Simpsons Cast

This great Simpsons travel mug holds about 16 ounces and fits into most cup holders. The dual chamber design provides insulation. The snap-on cover provides protection against splashing and with its slide sip opening this is perfect for anyone on the go. Stylish and practical, this mug makes a great gift!

This powerful production originated on the stage of the Glyndebourne Festival. It was restaged and filmed on location for the BBC telecast preserved in this video recording. Director Trevor Nunn takes full advantage of the realism, fluidity of movement, and precision of small details that are difficult to achieve when televising a staged performance but easy and natural in a movie treatment. Nunn's vision, conveyed by an unusually talented cast, is constantly touching and rises to overwhelming intensity at climactic points. For example: the crap game and fight that end in Robbins's death, the hurricane scene, Crown's capture and abuse of Bess on Kittiwah Island, Porgy's fight with Crown, the comically sinister antics of Sportin' Life, the double-edged pathos and absurdity of the scene in which Bess gets "divorced," and the electrifying conclusion, when Porgy throws away his crutches and sets out, naively, to find Bess in New York. Musically, Simon Rattle and all the performers find the exact style for Gershwin's marvelous score--not only such big numbers as "Summertime," "Bess, You Is My Woman Now," "I Loves You, Porgy," "I Got Plenty o' Nuttin'," "It Ain't Necessarily So," "I Hates Your Struttin' Style," and "O Lawd, I'm on My Way," but such smaller items as the exquisite cries of the street vendors of honey, strawberries, and crabs. There are no weaknesses in the cast. Willard White and Cynthia Haymon are ideal in the title roles, Gregg Baker is a terrifying, larger-than-life Crown, and Damon Evans is a properly slimy Sportin' Life. The white police officers are splendidly repulsive. --Joe McLellan

184 minute, dual-layer DVD featuring Gershwin's Porgy & Bess.

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CD > POPULAR MUSIC > MOVIE SOUNDTRACK

During a 1971 concert performance, a seemingly relieved Pete Townshend announced that the event would mark the last performance of the Who's landmark rock opera Tommy. To paraphrase Adam West: "Poor, deluded boy." Over the ensuing decades, the mushrooming popularity of the Who's tour de force would inspire an all-stars-meet-the-London Symphony album (1972), a star-studded Ken Russell film epic/soundtrack (1975), a Broadway show (1992)--and become an enduring millstone around Townshend and the band's collective necks. But it was over-the-top auteur Russell who would give the morality tale of the deaf, dumb, and blind boy-cum-reluctant-messiah some of its most indelible pop-cultural iconography: Eric Clapton as High Priest; Acid Queen Tina Turner; Elton John in sky-high stack soles as the Pinball Wizard. The accompanying album is dutifully sprawling, a monument to Me Decade excess studded with loopy star turns (including the, er, "operatic" charms of Ann Margaret and Jack Nicholson), swelling choirs, and blustery synth fills. As he would later do to Sgt. Pepper's Lonely Hearts Club Band, executive producer Robert Stigwood manages to turn one of rock's seminal achievements into something more artistically akin to the World Wrestling Federation, and every bit as musically subtle. It's no mean feat to virtually overwhelm the Who on their own record; Stigwood makes it sound like a vendetta. Still, it's an album so ambitiously bad it's but one William Shatner performance away from being a kitsch masterpiece. --Jerry McCulley

The third Rodgers & Hammerstein Broadway hit to go before the cameras, The King and I boasts a career-making performance from Yul Brynner, repeating his stage triumph as the titular monarch and proving to moviegoers that bald can be beautiful. It's Brynner's proud king that provides the fulcrum to the plot, and it's Brynner himself, with his piercing gaze and graceful physicality, that demands our attention. The story line, adapted from an earlier, nonmusical stage hit, follows widowed English teacher Anna Leonowens (Deborah Kerr) to her new posting as tutor to the Siamese king's formidable mob of children. The collision of East and West affords its winning mixture of drama and humor, and the warm friendship that grows between the king and the patrician teacher provides a poignant, unfulfilled romance between the two wary protagonists. Into this framework, the composers insert a superb score, echoing Asian motifs, as well as a bouquet of lovely songs including "Hello, Young Lovers," "Shall We Dance," and two ensemble pieces for Anna and the royal children ("Getting to Know You" and "I Whistle a Happy Tune") that suggest prototypes for Rodgers & Hammerstein's later hit, The Sound of Music. For this 1956 production, 20th Century Fox lavished stereophonic sound, widescreen cinematography, intricate production design, and stunning sets. Technically, this newly mastered THX version is the best-looking and -sounding King yet to hit video, but in its full-frame, pan-and- scan version the formatting downsizes far too much of the splendor, losing some sharpness to the imagery. For viewing on all but the smallest screens, the widescreen edition is vastly superior. But, in either version, the glorious music is reason enough to hit "play." --Sam Sutherland

