Birdman or (The Unexpected Virtue of Ignorance)
Tags: comedy, dark, psychological, violence, alternate reality, magical realism, psychedelic, satire

Plot synopsis:
In the opening shot, what appears to be booster rockets from a space shuttle shoot through the sky.Note: Almost everything from here until the final scene is designed to look like one continuous shot -- long takes by a single camera, edited together to look like one seamless shot, similar to Alfred Hitchcock's 1948 experimental film Rope.Interior: St. James Theater, New York CityRiggan Thomson (Michael Keaton), seen from the rear, is sitting cross-legged and floating a few feet above the floor in his dressing room. He's wearing only tighty-whities. The voice of Birdman, seemingly coming from a Birdman movie poster, taunts him. The voice tells him he's a has-been and should never have quit making Birdman movies. He hates it in this small, dirty dressing room that smells like balls.Riggan is a washed-up actor trying his hand at live theater after walking away from a superhero franchise playing Birdman. Riggan gets a video call from his assistant/daughter Sam (Emma Stone). She's at a flower shop and they don't have the kind of flowers her dad wants. He tells her to get something that smells good. She reaches for some roses as the call cuts off and he says not to get roses; it's not clear whether she hears him. Over the PA, Riggan is called to the stage for rehearsal.On his way to the stage, Riggan talks to his manager, best friend, lawyer, and play producer Jake (Zach Galifianakis), who voices concern about Riggan starring in, writing and directing a play based on Raymond Carver's "What We Talk About When We Talk About Love" (a real short story). Ralph (Jeremy Shamos), one of the other actors, isn't very good. Riggan joins three other actors in a kitchen scene. They are Lesley (Naomi Watts), Ralph, and Laura (Andrea Riseborough). During the scene, Riggan looks up to the lighting grid and then one of the lights falls right on Ralph's head, knocking him out of consciousness and the play.They need to find a replacement and Jake is worried because time and money are both very tight. Lesley suggests famous actor Mike Shiner (Edward Norton), who is known to be difficult (he's available because he just quit/was fired from another project), but he'd be a big draw. She assures Riggan and Jake that Mike is interested, and when they ask how she knows him, she says "We share a vagina." Riggan goes back to his dressing room and Jake tells him to prepare for an afternoon of interviews. The interviewers are more interested in gossip and Riggan's lapsed career than they are in talking about the play. Later that night, Riggan goes back to the stage to meet with Mike.Mike is a very intense method actor. He surprises Riggan by already knowing his lines -- he learned them by helping Lesley. Mike breaks down several lines of dialogue with Riggan, makes some good suggestions that Riggan accepts, and agrees to do the play. Sam takes Riggan to costuming where he strips naked in front of her. Lesley comes in, doesn't realize Sam is behind a rack of clothes and tells Mike to put on clothes because Sam might come back and he shouldn't be naked in front of Riggan's drug addict degenerate loser daughter. Sam reveals herself and leaves. Lesley is embarrassed and yells at Mike.Laura tells Riggan that she's missed two periods and believes she's pregnant; he fakes (poorly) being happy. Then he asks if she's sure it's his. She leaves in a huff. Jake tells Riggan that Mike is way over their budget, but Riggan says he'll pay for him himself. Jake is helping the production avoid a lawsuit from Ralph by threatening to tell the press about odd porn Ralph is into.The play starts its preview performances. Mike drinks real gin on stage. The stage manager tells Riggan just as he's about to enter, so Riggan casually switches the real gin with prop gin. During Riggan's monologue, Mike realizes his gin was swapped out and he breaks the scene in front of the packed house to yell at Riggan for not committing to the performance and the characters.Riggan calls for the curtain to drop and he and Mike get into an argument. Riggan tells Mike that his heart went into this production and he "doesn't need him fucking it up." Mike tells Riggan that he's just a movie star and has no right to be on Broadway in the first place. Riggan storms off the stage and tells Jake that he wants Mike fired, but Jake points out that since Mike was brought on, pre-sell tickets have gone through the roof. Mike can't leave.Riggan's ex-wife Sylvia (Amy Ryan) was in the audience. She goes to Riggan's dressing