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From Indiewire

Sundance 2018: 10 Must-See Short Films, From Armie Hammer to Don Hertzfeldt

Hammer, Simon Helberg, and Lakeith Stanfield appear in some of the best short films from this year's festival.

“End of the Line”

Director: Jessica Sanders

It does this ambitious 14-minute short a disservice to pitch it as “Lemon” meets “Downsizing,” but comparisons are inevitable. Brett Gelman plays a sad sack whose new “pet” is a miniature-sized man (Simon Helberg) held against his will in a birdcage.  Based on a story by Aimee Bender and featuring 67 visual effects shots, this latest and greatest from the Refinery 29/Shadowbox Anthology series is just as powerful and as satisfying a viewing experience as “Lemon” (in which Gelman starred) or “Downsizing.”

“I’ve been obsessed with Aimee Bender’s story since I read it 12 years ago,” said director Jessica Sanders. “I am interested in the themes of power and its abuse, which is very timely. The story and film explore men’s abuse of power but all seen/told through a female lens (female writer, screenwriter and director) which I think is interesting!”

After the film completes its festival run, it’s scheduled to have a limited theatrical release, then debut online as part of Refinery29’s Shatterbox Anthology which supports female directors, followed by an airing on TNT.

Sanders, who is an Academy Award-nominated, Sundance and Cannes-winning filmmaker and commercial director, is next helming a scripted feature about forgiveness entitled “Picking Cotton.”  It’s based on a story from her 2005 Sundance-winning documentary “After Innocence” and the New York Times Best Seller written by Jennifer Thompson, Ronald Cotton, and Erin Torneo.

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A fundraiser for the  Huntington's Disease Society of America

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Celebrating Simon's Birthday early on set...(it's actually on Sunday 12/9)

 

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From The Pasadena Playhouse

It’s a Wonderful Life: A Live Radio Play  |  December 12 — December 23

It’s a Wonderful Life, one of the all-time classic Christmas stories, comes to life onstage in a 1940s-style radio broadcast. Join Simon Helberg as the down-on-his-luck George Bailey whose guardian angel shows him what his town would have been like had he never been born. This timeless masterpiece guarantees to warm your heart this holiday season.

 

IWL_Simon_2230-x-1220_text_no-logo-1.jpg

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There's an account on Instagram @reallsimonhelberg that is pretending to be Simon and actually got blue check verified by IG.

Bill Prady confirmed via Twitter this afternoon that it is not Simon. Simon is not on IG.

If you follow this account please unfollow and report.  If you have an IG account and don't follow this person, please take a minute to report this account. Impersonating a real person is a violation of IG's Terms of Service.

@emmy4mayim captured her Twitter exchange with Bill.

Please note in the fraud user name starts with the word REAL has two LL's

Edited by vonmar

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From The Pasadena Star News

How this ‘Big Bang Theory’ star came to play George Bailey in a new ‘It’s a Wonderful Life’ production

Simon Helberg steps out of the hit CBS sitcom into the Pasadena Playhouse holiday production

It’s been a while since actor Simon Helberg stepped away from his day job on television and into a live theatrical production. But as Howard Wolowitz, the brainy character he plays on the hit sitcom “The Big Bang Theory” might say, even though it’s not rocket science it might be just as thrilling.

“It’s always kind of fast, and that makes it kind of exciting and it makes it kind of terrifying,” Helberg says of the one week of rehearsal for the Pasadena Playhouse production of “It’s A Wonderful Life: A Live Radio Play,” which held its first preview on Wednesday.

“It’s a perfect blend of a deep paralyzing panic and kind of euphoric delirium,” he says of live theater. “It’s scary, but I think that kind of lends itself to the fun.”

<full article in the link>

 

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Thanks for this.

We have a saying here 'The pictures are better on the radio' and we have several scripted programmes a day on BBC radio. It tickles me that American articles refer to '1940s' when writing about a radio drama.

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