College Archive will be on display for a gallery exhibit during Homecoming week. The theme of the exhibit will focus on early Appalachian photography and will include several prints from glass negatives, equipment used during the process, and even some of the original glass negatives themselves. The show will feature four different collections: the Byron Turner Glass Negative Collection, the Early Gilmer County Collection, the Gainer Family Glass Negative Collection, and the Pickle Street Glass Negative Collection.

The Free Press WV
One of the photos included in the Early Appalachian Photography Exhibit
reproduced from a glass negative from the Gainer family collection


An opening reception for the exhibit will be held on Tuesday, October 17 between 4:00 p.m. and 6:00 p.m. in the GSC Fine Arts Center Gallery. The show will be open the remainder of Homecoming Week from 10:00 a.m. to 2:00 p.m. daily and prior to the Bluegrass concert on Saturday, October 21 between 6:00 p.m. and 7:00 p.m. Beyond Homecoming Week, the gallery is open Tuesdays, Wednesdays, and Thursdays from 11:00 a.m. to 1:00 p.m. The gallery is also open one hour prior to most musical performances in the Fine Arts Center.

The Byron Turner Glass Negative Collection was preserved by Glenville State College’s former chemistry instructor, Byron Turner. Turner used the glass negatives as a project in his classes to demonstrate what chemicals were used to make the glass negatives and preserve the picture. The Early Gilmer County Collection was found in the Archives of Glenville State College. It dates back to the late 1800s and early 1900s.

The Gainer family collection contains donated prints from glass negatives provided by the Gainer family. The pictures were taken by Lloyd Gainer and are from around 1902. The pictures were preserved by West Virginia State Folk Festival founder and 1924 Glenville Normal School graduate Patrick Gainer. The Pickle Street glass negative collection was brought in from the auction house on Pickle Street in Lewis County, West Virginia. The negatives were found in an old barn and later donated to GSC.

“This gallery exhibit will show you what was important to past generations in Appalachia through photography. I hope that the cultural perspective provided gives attendees a better understanding of central West Virginia. It also provides you with more of an appreciation as to what people had to go through and how challenging it was just to take a picture,” said GSC Librarian and Archivist Jason Gum.

During the opening reception, there will also be a book signing for GSC’s recent history book, Preserving and Responding. Gum and the college’s Public Relations Specialist, Dustin Crutchfield, authored this work.

The exhibit will be on display in the Fine Arts Center Gallery through Friday, November 03.

For more information about the gallery exhibit or the book signing, call 304.462.6163.

Arts & Entertainment News

The Free Press WV

►  HBO’s ‘Spielberg’ documentary: Fawning, sure, but also persuasive

The Steven Spielberg portrayed in Susan Lacy’s satisfyingly comprehensive 2 1/2-hour HBO documentary “Spielberg” is a wide-open book. It’s all so clearly been about a lonely suburban boy who found solace in filmmaking and grew up to envision and direct an unforgettable list of movies about lonely boys (sometimes girls) who find cathartic resolution amid middle-American angst, war, political chaos, futuristic ennui and supernatural phenomena. Beginning, essentially, with a shark.

“He certainly likes torturing the audience,“ observes one of the film’s many sources, film critic J. Hoberman, on the subject of Spielberg’s breakout hit, 1975’s “Jaws.“ “Has he ever been in analysis?“

No need! Turns out that nearly everything you’d want to know about Spielberg is front-and-center in his blockbusters, broken down for us here in the simplest exercise of auteur theory: Lacy (who created PBS’s “American Masters” series) gets Spielberg to talk about personal baggage and how it surfaces on-screen. Childhood fears (“Jaws”), ostracization and parental divorce (“Close Encounters of the Third Kind,“ “E.T.: The Extra-Terrestrial”); his disavowal and later acceptance of being Jewish (“Schindler’s List”), his reconciliation with his father (“Saving Private Ryan”), his reactions to 9/11 (“Munich,“ “War of the Worlds”).