The third Rodgers & Hammerstein Broadway hit to go before the cameras, The King and I boasts a career-making performance from Yul Brynner, repeating his stage triumph as the titular monarch and proving to moviegoers that bald can be beautiful. It's Brynner's proud king that provides the fulcrum to the plot, and it's Brynner himself, with his piercing gaze and graceful physicality, that demands our attention. The story line, adapted from an earlier, nonmusical stage hit, follows widowed English teacher Anna Leonowens (Deborah Kerr) to her new posting as tutor to the Siamese king's formidable mob of children. The collision of East and West affords its winning mixture of drama and humor, and the warm friendship that grows between the king and the patrician teacher provides a poignant, unfulfilled romance between the two wary protagonists. Into this framework, the composers insert a superb score, echoing Asian motifs, as well as a bouquet of lovely songs including "Hello, Young Lovers," "Shall We Dance," and two ensemble pieces for Anna and the royal children ("Getting to Know You" and "I Whistle a Happy Tune") that suggest prototypes for Rodgers & Hammerstein's later hit, The Sound of Music. For this 1956 production, 20th Century Fox lavished stereophonic sound, widescreen cinematography, intricate production design, and stunning sets. Technically, this newly mastered THX version is the best-looking and -sounding King yet to hit video, but in its full-frame, pan-and- scan version the formatting downsizes far too much of the splendor, losing some sharpness to the imagery. For viewing on all but the smallest screens, the widescreen edition is vastly superior. But, in either version, the glorious music is reason enough to hit "play." --Sam Sutherland

The King and I. Won Academy Awards in 1956.

EPB44PHDG (Elevated Post Base - Hot-Dip Galvanized) can be used both for pier block and cast-in-place installation for 4x4 posts. nut and washer are shipped assembled

Literary adaptations just don't get any better than director Joe Wright's 2005 version of Jane Austen's Pride & Prejudice. The key word here is adaptation, because Wright and gifted screenwriter Deborah Moggach have taken liberties with Austen's classic novel that purists may find objectionable, but in this exquisite film their artistic decisions are entirely justified and exceptionally well executed. It's a more rural England that we see here, circa 1790 (as opposed to Austen's early 19th century), in which Elizabeth Bennet (Keira Knightley) is one of several sisters primed for marriage, with an anxious mother (Brenda Blethyn) only too desperate to see her daughters paired off with the finest, richest husbands available. Elizabeth is strong-willed and opinionated, but her head (not to mention her pride and prejudice) lead her heart astray when she meets the wealthy Mr. Darcy (Matthew Macfadyen), whose own sense of decency and discretion (not to mention his pride and prejudice) prevent him from expressing his mutual affection. They're clearly meant for each other, and as Knightley's performance lights up the screen (still young enough to be girlishly impertinent, yet wise beyond her 20 years), Austen's timeless romance yields yet another timeless adaptation, easily on par with the beloved BBC miniseries that has been embraced by millions since originally broadcast in 1995. Individual tastes will vary as to which version should be considered "definitive," but with a stellar supporting cast including Judi Dench and Donald Sutherland, this impeccable production achieves its own kind of perfection. --Jeff Shannon

One of the greatest love stories of all time, Pride & Prejudice, comes to the screen in a glorious new adaptation starring Keira Knightley. When Elizabeth Bennett (Knightley) meets the handsome Mr. Darcy (Matthew MacFadyen), she believes he is the last man on earth she could ever marry. But as their lives become intertwined in an unexpected adventure, she finds herself captivated by the very person she swore to loathe for all eternity. Based on the beloved masterpiece by Jane Austen, it is the classic tale of love and misunderstanding that sparkles with romance, wit and emotional force. Critics are calling it "Exhilarating. A joy from start to finish" (Carina Chocano, Los Angeles Times).