room to see how he's doing. He tells her that he wants to refinance their Malibu home to help pay for the play. She's upset because that was supposed to be Sam's home one day. But she grudgingly agrees.Riggan tells Mike he wants to talk to him outside. Riggan says he has a lot riding on this play and he feels that Mike resents him because he's popular. Mike tells him that popularity is the slutty little cousin of prestige.They walk to a bar and Riggan tells Mike that he decided to become an actor because when he was much younger he did a play and afterwards Raymond Carver sent him a complimentary note on a napkin, which Riggan shows Mike. Mike points out that it's on a bar napkin and surmises that Carver was drunk at the time, so it doesn't mean anything. Mike also asserts that previews where the actors get to know the work -- just rehearsals that some suckers are willing to pay to see -- so it doesn't matter that the previews haven't gone well. The only show that matters is opening night and the only opinion that matters is at the end of the bar. He's referring to Tabitha (Lindsay Duncan), the theater critic for the New York Times. Her review will make or break a play. On Broadway, no one cares about a washed-up movie star like Riggan Thomson. On cue, a family asks Mike if he'll take their picture with Riggan because they're huge fans. They don't recognize Mike.On his way out, Mike stops to taunt Tabitha. She asks if he's worried she'll give him a bad review. He says he knows she will if he ever gives her a bad performance. Mike also tells Tabitha that he feels that Riggan is legit.During the second preview things go better until they get to the finale, where Riggan's character catches Mike's character in a hotel bed with Lesley's character. Unfortunately, as they're about to do the scene, Mike tells Lesley that he has an erection and proposes they have sex for real on stage in front of everyone. Over her objections, he tries to have sex with her as the scene begins. Riggan's character bursts on stage and points a gun at them. Mike jumps out of bed and reveals to everyone a massive erection. Riggan continues with the scene and delivers his final monologue as the audience laughs at Mike's penis. He tells them that he realizes he's nothing now and then he shoots himself in the head. Everyone cheers and the play is finished. The cast bows and it's a success.Lesley is upset and on the way to her dressing room is heard to mutter that Mike hasn't been able to get it up in months. Riggan goes to her dressing room and tells her that she's brave and wonderful. Laura is there and afterwards tells Lesley that she's hurt that in all the time she's been with Riggan, he's never said anything nearly that nice to her. Laura and Lesley end up kissing.Riggan is still angry at Mike. Mike tells Riggan to get a better gun because the prop gun has a red tip and he doesn't find it realistic enough to intimidate him. Mike goes to the roof to smoke and runs into Sam. They play truth or dare. She comes on to him, but he reveals that the erection on stage was the first he's had in a long time. He doesn't think he could perform sexually even if he wanted to. She asks what he would like to do to her if he could. He says he'd like to pop out her eyes and see the city through her young, naïve eyes. She goes inside.The next day the newspaper runs a piece about the play. There's a front page interview with Mike where he takes ownership of the story about Raymond Carver seeing him perform and sending back the note. There's a tiny story deeper in the paper mentioning Riggan. Riggan trashes his dressing room and the Birdman poster using telekinesis. Riggan is pissed and goes to Mike's dressing room where he finds Mike tanning. He drags Mike into a cafeteria area and they fight.They do the play. Riggan sees Mike and Sam canoodling. He decides to go outside for a cigarette before his final scene. Unfortunately he locks himself out of the theater and his bathrobe gets stuck in the door. So he has to walk around the block to the front of the theater, through the crowds in Times Square, dressed only in his underwear. He reenters the theater and takes the stage from the back of the house (still in his underwear) and walks through the audience pointing his finger like a gun. A crew member hands him a prop gun and they finish the scene.After the show, Riggan goes to the bar again and runs into Tabitha. He takes a drink over to her and starts to tell her the story of the Raymond Carver napkin. She says she doesn't care. She's going to bury his play tomorrow because she has no respect for movie stars who want to pretend to be real actors. He