“Steven doesn’t want to make little, personal movies,“ says actor Bob Balaban. “He wants to make big personal movies.“

“Spielberg” (airing Saturday) has the feel of official business, with the man himself happily participating in long conversations about his creative process, while dozens of other sources – his 100-year-old father, Arnold, and his mother, Leah, who died at 97 in February; his siblings, peers, longtime collaborators, actors, film critics and historians – supply their own observations and asides. It also features a thrilling, chronological examination of his movies (the best of them, along with some flops such as “1941” and “Hook”) that gives shape and depth to the definition of the Spielbergian style.

Describing “Spielberg” makes it sound like an exercise in fawning, and it is indeed gentle and reverent. But it does include a note or two of well-aired criticism: In a clip from an old “60 Minutes” interview with the late Ed Bradley, a younger Spielberg is confronted with the opinion that his films were big but hollow – “Not art,“ Bradley suggests. Like his pal George Lucas, Spielberg testily rejects what he calls a “pretentious” notion that art must be serious and not move the viewer in an emotional way.

A sequence about his 1985 adaptation of Alice Walker’s “The Color Purple” suggests that Spielberg’s vision for the movie hasn’t held up (critic David Edelstein says “There’s something so false, so Disney-storyboard about that movie”). “He could never go where Alice (Walker) went with that book,“ offers producer Kathleen Kennedy, a longtime collaborator. “I just wasn’t the right guy to do that,“ Spielberg says.

Perhaps Lacy brings Spielberg low at this point to prepare the viewer for the exultant second half of her documentary, which sticks to a theme of ascent and maturity. Spielberg’s workaholism costs him personally (it’s strange that, of the dozens of people who are interviewed in the film, we hear nothing from his wife, Kate Capshaw, or any of his seven children), but it paid off extraordinarily. In 1993, he once again conquered the summer box-office with “Jurassic Park,“ fully unleashing the age of computer-generated effects and then, only months later, he released his personal masterpiece, “Schindler’s List,“ which cleaned up at the Academy Awards.

From there, “Spielberg” coasts mainly on afterglow and continued output, providing example after example of its subject’s many contributions to the art of filmmaking. And it offers the pleasant reassurance that, at 70, Spielberg considers his work far from finished.


►  Dr. Seuss museum to replace mural after complaints it depicted ‘jarring racial stereotype’

A controversial mural at the Amazing World of Dr. Seuss Museum in Massachusetts will be replaced after several children’s authors complained that it promoted racial stereotypes - and that they were boycotting an upcoming festival at the newly opened museum because of it.

The authors - including Mo Willems, the Caldecott-winning writer and illustrator behind the popular Pigeon and Knuffle Bunny books - issued a joint letter Thursday saying they were skipping the upcoming Children’s Literature Festival in Springfield, Massachusetts.

Willems, Lisa Yee (“Super Hero Girls”) and Mike Curato (“Little Elliott”) said the mural, which illustrates a scene from Theodor Geisel’s “And to Think That I Saw It on Mulberry Street,“ includes a “jarring racial stereotype of a Chinese man who is depicted with chopsticks, a pointed hat and slanted slit eyes.“ The authors called the caricature “deeply hurtful.“

Following the uproar, Dr. Seuss Enterprises, which oversees the author’s estate, said it would replace the mural with another image depicting another of Dr. Seuss’ stories.

“This is what Dr. Seuss would have wanted us to do,“ according to a statement. “His later books, like ‘The Sneetches’ and ‘Horton Hears a Who,‘ showed a great respect for fairness and diversity. Dr. Seuss would have loved to be a part of this dialogue for change. In fact, Ted Geisel himself said, ‘It’s not how you start that counts. It’s what you are at the finish.‘“

Willems, Yee and Curato had been invited to appear at the festival on October 14 at the Amazing World of Dr. Seuss Museum, which opened in June.

The event was described by the museum as “a day filled with books, costumed characters and famous authors.“ But the three authors said they were skipping the festival after having learned about the mural’s racial stereotype.

“While this image may have been considered amusing to some when it was published 80 years ago, it is obviously offensive in 2017,“ they wrote. “For some children who visit the museum, their only interaction with Asian representation might be that painting. For others, seeing themselves represented in such a stereotypical way may feed into internalized, even subconscious shame and humiliation. It is incumbent on our public institutions to present all races in a fair manner.

“Displaying imagery this offensive damages not only Asian American children, but also non-Asian kids who absorb this caricature and could associate it with all Asians or their Asian neighbors and classmates.“

The festival was later canceled.

