stuart richards

Some Positivity about the 100
  • Jarod  took Richard to his first ever hockey game
  • Bob and Ricky have both stated that they are basically brothers in one another eyes 
  • Eliza is actually probably one of the silliest cast members as proof by her vines
  • Eliza and Alycia have a great off screen friendship
  • Jarod Joseph, Richard Harmon, and Sachin Sahel have matching tattoos. 
  • Eliza and Marie have this adorable habit of taking pictures where Marie just faces Eliza and you can see her grinning so hard
  • Jarod is so accepting of the Dad title and calls the fans his children and refers too himself as Dad
  • Bob put together a Bellamy Blake inspired shirt to raise funds for Beyond Blue which raises funds for mental health
  • Katie, Chelsey, and Celia Reid hang out in real life
  • Chelsey and Katie are the captain of Harpoe
  • A LOT of them get together to watch the show live 
  • Devon  is an actual fanboy 
  • Lindsey and Marie are really into working out … Eliza is not 
  • Christopher has a band and one of  his song has been used in the show
  • #VANFAM 
  • Marie has a dog named Chewy, he goes on set a lot and is precious. 
  • Bob went to the TCA awards once when Eliza didn’t win the award he left with cookies
  • Devon and Christopher were roommates, they also sang a song together it was great
  • Many members do kill shots when they watch the show live


feel free to add some of your favorite things about our wonderful cast :D 

variety.com
‘La La Land’ Named Best Movie of the Year at Capri Hollywood Festival
Lionsgate’s musical romance “La La Land” took home the top honor at the 21st edition of the Capri Hollywood International Film Festival, with the Italian fest naming the movie bes…
By Variety Staff

We are so delighted!!! Medici: Masters of Florence won Best TV Show of 2016!

What Makes the Stones the Stones aka Stones vs. Beatles

The story is the stuff of rock and roll legend. Two old school friends run into each other on the London tube. One has a stack of records under his arm. The other can’t believe that they are the same then-little-known blues and rock and roll records with which he is obsessed. They get to talking and soon, with the help of a few new friends, a band is formed. We can all thank the fates that Mick Jagger and Keith Richards got on that train together.

In 1962 the first iteration of the “Rollin’ Stones” played their first show. The next year, the band’s original line up (Mick Jagger — vocals and harmonica, Keith Richards — rhythm guitar, Brian Jones — lead and slide guitar, Charlie Watts — drums, Ian Stuart — piano) found its groove. Performing covers of American blues and rock and roll songs, the Stones cultivated a following in London. They soon found themselves recording and signed to a label. Confronted with what songs to release, they regularly made decisions that, in hindsight, provide a neat contrast to their main contemporaries, and rivals for the spotlight, the Beatles.

It is impossible to understate the cultural impact of the Beatles. The first boy band. Beatlemania. The Ed Sullivan Show. Four scrappy lads from Liverpool with a love of 50s rock and roll introduced a whole new generation to the hip-shaking truth that Elvis first brought into popular culture. But their innovation was that they did so in a way that not only made teens scream, but also let parents (the hipper ones anyway) tap their toes too. Songs like “Please Please Me” are the kind of harmonizing, major-key rockers that made the Beatles a force to be reckoned with. The title also offers the kind of clever twist that make Lennon/McCartney one of rock and roll’s premier songwriting teams.

In contrast, the Stones put out altogether swampier, rootsier, and more deadly material. Even their more pop-oriented fare had a different edge (“Let’s Spend the Night Together” [more overtly sexual] “Mother’s Little Helper” [the horrors of suburban life laid bare] “It’s All Over Now” [a song about love that also summons the apocalypse in its title]). Released only two years after “Please Please Me” the Stones’ cover of Howlin’ Wolf’s “Little Red Rooster” — to this day the only blues song to be number one on the charts —  is everything the Beatles are not. It is slow, sinuous, and features a solitary vocal presented starkly against a slinking, unsteady slide guitar. As is so often the case with the Stones, as a counterpoint to the molten menace on top, there is an undeniable groove underpinning the whole ramshackle structure with Richard’s rhythm guitar melding perfectly with Charlie Watts’ sparse drumming and Bill Wyman’s tasteful bass.

The videos of the Stones performing “Little Red Rooster” provide another window into how they differ from the Beatles. When the Beatles performed for television, they were united. Brought together by their similar haircuts and matching suits, they bopped along amiably and wore their electric guitars in matching poses. Paul McCartney’s left-handedness meant that he and Lennon looked even more perfect; mirror images coming together to sing harmony parts and splitting into flawless reflections of each other on either side of the main microphone. In interviews, all four were affable and, while potentially snarky, always goofy and likable.

The Stones by contrast were a much surlier and more rag-tag bunch. Keith Richards has said: “You either wear the white hat or the black hat. They wore the white so…” This makes it sound like the band had no choice. The truth is the black hat fit more naturally on the Stones. There are two illustrative videos of the band performing “Little Red Rooster.” In one they are crammed together on a tiny “stage” surrounded by hip teens. Keith is playing a big acoustic guitar that he struggles to find room for, and Brian Jones has an electric that looks like it flew in from space. Mick struggles for space in the center, selling the lyrics with flicks of his expressive eyes, and Bill Wyman looks like a statue off to the side; one that happens to play bass. The group has no natural visual cohesion. They are shoved together by happy accident, the ties that bind them, strictly musical.