The landmark TV mini-series, winner of seven Emmys, that traced the black experience in America through the struggles of one family from slavery to freedom is available in a four-disc set. Based on Alex Haley's best-seller, the program's impressive cast includes LeVar Burton, Lou Gossett, Jr., Ed Asner, Lorne Greene, Ben Vereen, Leslie Uggams, and Georg Stanford Brown. 9 1/2 hrs. total on four discs. Standard; Soundtracks: English Dolby Digital mono, Spanish Dolby Digital mono; Subtitles: English, French, Spanish; audio commentary; documentaries.

From the moment the young Kunta Kinte (LeVar Burton) is stolen from his life and ancestral home in 18th-century Africa and brought under inhumane conditions to be auctioned as a slave in America, a line is begun that leads from this most shameful chapter in U.S. history to the 20th-century author Alex Haley, a Kinte descendant. The late Haley's acclaimed book Roots was adapted into this six-volume television miniseries, which was a widely watched phenomenon in 1977. The programs cover several generations in the antebellum South and end with the story of "Chicken" George, a freed slave played by Ben Vereen whose family feels the agony of entrenched racism and learns to fight it. Between the lives of Kunta and George, we meet a number of memorable characters, black and white, and learn much about the emotional and physical torments of slavery, from beatings and rapes to the forced separation of spouses and families. Nothing like this had ever confronted so many mainstream Americans when the series was originally broadcast, and the extent to which the country was nudged a degree or two toward enlightenment was instantly obvious. Roots still has that ability to open one's eyes, and engage an audience in a sweeping, memorable drama at the same time. --Tom Keogh

As happens with many creative people, director Robert Rodriguez became very interested in making things for kids when he started having children of his own. Thanks to his blessed events we were blessed with the delightfully zany entertainment of Spy Kids in 2001, about a brother and sister who join their parents in the family business of being international superspies. Rodriguez spruced up his tall tale with lots of color, pizzazz, and bold, broad strokes of family-friendly intrigue, plus all the outlandish gadgets that befit an inventive mind and technologically inspired spirit like the one that made him such a dynamic filmmaker to begin with. It didn't hurt that he had Antonio Banderas and Carla Gugino on board as the spy parents, along with two wonderfully talented child stars (Alexa Vega and Darryl Sabara) as their pint-size secret agent progeny. After two sequels and 10 years, Rodriguez's reinvigorated resurrection of the franchise relies on a new family with oblique ties to the original (only Vega and Sabara return, as full-grown, full-fledged spies) and does a suitably energetic job of making zippy fun for the fourth-grade crowd. Others are certainly welcome to enjoy the excitement, so long as they have a special affinity for fart, poop, and vomit jokes mixed with bold, pop-art production design, kid-approved techno gadgets, and special effects that play up the slapstick nature of the original Spy Kids ethos. Jessica Alba is the spy mom this time, a job she's kept hidden from her TV journalist husband (Joel McHale) and step-kids Rebecca and Cecil Wilson (Rowan Blanchard and Mason Cook). The secret doesn't last long, of course, and the two kids, along with her bubbly one-year-old daughter (who supplies most of the poop and vomit), join in the fight against the malevolent Tick Tock and his mysterious boss Time Keeper. These wacky villains can manipulate time and plan on creating some sort of apocalyptic meltdown based on their uniquely nasty ability. That's about the best description one can give; the plot is extremely convoluted, but it's pretty much superfluous anyway. The point of the show is to watch in delighted glee as the kids play with all the cool toys, the good grownups triumph, and the director makes juvenile poetry using slapdash digital effects and nonstop, gentle potty humor to amuse his core audience of enchanted children. Jeremy Piven has fun playing multiple roles and Ricky Gervais practically steals the movie (for the adults, at least) with his riffing banter giving voice to a robot dog in service of the spying Wilson family. Though it's a far cry from the original wit and offhand originality of his first Spy Kids adventure, this fourth installment is ample proof that Rodriguez is keeping up with what kids want in throwaway entertainment and has the technical skill to make the visuals pop off the screen to fill in any gaps of logic or boredom. --Ted Fry

Features include: •MPAA Rating: NR•Format: DVD•Runtime: 46 minutes

A great collector item or a perfect gift. It measures 8" by 9 3/8" rectangular shaped with slightly rounded corners and is 1/4" thick. The mouse pad is made with "easy clean" 100% polyester fabric tops. (high quality open cell neoprene rubber, not foam).

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Item is brand new. This was produced a few years back and kept in storage. Since it is no longer being manufactured, it has become collectible