The dust-up came amid a broader debate about how Dr. Seuss books - some of which depict old stereotypes - fit into an evolving culture.

That debate roared back into the spotlight last month after Melania Trump sent 10 Dr. Seuss books to a school in each state - and a librarian in Cambridge, Massachusetts, sent them back.

“Dr. Seuss’s illustrations are steeped in racist propaganda, caricatures, and harmful stereotypes,“ librarian Liz Phipps Soeiro wrote in a letter.

As The Washington Post’s Rachel Chason reported, the librarian argued that rather than sending books to an elementary school in Cambridge, the first lady should have devoted resources to schools in “underfunded and underprivileged communities” that are “marginalized and maligned by policies put in place by Secretary of Education Betsy DeVos.“

Critics view DeVos, a billionaire who worked for decades to promote school choice, as one of the most anti-public-education secretaries in the department’s history.

In response, White House spokeswoman Stephanie Grisham said giving the books was part of the first lady’s effort to use her platform “to help as many children as she can.“

She added that “turning the gesture of sending young schoolchildren books into something divisive is unfortunate, but the first lady remains committed to her efforts on behalf of children everywhere.“

In their letter Thursday about the festival, Willems, Yee and Curato wrote:

“The career of Ted Geisel, writing as Dr. Seuss, is a story of growth, from accepting the baser racial stereotypes of the times in his early career, to challenging those divisive impulses with work that delighted his readers and changed the times. It was our hope that the administration of the new Seuss-ian institution would be able to take inspiration from Mr. Geisel’s journey and find creative ways to allow children of all backgrounds to feel welcomed (or, at the very least, provide context for this hurtful painting).“

The trio said they expressed their concerns to the museum - and “unfortunately, the administration replied that it was the responsibility of visitors to contextualize the oversized painting of the ‘Chinaman’ for their younger wards, not theirs.“

After the mural-replacement decision was announced by Seuss Enterprises, Willems, Yee and Curato applauded the news.

Officials at the museum had said they were looking for ways “to help guide parents and teachers in addressing this issue with children and pupils.“

They also said they requested a meeting with the authors to discuss the matter but were rebuffed.

In a letter sent to the authors, Kay Simpson, president of the Springfield Museums and Dr. Seuss National Memorial Sculpture Garden, wrote that the museum “contains unedited material by Dr. Seuss during his lifetime” and that “we do not alter or edit an artist’s work.“

“Dr. Seuss’s books taught life lessons, from being a faithful friend, to not discriminating based upon appearances, to keeping your promises,“ Simpson wrote. “Dr. Seuss was a product of his era and his attitudes evolved over time.

“It is our hope that parents and teachers can use the evolution of Dr. Seuss ... as a teachable moment for children in their charge.“

Dr. Seuss Enterprises said Thursday that Geisel, better known as Dr. Seuss, was “a man of his times. He was also a man who evolved with his times.“


►  ‘Blade Runner 2049’ pulls in older guys but few others

“Blade Runner 2049” had the pedigree, the stars and the stellar reviews. But even though the highly touted sequel had seemingly everything going for it, something didn’t click with audiences.

The big-budget, handsomely crafted sequel to the 1982 sci-fi classic opened surprisingly weak at the North American box office. According to studio estimates Sunday, “2049” grossed $31.5 million, a poor start for a movie that cost at least $150 million to make.

The problem “Blade runner 2049” ran into is clear from opening-weekend data. The audience was overwhelmingly male (71 percent) and over the age of 25 (86 percent). The movie, starring Ryan Gosling and Harrison Ford, simply failed to pull in moviegoers beyond fans of the 1982 original.

The opening was a blow most of all to Alcon Entertainment, the production company that split the film’s cost with Sony Pictures. Warner Bros., which released the original and maintained rights for any follow-ups, distributed domestically. Sony released the film internationally, where it performed better with $50.2 million in overseas ticket sales over the weekend.

The 20-year-old Alcon, backed by FedEx founder Fred Smith, has been behind some notable successes with Warner Bros. (“The Blind Side,” ″Prisoners.“) But its blockbuster ambitions —which include flops like “Point Break” and “Transcendence” — have gone rockier. Co-founder Andrew Kosove previously called the ambitious “Blade Runner 2049” ″a chips-in-the-center-of-the-table exercise.”

