A story of Alice-Miranda Highton-Smith-Kennington-Jones, an extraordinarily vivacious 10-year-old-girl, and her adventures at the Winchesterfield-Downsfordvale Academy. From royal cruises to Christmas balls, the new school year holds no shortage of excitement and surprises for Alice-Miranda, Millie and Jacinta.
Francisco, Isabel, Fco. Javier and David are captured in different parts of the world when they worked as "mules" to overcome the crisis. They tell their stories from the deal that turned them into traffickers to their release from prison.
"Outsourcing (My Desires to Avatars)" is a machinima and experimental video created by video artist Jamie Janković and writer, poet and director Deborah Findlater. The work is part of an ongoing project addressing the intersectionality of responses to female characters in video games; formally speaking, the work is presented as an audio-visual poem, accompanied by voice over. According to Janković, this work is meant as a response to found footage material of the character Christie from the popular fighting game series "Dead or Alive" (1996 – ongoing). Moreover, the examination of the role of female characters in "Outsourcing (My Desires to Avatars)" is part of a larger project titled "The identity quest series," in which the artist addresses a multiplicity of responses to female video game characters, following engagement in interviews with queer people within the gaming industry and exploring their own views on gender in game design.
The Sharkpack gets ready for Halloween with the spooky legend of the "Fearsome Fog" — and Sharkdog must save trick-or-treating from a slimy sea monster!
To free Baba Yaga and Renfield from the clutches of Monster Hunter Mila Starr, the Wishbone Family once more transforms into a Vampire, Frankenstein's Monster, a Mummy and a Werewolf but when aided by their three pet bats, the Monster Family zooms around the world again to save their friends, make new monstrous acquaintances.
"Lightmare" was inspired by a group of youths who used to race motorcycles by my house. They would sometimes ride when I was trying to get my young daughter to sleep and caused great aggravation for me. The neighbors became quite worried as well and eventually the police were engaged to stop the racing, unsuccessfully. Stories began to spread about who the youths were and what poor conditions their parents were raising them in. The film attempts to capture the anxiety of the neighborhood, using negative space as a mask to subvert the audience's expectations of horizon and depth. In contrast, much of the content underscores the triviality of the perceived threat.