Strassman’s professional acting career began in 1964 with appearances on The Patty Duke Show, before playing Nurse Margie Cutler in several episodes of TV’s M*A*S*H adaptation.
On ABC’s Welcome Back, Kotter, which ran from September 1975 to June 1979, she costarred as Julie Kotter, wife to Gabe Kaplan’s titular Brooklyn school teacher.
Strassman’s most recent TV credits include a 2004 stint on Third Watch, TV
Rebels acts as a bridge between the time periods of Revenge of the Sith and A New Hope and it's really interesting to hear some of those familiar melodies come back, in some part, into the show.
I couldn't help checking out Kiner's IMDb page and over the years he has done the score for a lot of TV and a few video games. Some notable projects other than the aforementioned are Stargate Sg-1,
Originally released in the Us in 2012 under the title of The Cottage and no doubt renamed to avoid confusion with the similarly themed British film from 2008, The Tenant sees Chloe (Dalton) and Michael Carpenter rent out the cottage behind their house to charming novelist, Robert Mars (Arquette) the whole family are delighted, but soon after he moves in the family start to fear they are being stalked and watched. Their fears are heightened when a family friend goes missing but with no evidence and the law against them they struggle to fight a deadly threat in their own backyard.
The Tenant is one of those slow-burning horror/thriller hybrids that expends a lot of energy in setting up the
Tinseltown has been convincingly developing the magnificence of the mighty in the animal kingdom for decades. A simple shift in perspective transformed King Kong (1933) from a large ape into a monster. Similarly the terror in Tremors (1990) lies not in the idea that we're being chased by sand worms, but that they're half-a-mile long.
Hollywood likes to super-size, to make things larger than life, but when it comes to clumsy old humanity it's much harder to make size scary. The Amazing Colossal Man (1957) looked corny, Allison Hayes's 50ft Woman looked bored, even on the attack. Jason and The Argonauts's (1963) bronze behemoth Talos had the stuff, but he was technically an automaton.
Human giants are smaller, sillier and far less malevolent. Their stomping ground is the cartoon or the gentle family comedy.
Jeananne Goossen – New CSI: NY Rookie
There’s not a whole lot of info on the character but we do know Norris will be showing up on CSI: NY in October to do some investigating when one of the CSI’s is involved in a shooting. In addition to his role on Breaking Bad and an appearance during Season 11 on the original CSI, Norris has also shown up on Law & Order: La, Medium and Tremors.
Mac and his team of crime scene investigators will be back on the
TVLine has learned that Norris, who on Breaking Bad plays incapacitated cop-turned-rock mineral collector Hank Schrader, will guest-star on CSI: NY as an Internal Affairs detective who investigates a shooting that involves one of the CSIs.
CSI: NY Exclusive: Smallville Alum Lands Role in Season Premiere
The CBS crime drama kicks off its eighth season on Friday, Sept. 23, with Norris appearing in an October episode.
Matt’s Inside Line: Scoop on CSI: NY‘s Emotional Premiere, Both NCIS
Directed by James Gunn
Written by James Gunn
Gross-out horror comedy is my guilty pleasure. Among the best are Peter Jackson’s Dead Alive, Stuart Gordon’s Re-Animator, and James Gunn’s Slither. Essentially a pastiche of the zombie and alien-invasion genres, Slither features a 50′s sci-fi plot with gross-out gore making for an effective, even if familiar, horror film.
This tongue-in-cheek horror flick shows off first-time director Gunn’s skill for blending comedy and horror. Slither recalls Tremors, only with much more gore: its the best kind of B-movie, one whose laughs are just as effective and intentional as it imaginative gross-out-effects. More importantly, Gunn probes the genre’s cliches without ever mocking them. Slither is a labor of love made by a horror aficionado who knows his shit, and along the way, he subsumes an onslaught of cinematic references to genre conventions, from John Carpenter’s
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