And Alcon — a 45 employee company — seemingly did everything right, turning in a glowingly reviewed film, directed by the sought-after Denis Villeneuve (“Arrival”) and produced by Ridley Scott (who directed the original.) Audiences liked the movie, too, giving it an A- CinemaScore. Representatives for Alcon Entertainment didn’t respond to messages Sunday.

“I’m disappointed we didn’t have a larger result this weekend on behalf of the owners of the film, Alcon” said Jeff Goldstein, president of domestic distribution for Warner Bros. “We had bigger expectations for the weekend. The tracking and the advance sales indicated that there would be a stronger number.”

The Kate Winslet-Idris Elba adventure romance “The Mountain Between Us” debuted in second place with $10.1 million. The 20th Century Fox film, which cost $35 million to make, chronicles the budding affection between two strangers whose charter plane crash lands in the mountains.

The horror hit “It” followed in third place with $9.7 million in its fifth week. The Stephen King adaptation has made $603.7 million worldwide.

“My Little Pony: The Movie” opened with $8.8 million for Lionsgate. But even it managed broader gender appeal than “Blade Runner 2049.” It drew a 59 percent female audience.

But most were wondering what went wrong with “Blade Runner 2049.” Working against it was a lengthy 163-minute runtime. (Villeneuve attempted to lessen the blow by promoting the credit-less runtime of 152 minutes.) Alcon took the lead on the marketing, which went to great lengths to keep much of the film mysterious.

“It’s an intellectually charged, apocalyptic sci-fi story. It’s not a ‘Close Encounters,’ it’s not ‘Star Wars.’ It’s a challenging film. To me, those are the best type of films,” said Paul Dergarabedian, senior media analyst at comScore. “But does it make it the most commercial? No.”

“It was creatively and thematically perfectly executed,” Dergarabedian said. “But it didn’t play to the numbers everyone thought.”

In a way, that makes “Blade Runner 2049” the perfect heir to the original film. It, too, was a box-office disappointment. Though a cult would gradually emerge over the years, propelled partly by a DVD release of a more acclaimed director’s cut, “Blade Runner” in 1982 debuted with $6.2 million — or about $16 million in 2017 dollars.

So “2049” can claim one thing many recent sequels can’t: Better box office than the original.

___

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters according to comScore. Where available, the latest international numbers also are included.

1. “Blade Runner 2049,” $31.5 million ($50.2 million international).

2. “The Mountain Between Us,” $10.1 million ($3.6 million international).

3. “It,” $9.7 million.

4. “My Little Pony: The Movie,” $8.8 million ($3.8 million international).

5. “Kingsman: The Golden Circle,” $8.1 million ($25.5 million international).

6. “American Made,” $8.1 million ($1.8 million international).

7. “The Lego Ninjago Movie,” $6.8 million ($6.9 million international).

8. “Victoria & Abdul,” $4.1 million ($3 million international).

9. “Flatliners,” $3.8 million ($1.5 million international.)

10. “Battle of the Sexes,” $2.4 million.

___

Estimated ticket sales for Friday through Sunday at international theaters (excluding the U.S. and Canada), according to comScore.

1. “Never Say Die,” $66 million.

2. “Blade Runner 2049,” $50.2 million.

3. “Kingman: The Golden Circle,” $25.5 million.

4. “It,” $19.8 million.

5. “Chasing the Dragon,” $17.6 million.

6. “The Foreigner,” $17 million.

7. “The Fortress,” $14.4 million.

8. “City of Rock,” $11.9 million.

9. “Crime City,” $9.7 million.

10. “Sky Hunter,” $9.1 million.

Arts & Entertainment News

The Free Press WV

►  Miley Cyrus packs out honky-tonk for release of new album

Pop star Miley Cyrus returned to her Tennessee roots, musically and geographically, for the release of her new album “Younger Now” with a hometown performance at Nashville honky-tonk.

Cyrus answered questions from her fans and chatted with her dad, country singer Billy Ray Cyrus, during Friday night’s welcome home party thrown by the streaming service Spotify. She then performed a short set of her new songs during the appearance at Tootsie’s Orchid Lounge.