tells her he is an actor and she corrects him by telling him that he's just a celebrity. She leaves and he downs the martini he bought for her and walks out, leaving behind the cocktail napkin with Carver's note.Riggan gets drunk and passes out on a stoop, with his head on a bag of trash. The next morning he wakes up and starts walking down the street with conviction. The voice of Birdman has now taken form as the Birdman character walking with Riggan. It tells him that he doesn't need this play. He should go back to Hollywood and make another Birdman movie. Everyone would love it and he'd make a fortune. Riggan imagines the city street turning into a scene of a big blockbuster action movie with explosions, helicopters, and giant robots. He returns to reality and goes up to the roof of a building. A man comes out and asks him to come away from the ledge. Riggan does. The man asks if he's okay and if he has somewhere to go. Riggan says he is ok and knows just where to go -- then he turns, runs and jumps off the building. He flies through the city like a superhero, goes back to the St. James Theater, and goes inside.On the way in he passes a cab and the driver is mad that Riggan didn't pay him. The driver follows Riggan inside and comes out a minute later.Riggan runs into Sam, tells her she's doing a great job and asks her how life is treating her. They have a heart to heart talk. She puts dashes on toilet paper and explains that they taught her that in rehab. Each dash represents 1000 years. One sheet is the span that humans have been on earth. The rest of the roll represents how long the planet existed. It puts it all in perspective. He tells her that this play is his chance to finally do something that's important. She tells him that he doesn't understand. This isn't important. He's not important. None of this is important. They're a dash on a sheet of toilet paper.Laura tells Riggan that he doesn't have to worry because she's not pregnant. Sam and Mike have sex in the rafters above the stage.It's opening night. Riggan's dressing room is full of flowers, but they're almost all roses, which he dislikes. Sylvia stops by to wish him luck. Riggan reveals to her that on the night she caught him cheating on her, he went out to the ocean to try to drown himself, but kept getting zapped by jellyfish, so he dragged himself back to the shore. (She remembers that at the time he told her he got sunburned.) He says he has to do this play tonight because it's a chance for him to finally do something right.After she leaves, Riggan pulls a real gun out and goes to the stage. He delivers his big monologue about how he realizes hes nothing and then he shoots himself in the head for real. The audience is in shock and then everyone except Tabitha gives it a standing ovation. Tabitha slips out, presumably to meet her deadline.The rockets fly through the air again.Jellyfish lie on a beach.In Riggan's hospital room, Jake tells Riggan and Sylvia that the play was a huge success. He has Sylvia read from Tabitha's review, which says Riggan has inaugurated a new era of theater called Ultra-Realism. It's suggested that Riggan didn't know the gun was real -- Tabitha's review is headlined "The Unexpected Virtue of Ignorance" (the subtitle of the movie). Jake says Riggan shot off his nose but now has a new one.Sam brings Riggan lilacs, flowers he likes, but he can't smell them. Sam takes a picture of Riggan and says she's posting it on his Twitter account, which she just created for him. She leaves to get a vase. The bandages on Riggan's face cover the same area that the Birdman mask covered. He goes into the bathroom, takes off his bandages, and looks at himself in the mirror. His nose is bruised and swollen and he has two big shiners. He goes back into his room and sees birds flying outside the window. He opens it and stands on the ledge. When Sam returns, Riggan is gone. Sam looks out the open window to the ground, but apparently doesn't see him. She looks up into the sky and smiles.

Review: It seems to me that the majority of moviegoers who have chosen to review here are only capable of viewing a movie at face value.This movie is clearly a satirical look at Hollywood and the constant need to remain relevant in the entertainment industry.I will admit that the film does appear unnecessarily "artsy" in places, but some Hollywood actors love being unnecessarily artsy as they think it gives them depth.That was the entire point of this film, for Hollywood to turn the camera on itself and expose all of it's own crap.What I took from this film is what I have always felt about Hollywood, which is also what I love about it.