The other video of “Little Red Rooster” is much starker, almost shocking. The camera opens on a dark soundstage. Tree branches flicker in the front of the frame as mausoleum doors swing open. Mick Jagger stands alone on a blank set that is dimly reminiscent of a nocturnal graveyard. The camera swings down from its starting height and comes to fix on his face. As it moves in we see him lazily flipping a harmonica over and over in his hand. In that moment it may as well be a switchblade glinting in the moonlight.

The rest of the video is almost entirely focused closely on Mick’s face; the sole spot of light in the deserted studio. The band are revealed only as barely-lit specters at the very end of the song. Jagger throughout always knows which camera is on him at any given time. He switches his gaze between them effortlessly. Every hint of innuendo and danger in the lyrics is made explicit (but not cheapened in being revealed) by his subtle gestures and movements. This is not the Mick Jagger that dances across stadium stages, but the communicator. In this video, the enigmatic storyteller who can deliver any lyric, shows himself.

Imagining the Beatles even attempting something like “Little Red Rooster” is impossible. Envisioning any of them doing what Jagger does in that video is equally impossible. The Beatles and the Stones have many similarities. It would be foolish to deny that. However, there are also significant and important differences between the two bands. The Beatles, Liverpool boys from a working class town, and the Stones, middle class art school drop outs from soon-to-be-swinging London, were on similar but increasingly divergent paths. Thrust together by popular music’s appetite for opposition and their respective manager’s desire to cash in on the success of the other, the band members never harbored any animus towards each other. Even on their earliest recordings, the elements of what make these two pillars of contemporary rock and roll so wonderfully different were present. The Beatles had an ear for harmony and looked to early rock and roll to find their greatest inspiration. The Stones had an innate talent for drama and danger and found the blueprint of their voice in the work of delta and Chicago blues men as well as the harder rocking elements of the first wave of American rock and roll. These two starting points are what lead these two bands made up of men of similar ages with similar interests to, by 1969, record albums as exceptional and different as Abby Road and Let it Bleed.

Unity Days Panel Schedule

*For anyone who is not going, but would like to keep up with what is happening. I will be there and will try to post about it. All times in the Pacific timezone.*

FRIDAY JANUARY 13

5:30pm-7:00pm: The 100 Meta Panel

SATURDAY JANUARY 14

10:30am-11:00Aam: Arkadia Boys Panel (Bob, Richard, Jarod, Sachin)

11:15am-12:00pm: Princess Mechanic Panel (Eliza, Lindsey)

12:30pm-1:15pm: Costume Design Panel (Wendy Biscuit)

2:30pm-3:00pm: The Delinquent Panel (Eliza, Bob, Lindsey, Chris, Richard, Jarod, Chelsey, Katie)

3:30pm-4:00pm: Camp Jaha Panel (Lindsey, Richard, Katie, Sachin)

4:30pm-5:00pm: Alberta Panel (Jarod, Chelsey, Sachin)

5:30pm-6:00pm: Grounder/Mt Weather Panel (Chris, Jarod, Chelsey, Tasya, Luisa, Jessica)

SUNDAY JANUARY 15

10:30am-11:00am: The Healer’s Panel (Sachin)

11:30am-12:00pm: Grounder’s Panel (Tasya, Luisa, Jessica)

12:30pm-1:30pm: Talk Nerdy With Us Panel

2:00pm-2:30pm: The 100 Men Panel (Chris, Richard, Jarod, Sachin)

3:30pm-4:00pm: The 100 Women Panel (Lindsey, Katie, Chelsey, Luisa, Tasya, Jessica)

youtube

What does “Medici” mean to so many of our cast and crew?

Here’s the FIRST of our multiple Behind the Scenes clips. Stay tuned for more!

Which Confederate General Should You Fight?

ROBERT E. LEE: First of all, what is wrong with you.

STONEWALL JACKSON: This one’s a tough call.  The guy’s scary in battle, but if you want to beat him one-on-one, all you have to do is pretend to be a doctor, make up a wacky disease on the spot, and tell him he has it.

JAMES LONGSTREET: If you want to fight Longstreet, just remind him of his tragic past and make him really sad, but then again why would you do that???

J.E.B. STUART: You’re going to really, really want to fight J.E.B. Stuart, but you won’t be able to catch him, since he’ll probably be running circles around you and laughing.

LEWIS ARMISTEAD: I’m guessing you also like to kick puppies in your spare time.

GEORGE PICKETT: Fight him.  Ask him where his division is, and then hit him.

JOHN BELL HOOD: I don’t know, you’d probably feel like fighting him, but the dude has one leg and one usable arm.  As much as you’d like to mess with Texas and take him on, that’s probably grossly unethical.

RICHARD EWELL: The guy’s got a bird face and peg leg.  However, he is not opposed to hitting you with his own peg leg.  I think you might as well fight him.

A.P. HILL: This dude has gonorrhea, so you shouldn’t have sex with him, but you can fight him.  When you’re fighting him, though, you won’t be able to tell if you’ve made his chest bleed or something because he always his lucky red shirt.  And this isn’t Star Trek.

JUBAL EARLY: Lewis Armistead once broke a plate over his head.  You, too, are welcome to use Jubal Early to break things.

NATHAN BEDFORD FORREST: PLEASE TAKE THIS BASTARD OUT I CANNOT STRESS THIS ENOUGH.

P.G.T. BEAUREGARD: His name is silly and French.  You should probably fight him.  Actually, no, just do.  Fight his silly French ass.

LAFAYETTE MCLAWS: His first name makes him sound like a lovable French marquis, but his last name makes him sound like a grumpy crab.  In any case, you should fight him. Unless you’re a peach tree or Dan Sickles’s leg, you should be okay.