As an artist who constantly reinvents her persona, Cyrus declares on the title track that, “No one stays the same.” On this new record, she’s more serene than shocking, with more twangy pop melodies than dance hits.

Fans camped outside the bar for hours hoping to see the singer, who grew up in Nashville before becoming a teen television star in the Disney Channel program “Hannah Montana.” Her career transition provided plenty of provoking moments as she embraced her sexuality and sought to ditch the wholesome teen act.

Now 24 years old with six studio albums, Cyrus told her fans that she was no longer running from her old music, but embracing the songs.

“Allowing them to mean something to me, even though I have grown past them in a way,” she said.

She told stories behind the songwriting and inspirations, such as wanting to normalize bisexuality on the song “She’s Not Him.” She also said that the song “Inspired,” was written about both her dad and Hillary Clinton.

“My dad inspired this record a lot,” she said.

She also talked about her duet “Rainbowland” with her godmother, country icon Dolly Parton, who Cyrus said is so old school that she still uses a typewriter.

“We seriously wrote that song via fax,” Cyrus said.

During a conversation with her father, the two joked and ribbed each other and offered up professional advice as singers and songwriters.

“You can learn from my mistakes,” Billy Ray Cyrus said. “Watch what I do and don’t do that.”

“Don’t grow a mullet basically,” Miley Cyrus said.

But her father said he was immensely proud of Cyrus and her willingness to be herself and stand up for issues that were important to her.

The two singers got the honky-tonk floor shaking with their performance of “These Boots Are Made For Walkin’” and Billy Ray’s mega hit from 1992 “Achy Breaky Heart.” Miley Cyrus ended the night with her multiplatinum hit, “Party in the U.S.A.”


►  Strait, Brooks among stars to play hurricane relief concert

An all-star lineup of country stars including George Strait, Garth Brooks, Carrie Underwood, Reba McEntire and more will play a benefit concert in Nashville to raise money for those affected by recent hurricanes.

The Country Rising concert on November 12 will also include performances by Jason Aldean, Dierks Bentley, Sam Hunt, Lady Antebellum, Little Big Town, Martina McBride and Chris Stapleton.

The concert will benefit the Country Rising Fund of the Community Foundation of Middle Tennessee. It’s a fund established to help victims of Hurricanes Harvey, Irma, Jose and Maria, which have affected Texas, Florida, Puerto Rico and the Caribbean Islands.

Tickets for the concert at Bridgestone Arena will go on sale Friday, October 06.


►  Mona Lisa unveiled? Nude sketch may have link to masterpiece

There’s something vaguely familiar about this charcoal sketch of a woman’s face and nude torso — could it be an unclothed precursor to the Mona Lisa by the master himself?

French government art experts are trying to find out, analyzing the sketch in a laboratory beneath the Louvre, the museum where the Mona Lisa hangs, to see if Leonardo da Vinci drew it before painting his 16th century masterpiece.

The sketch, previously attributed to Leonardo’s students, is part of a collection at the Musee Conde du Domaine de Chantilly, north of Paris.

“This drawing is quite mysterious because we know it was made in Italy, maybe in the studio of Leonardo da Vinci or by the master himself,” said museum curator Mathieu Deldicque.

There are tempting clues that Leonardo’s hand could have been behind the sketch.

“For the moment we know that the paper on which this (sketch) is drawn was dated from the time of Leonardo da Vinci ... that is to say the beginning of the 16th century,” Deldicque said in an interview Friday with The Associated Press. “We know that this paper comes from Italy, between Venice and Florence, so it is similar.”

Imagery picked up other signs that may point to a sketch by Leonardo despite its “very worn elements,” he said, noting the “quality” of the face and arms, which recalls the master.

“The position of the arms is very important because it is literally (like) the position of the arms of the Louvre painting,” Deldicque said.

However, Deldicque has said there were differences, including the way the subject holds her chest and the hairstyle.

Art historians believe Leonardo drew or painted a nude version of the Mona Lisa. Deldicque acknowledged that the belief is feeding hopes that the Chantilly museum’s sketch was indeed made by Leonardo’s hand.

Among the array of clues under study is whether the artist of the sketch was left-handed.