Whilst viewing 'Birdman', I spent the first hour of the film trying to decipher my emotions and opinions towards it, what I was watching was a weird, yet wonderful work of art.
Michael Keaton has generally been undermined as an actor (despite a few notable roles as Batman or Beetlejuice) and has instead faced Hollywood picking more acclaimed and popular actors, 'Birdman' however might just be his ticket to an Oscar nomination, and possibly even a win, his performance is mesmerising.
Alejandro González Iñárritu has created a truly spectacular character study that arguably features this year's strongest acting performances, alongside a well- executed script, booming soundtrack and a monumental achievement with cinematography from Emmanuel Lubezki in which he attempts a Hitchcockian approach, reminiscent of 'Rope', and displays the story through a seemingly single and unbroken sweeping shot.
Not to mention some of the transitions and dolly shots are just damn impressive.Even though many movies are yet to come out this pre-Oscar season, I feel it is safe to say no other casting ensemble will come close to the performances given in Birdman.
Michael Keaton, Zach Galifianakis, Emma Stone, Ed Norton, Amy Ryan, and every single other actor in the production execute their roles with professionalism that most movies are lucky to see in just one of their actors.
If you step into a movie theater once this year, let it be to watch this film.
Alejandro's clean smooth directing really states a new canon in the way a movie is conducted, I was blown away with Michael Keaton's perfect performance and the rest of the cast did well around him.
I had never seen this kind of genre called "Magical realism" as well as in this movie, it really submerge you inside the head of the main character and the brilliant drum-based score helps to explain the situation by the minute.
I know that this kind of movie is not for everyone, some people said that it is boring, pretentious, over-the- top, strange, difficult to understand, hideous.
I think we've all been exceptionally good this year because Christmas came early with Alejandro González Iñárritu's masterful "Birdman (or the Unexpected Virtue of Ignorance)," an experience that you won't soon forget.
From its pristine writing (by Iñárritu, Armando Bo, Nicolas Giacobone, and Alexander Dinelaris), to its carefully constructed direction and cinematography, to its genius casting and performances, "Birdman" is just a dream of a movie.The movie tells the story of Riggan (Michael Keaton), a washed up actor who used to play a superhero icon called Birdman.
With problems from one of his very method actors (Edward Norton), assistant daughter (Emma Stone), emotional co-star (Naomi Watts), overly sexual girlfriend (Andrea Riseborough), flamboyant producer (Zach Galifanakis), and loving ex- wife (Amy Ryan), Riggan prepares for the breaking point of his career."Birdman" is so damn enjoyable and one of the most entertaining films in years.
At a time where movies feel like they have to choose to between comedy and tragedy, Iñárritu's beauty works on us from the inside-out.
The story of an actor persecuted by the role that made him popular, "Birdman", and pressured by the willing of proving himself on stage with his new play.The characters in the story are all struggling with something: Sam (Emma Stone) with her drug addiction, Mike (Edward Norton) with his sexual problems, Lesley (Naomi Watts) with her self- realization and Michael Keaton with love.
The originality of the cinematography, though, may have sacrificed the storyline."Birdman" certainly needs to be seen more than one, but likewise certainly it's going to be one of the greatest movies of the year.
The film is centered around a play (an adaptation of Raymond Carvers short story "What We Talk About When We Talk About Love", if you haven't read this: it is great).
Above all, Birdman's all star cast featuring Michael Keaton, Edward Norton, Emma Stone and Zach Galifinakis propel this film to greatness, telling the story of a has been actor, Riggan, who was once known for a comic book franchise from yesteryear as he struggles to regain the stardom he once had through an off Broadway play.
I fully expect the film's Director of Photography Emmanuel Lubezki to score a Best Cinematography nomination come Oscar time.
With that being said, Birdman features amazing performances including a jaw dropping turn from Michael Keaton, along with some of the best cinematography I've seen in years.
