It's the middle of summer, but Epix is ready for autumn. The network just announced the premiere dates for their new and returning TV shows for fall 2019.
This fall will see the season three premiere of Get Shorty (October 6th at 10 p.m. Et/Pt) and the series debut of Slow Burn (November 24th at 10 p.m. Et/Pt), Alive (November 9th at 9 p.m. Et/Pt), and Laurel Canyon (December 16th at 9 p.m. Et/Pt).
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This fall will see the season three premiere of Get Shorty (October 6th at 10 p.m. Et/Pt) and the series debut of Slow Burn (November 24th at 10 p.m. Et/Pt), Alive (November 9th at 9 p.m. Et/Pt), and Laurel Canyon (December 16th at 9 p.m. Et/Pt).
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- 8/1/2019
- by TVSeriesFinale.com
- TVSeriesFinale.com
In the history of black filmmaking, “Stir Crazy” is rarely cited as a groundbreaker or an enduring high point. However, Sidney Poitier’s 1980 comedy sold more tickets in North America than “The Fate of the Furious,” or any other film by a black director.
Poitier’s career has included multiple breakout moments. He was the first black lead acting Oscar winner with “Guess Who’s Coming To Dinner;” he starred in two blockbuster films in 1967 with “To Sir With Love” (over $300 million, adjusted gross) and “In the Heat of the Night” ($177 million, adjusted gross). He was, more than even Denzel Washington or any other black actor-turned-director, an icon of cinema when he made “Stir Crazy.” And it was this film, more than any other, that found access to all domestic audiences.
That said, it’s a film that doesn’t have the resonance of other historical blockbusters like “Gone With the Wind,...
Poitier’s career has included multiple breakout moments. He was the first black lead acting Oscar winner with “Guess Who’s Coming To Dinner;” he starred in two blockbuster films in 1967 with “To Sir With Love” (over $300 million, adjusted gross) and “In the Heat of the Night” ($177 million, adjusted gross). He was, more than even Denzel Washington or any other black actor-turned-director, an icon of cinema when he made “Stir Crazy.” And it was this film, more than any other, that found access to all domestic audiences.
That said, it’s a film that doesn’t have the resonance of other historical blockbusters like “Gone With the Wind,...
- 5/12/2017
- by Tom Brueggemann
- Indiewire
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