“We know that Leonardo da Vinci was left-handed and now we are just looking for the left-handed features,” the curator said. But the task is difficult. “The drawing is very old, very fragile,” he said, making it uncertain firm evidence will be uncovered showing that the charcoal nude was sketched with a left hand.

The government-run Center for Research and Restoration of the Museums of France says the sketch will stay out of the public eye until the examination by experts is complete.

Arts & Entertainment News

The Free Press WV

►  J.J. Abrams to write and direct ‘Star Wars: Episode IX’

J.J. Abrams is returning to “Star Wars,” and will replace Colin Trevorrow as writer and director of “Episode IX,” pushing the film’s release date back seven months.

Disney announced Abrams return on Tuesday a week after news broke of Trevorrow’s departure. After several high-profile exits by previous “Star Wars” directors, Lucasfilm is turning to the filmmaker who helped resurrect the franchise in the first place. Abrams will co-write the film with screenwriter Chris Terrio, who won an Oscar for adapting “Argo,” and also co-wrote “Batman v Superman: Dawn of Justice.”

As the director of “The Force Awakens,” Abrams rebooted “Star Wars” to largely glowing reviews from fans and more than $2 billion in box office. Abrams had said that would be his only film for the franchise, but he’s now been pulled back in.

Lucasfilm President Kathleen Kennedy said that Abrams “delivered everything we could have possibly hoped for” on “The Force Awakens” and added “I am so excited that he is coming back to close out this trilogy.”

This move also means Abrams will be the only director aside from “Star Wars” creator George Lucas to direct more than one “Star Wars” film.

“Star Wars: Episode IX” was originally slated to hit theaters in May 2019, but in the wake of the shift has officially been pushed back to a December 20, 2019 release. It is the final installment in the new “main” Star Wars trilogy that began with Abrams’ “The Force Awakens” in 2015 and will continue this December with director Rian Johnson’s “The Last Jedi.”

Lucasfilm has had a number of public fallouts with “Star Wars” directors over the past few years.

Earlier this year the young Han Solo spinoff film parted ways with director Phil Lord and Christopher Miller and swiftly replaced them with Ron Howard deep into production. In 2015, the company fired director Josh Trank from work on another Star Wars spinoff. And extensive reshoots on “Rogue One: A Star Wars Story” led to widespread speculation that director Gareth Edwards had been unofficially sidelined by Tony Gilroy.

News of Abrams’ return was greeted warmly by fans on social media Tuesday. He hasn’t directed or committing to directing another project since “The Force Awakens,” and instead had been focused on producing.

“I’m very much enjoying taking a moment. Since I’ve done the show ‘Felicity,’ I’ve gone from project to project. So it’s been 20 years since I haven’t been prepping, casting, shooting, editing something,” Abrams told The Associated Press in March.

That moment, however brief, is over. For Abrams, it’s time to go back to the Millennium Falcon and that galaxy far, far away.


►  Stephen Colbert rolls out red carpet for political Emmy show

If this whole TV thing doesn’t work out for Stephen Colbert, he has a bright future in carpet sales.

The first-time Emmy Awards host helped roll out the show’s ceremonial red carpet Tuesday at L.A. Live alongside telecast producers, saying that while it’s an honor to host the show, “it’s even more of an honor to be installing the carpet.”

“I’m glad there are cameras here because so few people know just how much manual labor is involved with hosting the Emmys every year,” Colbert said. “If you like this, stick around because I’m going to go re-grout the bathrooms right after this.”

Colbert also noted some of the rug’s features (“It’s a Stainmaster carpet. It’s indoor-outdoor.“) And he sang a carpet company’s advertising jingle, which he referred to as “our Emmys red carpet rollout national anthem,” before the promotional rollout.

No sooner had he and the producers finished unrolling it, a pair of workers swooped in to roll it back up and haul it away. (The real red carpet used by celebrities on Sunday will be installed several feet away, in front of the Microsoft Theater.)

Colbert, who has won multiple Emmys for his work on “The Colbert Report” and “The Daily Show” and is nominated again Sunday for “The Late Show,” described the Emmy ceremony as “an incredibly fun show to go to every year when you win.”