It is sad but commercial cinema rarely takes chances anymore and art films are now usually more into the experimental and shock factor than actually trying to innovate a way to tell a story.
He is a genius and I feel privileged to be able to enter his mind if even for a couple of hours.All in all Birdman is astounding to watch and a movie that MUST be seen in cinema if only to appreciate the art of its film-making even more.
I don't know what type of film the preview was trying to make "Birdman" seem like, but it's not anything like I thought it would be.Inarritu, the editors, and the cinematographers incorporate a style of editing which would have been impressive without any plot whatsoever.
That's when I thought "oh, so that's it really?"In short, nothing much happened in the story and this movie was just a huge disappointment, don't waste your money or time.Oh and another thing, the scenes shown in the trailer were mostly the only interesting scenes in the movie, other than that it was very lame.
There's a wife, there's a daughter, there's a movie critic, there are some fellow actors and there are some incidentals including Keaton's "best" friend.
This is basically the story of a Hollywood actor who is perceived to be the "shallow celebrity" type proving himself to be a true stage artiste by giving up everything and fully committing himself to his "craft." The movie's filled with self- referential, unfunny inside jokes about the film industry.
If you like imaginative, challenging, and visually stunning films that deal with ego, passion, love, weakness, insecurity and redemption, this is worth your time.Unfortunately some subplots are completely forgotten and character arcs begun but not finished, but there is so much rewarding here to be found these are mostly forgiven shortcomings.
It was Hollywood's overindulgence to itself.I am glad Michael Keaton got a chance to star in a movie but his acting was so over the top.
What the whole world keeps forgetting is that the Oscars were created as an "inside joke" where Hollywood could promote itself and congratulate itself and the rest of the world would watch because of the stars.Boy do we love those stars.More recently Hollywood has spawned a new tradition of awarding films which are teeter-tottering at the box office, knowing the Oscar will drive them into profit.It is all about the money.
This movie is full of great actors doing a good job at performing a terrible, boring, and offensive script.
Now Birdman is Iñarritu at his best: one of the most irritating directors of all time.Worst movie I've seen in a few years.
The lesbian scene is thrown in there for no reason at all, Norton's character doesn't develop enough and we never really find out the background of the relationship between Keaton's character and his wife and daughter (I can't remember any of the character's names, that's how much I cared about them).As far as I can see, the reason for the rave reviews must be down to the unique filming technique with all the long takes which is different to anything I've seen before, (even though there is more than one occasion where somebody fluffs their lines but it was left in the final cut anyway), and the acting which, to be fair, is very good.
Going viral is everything, right?People giving this flick high ratings are hipsters that think they 'get it' and who are afraid their peers won't like them anymore unless they love this film written and directed by an 'exotic' new voice.
If you haven't worked in the field of the Arts, this would be like watching a plumber install a toilet in a single take, 2 hour film, while showing you all the day to day problems a plumber might face.
Its an exercise in powdering the collective b@lls of the Academys voting panel, and will no doubt be the talk around the dinner tables of the industry elite and Film Noir intellectuals , while they consume copious amounts of fair trade espresso.The next installment will be about the day to day battles of the AA voting panel, and the mental agony involved in voting for a winner each year.If you really want to watch a movie that shows you the agony and ecstasy of working in the arts, submerse yourself in a mighty film called - Whiplash.As for Micheal Keaton - watch Johnny Dangerously.
Like me for instance, I'm no actor, but this film makes me want to fly (and not in the RedBull way).
Like that moment, _Birdman_ consists largely of hyperdramatic dialogue, delivered caustically, and without an obviously redeeming purpose.That doesn't mean I'm blaming the actors; I think they work at a high level in fulfilling the director's vision.
You felt the realism of the emotion.I couldn't help think this was more of a showcase than a film.It like someone got a really dire script and challenged the actors to try and make it into a good film.As so many people have voted this film on the acting I am voting on the entertainment value.1 - awful.When you find yourself appreciating the fact that they skillfully removed the camera from the mirror shots, I think it's time to admit the film is just not that gripping.Sorry guys.PS: Pioneering technique with a single fluid shot?
