The first day of school, birthday parties, and heck, even an average day at the park are great opportunities to capture memories of the kids. If you don’t want all of your memories to be in the iPhone aspect ratio, you may want to consider improving your DSLR photography skills. This eight-course Professional Guide to Photography Bundle will show you how with courses in both capturing and editing photos, along with a 97% discount.
If you’re new to picking up a camera that doesn’t double as a phone, you’re not alone. This bundle includes a few courses for beginners, like the Ultimate Guide to Digital SLR Photography, which teaches you all the basics. Things like flash, composition, lighting, action, and depth of field are covered in the seven total hours of content. Once you have those down, you’ll want to take the included Photography Master Class, which will cover shutter speed, ISO, and more to get you comfortable shooting manually.
The killer portraits you see other moms posting aren’t the result of good photography skills alone; there’s likely some editing in there too. This bundle comes complete with three courses in Photoshop to teach you the basics through compositing. You can even add unique effects with the After Effects for Photography course. You’ll learn about things like adding foreign planets in the sky behind your kid’s Halloween photos in her alien costume.
When you start feeling pretty good about your skill level, you may start to consider making some dough with your new skills. The Studio Portrait and Complete Wedding Photography courses will set you up for two completely different experiences in professional photography.
Whether you’re looking to try a new career or just capture better photos for your family photo albums, this bundle can help. Score the whopping 97% discount for a limited time and get the Professional’s Guide to Photography Bundle for just $39.99.
Psst: If you choose to purchase this, LittleThings may receive a small cut. Each item and price is up to date at the time of publication; however, an item may be sold out or the price may be different at a later date.
Byline: Violet Shepard
Perry Mason: Season One Ratings
The original Perry Mason TV show ran for nine seasons (271 episodes) and 30 TV movies. It’s unclear if this newest Mason series on HBO will positively end after eight episodes or, if to could be renewed for a second season. Will the ratings be strong enough to persuade all involved to make additional episodes? Stay tuned. *Status update below.
A detective drama, the Perry Mason TV show is a prequel that provides a reimagined origin story for the legendary criminal defense lawyer. The show stars Matthew Rhys, Tatiana Maslany, Chris Chalk, John Lithgow, Shea Whigham, Juliet Rylance, Stephen Root, Gayle Rankin, Nate Corddry, Veronica Falcón, Jefferson Mays, Lili Taylor, Andrew Howard, Eric Lange, and Robert Patrick. Before he became an attorney, Perry Mason (Rhys) was a low-rent private investigator who lived check-to-check in the 1930s. He’s haunted by his wartime experiences in France and suffers the after-effects of a broken marriage. Mason is often employed by a struggling attorney named Elias Birchard “E.B.” Jonathan (Lithgow) who serves as a mentor and father figure to Mason. Della Street (Rylance) is Jonathan’s secretary who’s both creative and driven legal. Paul Drake (Chalk) is a beat cop with a knack for detective work. Pete Strickland (Whigham) is hired by Mason as an extra set of eyes on his various investigations. Meanwhile, Sister Alice McKeegan (Maslany) is the leader of the Radiant Assembly of God and preaches to a hungry congregation and a radio audience across the country.
The ratings are typically the best indication of a show’s chances of staying on the air. The higher the ratings, the better the chances for survival. This chart will be updated as new ratings data becomes available.
Note: If you’re not seeing the updated chart, please try reloading the page or view it here.
Cable ratings are typically released within a day or so of the show’s airing, except for in the case of weekends and holidays.
What do you think? Do you like the Perry Mason TV series on HBO? Should it be renewed for a second season?
*7/23/20 update: Perry Mason has been renewed for a second season on HBO.
Kristin Cavallari & Ex Stephen Colletti Cozy Up In New Pic — What’s Going On!?
Kristin Cavallari just provided us with the ultimate dose of nostalgia!
On Tuesday, the recently single MTV alum posted a snap to her Instagram with her ex. No, not Jay Cutler! The one that got away, Stephen Colletti!!
Related: Kristin Enjoys A ‘Night Out’ With Friends Amid Her ‘Fresh Start’ In New Digs
Along with the grainy nighttime pic (above) where the Laguna Beach alums can be seen VERY closely embracing, the 33-year-old wrote:
“2004 or 2020?!”
That’s what we’re wondering!
Regardless of whether they’re hooking up or just reuniting as pals, this pic was provocative enough to get people talking in the comment section!! Take a look at a few of the responses (below):
“oh lord. here come the internet rumors 🤦🏼♂️ you two haven’t aged a day! ♥️”
“what does it MEAN kristin”
“STOP I WOULD DIE IF THEY GOT TOGETHER”
“Internet just broke”
“The moment we’ve all been waiting for 🙌🏻”
What do U think is going on here, Perezcious readers?? Let us know (below) in the comments!!
[Image via Kristin Cavallari/Instagram.]
A Soulful Tribute to Howard Ashman – /Film
“To our friend Howard, who gave a mermaid her voice and a beast his soul, we will be forever grateful.”
The dedication to the lyricist behind some of Disney’s most beloved animated hits that runs in the closing credits of Beauty and the Beast is brief but beautiful — which is a fitting description of the life of Howard Ashman, whose amazing life was cut short by AIDS in 1991, right on the cusp of what would be his greatest and most lasting achievement. It’s a fitting description too for Howard, the Disney+ documentary directed by Ashman’s friend and colleague, Beauty and the Beast producer Don Hahn. Featuring never-before-seen archival footage of Ashman working on soon-to-be Disney classics like The Little Mermaid, Beauty and the Beast, and Aladdin, Howard is an all-too-fleeting snapshot of one of the greatest lyricists in musical history, the tragic circumstances of his death lending an air of melancholy and depth that is rare in a Disney-affiliated documentary.