“If you lose, it’s an enormous waste of time,” he said. “But everyone’s going to win this year. I’ve talked with these guys and we want everyone to have fun, so everyone will win the Emmys this year. Spoiler. Spoiler alert.”

When asked how political the show could get, Colbert said the Emmys are about celebrating television, “and the biggest television star of the last year was Donald Trump.”

“The fact that he’s not nominated, it’s a crime,” Colbert said. “It’s a high crime and a misdemeanor that you are not nominated, sir. Where’s the investigation of that? Where was James Comey on that?”

And does the host expect the president (and previous Emmy nominee) to tune into Sunday’s show?

“He might care about who wins the reality-show category,” Colbert said. “‘Amazing Race’ is nominated, and that’s who he lost to every year for ‘The Apprentice.’ So he might want to see them go down. He might still have hard feelings. He seems like a guy who holds a grudge.

“He actually said in one of the debates with Hillary Clinton — she said like, ‘And then after he lost the Emmys, he complained they were rigged.’ And he goes, ‘I should have won.’ So he cares! You know he cares. We know you care.”


►  Focus on Fall at Twin Falls Resort State Park Photography Workshop

Reservations are being taken for Twin Falls Resort State Park’s annual Fall Photography Workshop, scheduled to take place October 06-08. Steve Shaluta, Steve Rotsch and Park Superintendent Scott Durham are the instructors.

“This fall workshop is the perfect time to learn new skills and hone old ones,” Durham said. “Twin Falls’ 4,000 acres, complete with the park’s Pioneer Farm, are picture-perfect settings for photography. There is always the possibility you’ll capture photographs of the park’s flora and fauna any time of the year, but the October dates promise fall coloration.”

The workshops are helpful for photographers of all skill levels and include discussions about photography equipment and photo editing tools, composition, use of natural light and flash photography, how to photograph people, action photography, scenic photography, digital imaging and file storage, and even drone photography. Participants are welcome to ask questions during the workshop. Instructors also provide hands-on photography outings, including night photography.

The Free Press WV


Photographer Steve Shaluta retired from the West Virginia Department of Commerce after an illustrious and award-winning career. His photos have graced more than 300 magazine covers, tourism advertisements and newspaper and magazine articles. He has also published seven books, including the most recent, “Wonders of West Virginia.” Shaluta now spends his time photographing wildlife between Florida and West Virginia.

Photographer Steve Rotsch is an international award-winning photographer who has been photographing the great outdoors for more than 40 years. He has worked as a forensic photographer, photojournalist, commercial photographer and has been a personal documentary photographer to five West Virginia governors. He also has seven self-published books.

Find information about the instructors on Facebook at “Steve and Steve Photography Workshops.” You can see their work at steveshaluta.com and stevenrotsch.com.

Workshop packages are available and include overnight accommodations, some meals and instruction. Reservations are required and can be made by calling Twin Falls Resort State Park at 304.294.4000.


►  The ‘It’ factor: How a scary big hit could change horror

There are no sure things in Hollywood, but modestly-budgeted horror movies come pretty close. This weekend took that thinking to new heights as the big screen adaptation of Stephen King’s “It” shattered records and even the boldest predictions with its $123.4 million debut.

Until “It,” no horror movie had ever even opened over $55 million, let alone $100 million. It had a cast with no movie stars and it only cost $35 million to produce — on the high end for a modern horror movie, but minuscule compared to standard superhero budgets, which generally cost over $100 million and often run north of $250 million.

Even as the industry continues to lament the year’s lagging box office, which is down around 5.5 percent from 2016, 2017 has been good for horror with massive successes like “Get Out,” ″Split,” ″Annabelle: Creation” and now the new bar set by “It.”

“If ‘It’ had made $120 million total it would have been a huge hit,” says Forbes contributor Scott Mendelson. “This is so unprecedented.”

There is already a sequel in the works. “It” focuses on the children of Derry, Maine, while Part 2, expected in the third quarter of 2019, will focus on the adults.

Mendelson predicts “It’s” success could lead to more modestly budgeted Stephen King adaptations, but cautions against thinking that its results can be replicated.

“This was very much the ‘Beauty and the Beast’ of horror movies,” Mendelson said, referring to the Walt Disney Company’s smash live-action hit from earlier this year. “You have a movie that would have been an event by itself, but you also have the source material that captures several generations of interest and nostalgia.”

