As Alison’s parents and the resort authorities search for her all around the resort, Alison’s lifeless body floats at the bottom of a waterfall at a distance. Gogo, one of the concierges, takes cover and prays to God, apologizing for what he has done. Based on Alexis Schaitkin’s novel “Saint X,” this series explores the mystery behind the rape and murder of teenager Alison from multiple perspectives and timelines. Years later, when her younger sister Emily comes across one of the two men who were held responsible for her death, she decides to find out the truth. “Saint X” Episode 1 is the beginning of a complex plot. Here goes.
Spoilers Ahead
Let There Be Bay
Emily and her boyfriend, Josh, are about to leave the bar. Josh offers to accompany her, and she knows that Josh is scared to let her walk home alone in Flatbush, Brooklyn.
Spoilers Ahead
Let There Be Bay
Emily and her boyfriend, Josh, are about to leave the bar. Josh offers to accompany her, and she knows that Josh is scared to let her walk home alone in Flatbush, Brooklyn.
- 4/27/2023
- by Shubhabrata Dutta
- Film Fugitives
In a moment of emotional crisis, Alison (West Duchovny) blurts out the suspicion that’s been weighing on her to a stranger in the bathroom: “Am I generic?” she sobs. And though the stranger assures her that she’s not, Saint X takes a more nuanced view.
In premise, the series would seem to be a fairly standard take on the dead-white-girl narrative, with Alison’s eventual unexplained death serving as the mystery at the heart of the plot. But as with the 2020 Alexis Schaitkin novel it’s based on, it upends those tropes by offering a kaleidoscope of perspectives that reconsider what kind of stories we expect from tragedies like these, and who gets to be at their center — or it aims to, anyway. Unfortunately, an accumulation of minor fumbles leaves what could’ve been an incisive subversion of a familiar story feeling, instead, more like a replication of it.
In premise, the series would seem to be a fairly standard take on the dead-white-girl narrative, with Alison’s eventual unexplained death serving as the mystery at the heart of the plot. But as with the 2020 Alexis Schaitkin novel it’s based on, it upends those tropes by offering a kaleidoscope of perspectives that reconsider what kind of stories we expect from tragedies like these, and who gets to be at their center — or it aims to, anyway. Unfortunately, an accumulation of minor fumbles leaves what could’ve been an incisive subversion of a familiar story feeling, instead, more like a replication of it.
- 4/26/2023
- by Angie Han
- The Hollywood Reporter - Movie News
Jeanne Moreau was to French cinema as Manet’s “Olympia” was to French painting — the personification of the gait, glance, and gesture of modern life. Her darting brown eyes and enigmatic moue were the face of the French New Wave. Her candid sensuality and self-assurance, not to mention the suggestion that she was always in control, made her the epitome of the New Woman. From Orson Welles and Luis Bunuel to Joseph Losey and Rainer Werner Fassbinder, Moreau was the muse to the greatest directors of world cinema.
“She has all the qualities one expects in a woman,” quipped Francois Truffaut, director of her most beloved film, “Jules and Jim” (1962), “plus all those one expects in a man — without the inconveniences of either.”
Surprisingly, this quintessence of French femininity had an English mother, a dancer at the Folies Bergere. Her French father, a hotelier and restaurateur, upon learning that his daughter likewise had theatrical ambitions,...
“She has all the qualities one expects in a woman,” quipped Francois Truffaut, director of her most beloved film, “Jules and Jim” (1962), “plus all those one expects in a man — without the inconveniences of either.”
Surprisingly, this quintessence of French femininity had an English mother, a dancer at the Folies Bergere. Her French father, a hotelier and restaurateur, upon learning that his daughter likewise had theatrical ambitions,...
- 7/31/2017
- by Carrie Rickey
- Indiewire
Paying tribute. Liam Neeson took in a Broadway show on Thursday, Jan. 8, watching the revival of Cabaret 17 years after his late wife Natasha Richardson starred in the revival of the celebrated musical. "Liam came with his sons to see the show," a source tells Us Weekly. The Taken 3 actor is the father to sons Micheál, 19, and Daniel, 18, whom he welcomed with Richardson before her death in 2009. "The show is obviously very special to him." Richardson, who died at the age of 45 [...]...
- 1/9/2015
- Us Weekly
In the '80s, we got Countdown and Channel 4. In the '90s, we got the Spice Girls and Channel 5. In the '00s, we got Dave and Top Gear repeats.
And in the whatever-we-call-this-decade, we've got ITVBe and Towie. Lots and lots of Towie.
Not content with ITV2, ITV3 and ITV4, the broadcaster launches ITVBe this evening, a home for "entertainment and lifestyle" programming. That basically means more Towie.
Who would want to miss this momentous moment in broadcasting history? All the big guns - Jamelia, Mark Wright and Denise Van Outen - are involved at some point tonight, and we'll be sticking it out for the duration.
We'll be live blogging the whole evening from the Peter Andre kick-off at 7pm to the closing of the reem Towie party at 11pm - just dipping out in time to avoid Joe Swash on Celebrity Dinner Date.
Join us...
And in the whatever-we-call-this-decade, we've got ITVBe and Towie. Lots and lots of Towie.
Not content with ITV2, ITV3 and ITV4, the broadcaster launches ITVBe this evening, a home for "entertainment and lifestyle" programming. That basically means more Towie.
Who would want to miss this momentous moment in broadcasting history? All the big guns - Jamelia, Mark Wright and Denise Van Outen - are involved at some point tonight, and we'll be sticking it out for the duration.
We'll be live blogging the whole evening from the Peter Andre kick-off at 7pm to the closing of the reem Towie party at 11pm - just dipping out in time to avoid Joe Swash on Celebrity Dinner Date.
Join us...
- 10/8/2014
- Digital Spy
Outstanding actor of stage and screen who made his name as Bri in A Day in the Death of Joe Egg
The British theatre changed for ever when Joe Melia, as the sardonic teacher Bri, pushed a severely disabled 10-year-old girl in a wheelchair on to the stage of the Glasgow Citizens in May 1967 and proceeded to make satirical jokes about the medical profession while his marriage was disintegrating. The play was Peter Nichols's A Day in the Death of Joe Egg, which transformed the way disability was discussed on the stage. It made the names overnight of its author, the director Michael Blakemore, and Melia. Albert Finney took over the role of Bri on Broadway.
Flat-footed, slightly hunched, always leaning towards a point of view, Melia, who has died aged 77, was a distinctive and compassionate actor who brought a strain of the music hall to the stage, a sense of being an outsider.
The British theatre changed for ever when Joe Melia, as the sardonic teacher Bri, pushed a severely disabled 10-year-old girl in a wheelchair on to the stage of the Glasgow Citizens in May 1967 and proceeded to make satirical jokes about the medical profession while his marriage was disintegrating. The play was Peter Nichols's A Day in the Death of Joe Egg, which transformed the way disability was discussed on the stage. It made the names overnight of its author, the director Michael Blakemore, and Melia. Albert Finney took over the role of Bri on Broadway.
Flat-footed, slightly hunched, always leaning towards a point of view, Melia, who has died aged 77, was a distinctive and compassionate actor who brought a strain of the music hall to the stage, a sense of being an outsider.
- 11/7/2012
- by Michael Coveney
- The Guardian - Film News
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