The following Monday at school, every boy in class knew. We all knew there was a reason why Cinemax was nicknamed "Skinemax." So it began: our torrid teenage love affair with clandestine, sound-turned-down, soft-focus sex. Earlier generations had "dirty magazines" by flashlight. So, how does a premium cable channel remake itself for a brave new world where Skinemax is merely the bare Skinimum? Of its three original prime-time series, one is a British import ("Strike Back") and one has already been canceled after one season ("Hunted"), leaving only "Banshee," which has been renewed for a second season to air next year, to generate something of a cult following.
Answer: The same way HBO and Showtime did, shifting focus away from movies and onto original and exclusive programming. They get people talking, and if you spoil an episode, you risk grievous bodily harm. As of now, onetime also-ran Starz reaches more viewers and generates more buzz with its lineup of shows like "Magic City" and the recently concluded "Spartacus." Still, Cinemax hasn't forgotten its target demographic.
But the crown jewel of the Cinemax After Dark lineup is "Femme Fatales." Taking its title from a long-running entertainment magazine that focused mostly on B-movie actresses and "scream queens," "Femme Fatales" is an anthology series that blends film noir plots and O.
Henry twist endings with the maximum skin After Dark is known for.
Stars: Rashida Jones, Hayes Mac Arthur, Jere Burns, Deon Cole Lyndon Johnson becomes the President of the United States in the chaotic aftermath of John F.
Kennedy's assassination and spends his first year in office fighting to pass the Civil Rights Act.
At the same time, it attempts to craft its own narrative as Dunye declares, “Our stories have never been told.” The title of the film itself, derived from Melvin “Block” Van Peebles’s The Watermelon Man (1970), a comedy depicting a bigoted White insurance salesman living in the 1960s, who wakes up one morning to find that he is black, represents Dunye’s transfiguration of the source into a distinctly feminine sphere.
Dunye’s second production, the HBO television movie Stranger Inside (2001), explores the gay African-American experience in the prison system through the story of juvenile offender Treasure (Yolanda Ross), who endeavours to re-build her relationship with her estranged mother by attempting to secure a transfer to the same prison as her mother, once she becomes a legal adult.
Director: Milan Cheylov The thrilling conclusion to season two. Director: Ira Ungerleider Abby (Lisa Edelstein) goes to New York City to sell her book 'Girlfriends' Guide To Divorce' to publishers and runs into Dr. Miller Tobin As a heat wave overtakes LA, Abby (Lisa Edelstein) is told by her editor Kat (Jean Smart) that her book is in need of a major overhaul. After betraying Delia and revealing her affair to the girlfriends, Abby (Lisa Edelstein) has been uninvited to the big day. See full summary » Director: Robert Duncan Mc Neill A chronicled look at the criminal exploits of Colombian drug lord Pablo Escobar, as well as the many other drug kingpins who plagued the country through the years.
Harris (Mark Valley) at the same literary convention. Stars: Pedro Pascal, Wagner Moura, Boyd Holbrook, Paulina Gaitan Finding out that their husbands are not just work partners, but have also been romantically involved for the last 20 years, two women with an already strained relationship try to cope with the circumstances together.
Little did she know however that her blog – which she started to keep her friends at home in London updated with her love life – would become an internet hit with women emailing her nonstop for dating advice.
Tinderella is looking for the one in the Big Apple, she says that she hopes to find her Prince Charming on the dating app.
starring the pop sensations Brandy Norwood and Whitney Houston, along with a multi-racial cast the likes of which the U. And the most astounding thing of all: The ethnic diversity ! There were no tongue-in-cheek nods, no hint of racial stereotyping with a subtle "wink wink." The characters were simply themselves—fully and uniquely existing within their roles. Despite being well into my adolescence, I watched that movie over and over and over again. It requires that we examine our most basic—and often unconscious—experiences of ourselves and others.