Beyond a newly energized appreciation for King’s box office potential (excluding “The Dark Tower,”) “It” has some wondering whether Hollywood’s horror strategy might shift.

“Everyone has been trying to mold themselves into this low budget model that sort of doesn’t work anymore. There are only so many things you can do with a limited budget like that,” said Kailey Marsh, who runs her own management company and founded the BloodList, which highlights unproduced “dark genre” scripts.

“What I liked about ‘It’ was that it looked and felt really expensive. It felt as expensive as a $100 million movie,” she said.

“It” hit a cultural nerve and become one of those rare must-see event movies that all studios long for, but the Warner Bros. and New Line production is also a solidly mid-budget film— which is its own kind of anomaly in the current moviemaking landscape that has relied heavily on “micro” and low budget horror films in the $3 to $15 million range in recent years.

It’s a strategy that has worked well for Blumhouse Productions, the company behind the “Paranormal Activity” series, “Insidious,” ″The Purge,” ″Sinister,” and this year’s “Split” and “Get Out”— all of which cost under $15 million and most under $5 million — and something other studios have latched on to as well.

Aside from “It,” only a handful of horror films the past five years have touted budgets over $20 million, like “The Conjuring” films which are also from Warner Bros. and New Line. But even their “Annabelle” spinoffs have been made for $15 million or less.

“We try to make the best movie that we can with the best content that we can using the best talent that we can. We try to make it at the right price. If the right price is small we’ll try to do that,” said Jeff Goldstein, who heads up distribution for Warner Bros.

Marsh expects some studios to take note of the added return on investment that is possible with a slightly bigger budget.

“Because Hollywood is reactionary, and rightfully so, I am excited about not having to develop screenplays that are supposed to be capped at $10 million,” Marsh said. “You can get such a better cast and such better quality in the long run.”


►  ‘Pinocchio,’ ‘Fantasia’ animator ‘X’ Atencio dead at 98

Xavier “X″ Atencio, an animator behind early Disney movies including “Pinocchio” and “Fantasia” and “imagineer” behind beloved Disneyland rides like “Pirates of the Caribbean” and “The Haunted Mansion,” has died at age 98.

Disneyland spokeswoman Suzi Brown confirmed a company statement saying Atencio died Sunday. No cause or place of death were given, but Atencio lived and worked in the Los Angeles area most of his life.

Atencio’s drawings on “Pinocchio” helped give Disney its permanent identity in film and culture. His contributions to “Pirates” included the words to the “Yo Ho (A Pirate’s Life for Me)” song that is sung throughout the ride and by parkgoers for days after.

He was born Francis Xavier Atencio in Walsenburg, Colorado. But friends in his youth called him just “X,” the name he was known by the rest of his life.

He was still a teenager with a gift for drawing in 1938 when he began working for Disney, a company that was even younger than he was and had just one feature film — 1937′s “Snow White and the Seven Dwarfs” — to its name.

Atencio would see his work on the big screen in the company’s next two films in 1940, when he helped bring “Pinocchio” to life and worked on the musical and mystical “Fantasia” before leaving temporarily to serve in World War II.

After returning, he helped design stop-motion sequences for the Disney live action films “The Parent Trap” and “Mary Poppins.”

When the company’s work started including theme parks in the 1950s and 1960s, so did Atencio’s. At the request of Walt Disney, he became an imagineer in the company’s parlance, helping design rides for Disneyland and Disney World. He wrote the story and song that play out on “Pirates” and “Haunted Mansion.”

“X was an enormous talent who helped define so many of our best experiences around the world,” Bob Weis, president of Walt Disney Imagineering, said in a statement. “Some may not know that when he wrote the lyrics for ‘Yo Ho’ he had never actually written a song before. He simply proposed the idea of a tune for ‘Pirates of the Caribbean,’ and Walt told him to go and do it.”

Atencio retired in 1984, but he continued working as a consultant. In 1996, was declared a Disney Legend by the company.

His death comes just weeks after that of another Disney Imagineering legend, Marty Sklar.

Atencio is survived by his wife, Maureen, three children, three stepchildren and nine grandchildren.

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