Ex-SAS hardman ordered comrades execution after seeing brains blown out in massacre
WARNING: Graphic content. Peter McAleese, 78, told how he was shocked to find 14 mercenaries just lying there mowed down in the street while investigating a bloody massacre in Africa
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Cruella
Cruella de Vil – there’s a clue in the name. This is the origin story of the fur-loving, puppy-slaughtering villain from British novelist Dodie Smith’s The Hundred And One Dalmatians, which has been adapted for the screen several times.
Emma Stone (above) is Estella, an aspiring young fashion designer in punkish 1970s London before she becomes such a cruel devil. The film also stars Emma Thompson and Mark Strong
Emma Stone is Estella, an aspiring young fashion designer in punkish 1970s London before she becomes such a cruel devil. The film also stars Emma Thompson and Mark Strong and is directed by Craig Gillespie, who directed the great I, Tonya. Disney+, from Friday
Ally Ross
Updated: May 7 2021, 6:36 ET
NINE years, six series and 1,000 acronyms later, millions of underwhelmed Line Of Duty viewers finally learned H’s identity and the lousy price of his treachery as well.
It was poor, gormless Det Supt Ian Buckells, who’d done it all for “a time-share in Gran Canaria”.
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Millions of underwhelmed Line of Duty viewers finally learned H’s identityCredit: BBC
Not even Fuerteventura, with a “resort swap option”, which would’ve had me tipping off the OCG the moment I passed out at Hendon Police College.
Buckells sold his soul for Gran Canaria, we were asked to believe.
FORMULA 1: DRIVE TO SURVIVE (SERIES 3)
PRODUCTION Box to Box Films
POST PRODUCTION The Farm Group
WATCH IT Netflix
The Farm Group completed full post-production, including Dolby Vision HDR and Dolby Atmos, on the third instalment of Netflix’s well-received Formula 1 documentary series.
The series covers the shortened 2020 season, when the drivers chased the chequered flag as Covid-19 turned the world upside down.
It was graded using Digital Vision’s Nucoda by colourist Will Coker. The brief was to keep the look realistic, with the scope to heighten any mood with tonal shifts in colour and contrast.
Each episode is different in terms of subject and feel so each one had a special consideration, enabling Coker to experiment with the look.