“Howard was always a storyteller,” Ashman’s sister, Sarah Gillespie describes early in the film as the camera pans to candlelit figures of cowboys, Indians, nutcrackers, whirring fans and pearls — children’s toys that took on new life in the young boy’s immense imagination. Howard charts a fairly straightforward biography of the lyricist and director’s life, with with his sister and his mother Shirley Ashman describing his early years growing up in Baltimore as images of a smiling young Ashman roll across the screen. As the film moves on to his time at college and his formative years in New York City, co-founding the WPA Theater with his first partner Stuart White, more recognizable names pop up, with Alan Menken, Jodie Benson, and Paige O’Hara all talking about the man who made such an impact on the musical scene.
None of the interviewees ever appear as a talking head onscreen, with the documentary preferring to give the spotlight only to Ashman in grainy black-and-white photos — transforming from a shy youngster to a serious young drama performer through the few images compiled of Ashman, as his friends and family describe his life. Hahn’s approach is clearly in loving tribute to Ashman, without the noise of a typical talking-head documentary to distract from the man at the center.
But the effect is something like a half-remembered memory, an footprint left on the sand as his loved ones desperately try to remember the boot that made it. Some of the memories contradict each other: Ashman’s colleagues from his time at Disney speculate on his state of mind in his later years, wondering if he had injected his own life experiences into songs such as “The Mob Song” from Beauty and the Beast, while his family vehemently denies such “hooey.” Ashman’s partner Bill Lauch, who took care of him as Ashman’s health deteriorated, clearly hesitant to go into the details of those later years, somewhat bitterly muses that Howard “may have said goodbye” long before he got sick. Through this faceless depiction of his interviewees, Hahn — perhaps unintentionally — crafts a conflicting and flawed portrait of Howard, which makes the film much more fascinating than if it had only given us a rundown of his achievements at Disney and off-Broadway.
That’s not to say the documentary is perfect. While reading between the lines makes the imperfect portrait of Ashman quite interesting, the film begins to drag a little after 20 minutes of Hahn cycling through the same series of images and throwing on the Ken Burns effect. When we do get to see Ashman speak for himself, the video interviews of the lyricist promoting Little Shop of Horrors and Smile are not all that illuminating, mostly showing a soft spoken and sensitive man who minces his words. Which is an all the more fascinating image, coming just a few minutes after Ashman’s famous collaborator Alan Menken described his first impression of Ashman as a chainsmoking rebel.
Howard gets a jolt of energy from its archival footage of the recordings of songs from Beauty and the Beast and The Little Mermaid, as we get to see Ashman at work, laser focused but — as we soon learn — fast deteriorating physically. That the best work of Ashman’s career came during a period where he was suffering the most from his illness is a tragedy not lost on the documentary, but not one that Hahn too heavily emphasizes. Howard gives a brief description of the AIDS crisis, with your requisite news reels describing the epidemic that devastated the gay community, but it expects its audience to know the implications of the disease.
However, any concerns about a Disney documentary properly covering an important aspect of Ashman’s life — his sexuality, his AIDS diagnosis, and even, in part, his fear of being outed while at Disney — can be put to rest. Howard never shies away from Ashman’s sexuality and his love life, though it paints a rather simplistic picture as told by his acquaintances and his partner Bill. The coverage of Ashman’s sexuality mostly function in laying the ground for his later diagnosis, though the scant details about his relationship with White, who is ever-so-slightly villainized for his hard-partying lifestyle before his diagnosis, are, again, interesting.
The parts of the film that cover Ashman’s rise to success with Disney don’t add much to what we already know, but bring a triumphant energy to the documentary in a bittersweet climax. Seeing the classic conflict of then-Disney Studios chief Jeffrey Katzenberg wanting to cut “Part of Your World” while Ashman fought for its inclusion are still satisfying to watch, as are Menken’s little analogies — by far the most colorful parts of the documentary — with the composer describing The Little Mermaid directors Ron Clements and John Musker as “white bread” that got a little much-needed flavor from Ashman. These segments are the most entertaining part of the film, as Howard breaks up the monotony of its photo montages with the aforementioned archival footage, including the recording of the song “Belle,” which was another song we learn that Ashman had a heavy hand in, transforming a music-free opening to a full-fledged “operetta.” Hearing Ashman’s demos of iconic songs such as “Poor Unfortunate Souls” and “Belle” — his specific intonations almost exactly imitated by the singers — are a joy to experience. Footage of Ashman directing Angela Lansbury and Jerry Orbach during “Be Our Guest” is dynamite, tapping into the charged magic of creating something that everyone involved knows will be special.
The veneer of tragedy during this pinnacle of Ashman’s career makes this footage all the more bittersweet. The film descends into an almost dour tone as Ashman’s friends and family describe his deteriorating condition, of working long hours at recording sessions only to go home and get hooked up to intravenous fluids, of doing Disney World junkets while struggling to stand, of writing “Prince Ali” with Menken from his hospital bed. But Hahn makes sure to emphasize that Ashman’s dream of creating something that will last long after he was gone was realized, showing a montage of the beloved animated films, its stage adaptations, and (ugh) its live-action remakes. Howard feels like in-memoriam tribute from a friend: made with a rosy sense of nostalgia, and perhaps a few too many photo montages, but with love.
/Film Rating: 8 out of 10
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