![]() This special is the latest effort around the COVID-19 pandemic from nonprofit Sesame Workshop. “The wonderful residents of Sesame Street always know how to make us smile and feel a little better,” said Jennifer O’Connell, Executive Vice President, original content, HBO Max. “Our partnership with Sesame Workshop continues to bring joy to families through their educational entertainment made from compassion, understanding and fun.” “We’re grateful to our partners at WarnerMedia and HBO Max for their continued support as we strive to meet the needs of children and families through learning and laughter in these challenging times.” “Although summer looks different for many families this year, our Sesame Street characters once again show children that, with a little imagination, staying at home can still be fun,” said Kay Wilson Stallings, Sesame Workshop Executive Vice President of Creative and Production. Along the way, “Monster Foodies” Cookie Monster and Gonger whip up a tasty summer dessert, Amy Sedaris shares an easy craft the whole family can make, and Gabrielle Union leads Elmo and Abby in a sweet sing-along. Stripey, the duo invites children to join in the search for all seven items on their list using the printable worksheet linked here. Aided by Sesame Street friends Big Bird, Grover, Rosita, Oscar the Grouch, Bert and Ernie, Elmo’s dad Louie, and tiger Mr. Silliness and surprise twists abound in the half-hour special, in which Elmo teams up with Abby Cadabby via video chat for a virtual scavenger hunt. (J– New York, N.Y.) – Summer is in full swing on Sesame Street! Elmo and his friends are back with new games, activities, and celebrity guests – all from the safety of home – in a brand-new Max Original, Elmo’s Playdate: Scavenger Hunt, created and produced by nonprofit educational organization Sesame Workshop and available on HBO Max Thursday, August 6. The episode will be brought to you by the letters A and R, and the number 15.Celebrity Guests Amy Sedaris and Gabrielle Union Join Sesame Street Muppets on a Virtual Scavenger Hunt.Roger’s Neighbourhood until all gunfire has ceased. Lured to leave his safe spot in the closet by his inability to resist a plate of cookies cooling on a windowsill, Cookie Monster is gunned down by a legally held firearm.Gallant to the end, Big Bird sacrifices himself to protect the kids who had been listening to one of his stories only moments ago.Any children who question why they live in a world where this happens are declared undemocratic by a dead behind the eyes Republican puppet operated by the NRA. Songs and dance numbers are replaced by thoughts and prayers.“Make yourself red like Elmo,” he advises. As a disgruntled former cast member stalks the studio with a rifle, Elmo will help kids as young as 5 learn how to play dead so they don’t get shot.would do their bit to prepare the youth of today for an active shooter incident: So with school shootings in America now a daily part of everyday life for children, it only makes sense that the friendly and reassuring folk at 123 Sesame St. OVER the years, Sesame Street has helped American children tackle everything from literacy to autism to cookie addiction in a charming, educational way. ![]()
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![]() ![]() The review also points to the reality that independent film screenings often drew a sparse public, and it notes that The Kitchen was one of the few places in which the art film enjoyed a regular, enthusiastic audience.įaced with the relative unknowability of the undocumented or unarchived aspects of the extensive three-day festival, I sought to trace the interconnected threads tessellating beneath text documents. Kathleen Hulser’s review in the Villager offered some clarity on this matter, pointing to the status of independent film in a pre-digital age: “The art film is like a mushroom, it grows in dark places, nourished by obscurity.” Hulser attributes this obscurity to independent film’s existence outside of the art market, which, on one hand, freed it from commercial pressures and traditional notions of success, but, on the other, determined its relative absence from museums and museum collections. I thought about what it means that the tangible, experiential quality of the events and the overall impact of the evenings can only be reconstituted through fragments of ephemera, despite the medium of film’s reproducibility. As I looked further into the festival, I was struck by the contrast between the event’s extensive programming, which brought together an array of canonical experimental filmmakers, and its archival afterlife. In addition to this press release, traces of the event glimmer to the surface via The Kitchen’s archive in a New York Times listing and a Villager review. ![]() As noted in the press release, the festival consisted of “16mm and super 8 work by over twenty filmmakers,” and was “a showcase for a variety of styles of independent work, with this emphasis on that of the independent avant-garde but including documentary and other work.” ![]() The fourth iteration of the Filmworks program series initially conceived in 1978 by Leonardo Katz, Filmworks ’ 82 was curated by author, filmmaker, critic, Kitchen artist and guest curator Amy Taubin. On May 25, 26, and 27 1982, The Kitchen screened a series of experimental films from an array of emerging and established filmmakers. ![]() |