The film critic scene alone.., describes the entire reason for this movie in regards to the director.
There is a scene in "Birdman" where Riggan Thompson (played by Michael Keaton), who is trying to direct and star in his Broadway adaptation of the Raymond Carver play "What We Talk About When We Talk About Love", walks towards the front of the stage and talks about love, what it is to be loved, and how we all crave that.
These really emphasise how good the acting is in this film, be it a monologue by Emma Stone as she rants at her dad, a take that involves Michael Keaton walking in just his underpants through Times Square, or a scene where Keaton and Edward Norton rehearse on stage.
I waited until I could watch the movie for free, because I was very reluctant to waste money on yet another "Academy-worth" piece of crap and I am very happy I saved my hard-earned money.The joke is twice on the audience, because the other theme explored by Birdman, besides narcissist actors, is audience stupidity.
Not being the sort of person who cares about superheroes movies, I was nevertheless annoyed by the fact that the public of said movies is vilified by this piece of elitist crap.It is difficult to point out what I disliked most about Birdman, since I hated everything: the overbearing drum soundtrack, characters shouting their lines, the smugness of the whole concept, the patronizing dialogs, etc I do not even think Keaton was so great in it.Finally, it is depressing to notice that the number of movies I want to walk out from is increasing exponentially.
Before seeing the movie I'd watched all of Keaton's interviews about it on YouTube and I have to say I saw an actor pleased with his part and acting.
It was about doing something meaningful.I liked the idea of actually fighting our dreams and figuring out our own way of doing things, and how our lives are all beset by regret and lack of support until we actually come to peace with ourselves.Keaton's performance is amazing and he took the role at the right moment.
Films like this is why the Movie industry is having a hard time to get the viewers .
Birdman's strong albeit bizarre dialogue and impeccable slapstick timing on one hand hark back to the works of the American screenwriter and playwright David Mamet, particularly Glengarry Glen Ross, while on the other, it strongly reminds of the films like Barton Fink and The Player in that it deglamorizes Hollywood while exposing its hypocrisies.The movie tells the story of a washed up Hollywood actor—once famous for playing an iconic superhero called "Birdman"—as he battles both his inner demons and outer enemies in a desperate attempt to reinvent himself as a Broadway director by staging a new adaptation of a Raymond Carver short story called "What We Talk About When We Talk About Love".Birdman offers a nice blend of realism, surrealism and magic realism.
At one point in Birdman "or (The Unexpected Virtue of Ignorance)", Michael Keaton as 'celebrity turned serious actor' Riggan Thomson rants at a vicious New York Times critic Tabitha (the excellent Lindsay Duncan – – "About Time"; "Dr Who: Waters of Mars") about how all critics lamely fall on "labels" and "comparisons" to describe their subjects, never getting to the guts of how the art made them actually FEEL.
'Birdman' exits the guy with an "accident", but unfortunately that introduces a cuckoo into the acting nest in the form of famous actor Mike (Edward Norton), who risks completely upstaging Thomson with his theatrical brilliance.This introduction leads to one of the best laugh-out-loud lines of dialogue so far in 2015: "How do you know Mike Shiner?" asks Keaton; "We share a vagina" replies Watts.Again with this introduction, we see art imitating life, since Norton's performance (particularly in the first reel of the film) genuinely does risk outshining Keaton, despite all of his Oscar hype.
Any of the things that were potentially good about the film were utterly wasted on a pathetic story and characters I couldn't care less about.
I kept waiting for something to happen and redeem the film but when it was all over I just felt like I had been covertly forced to read People magazine for two hours after avoiding it my entire life.Best picture?
I must admit that I decided to give this movie a chance mostly due to some good actors starring in it, plus I assumed it would be kind of like a parody about the superhero genre.
and you, common people, must watch this movie standing up and applauding all the time, because if you don't, then any self-important movie critic will tell you that you don't understand art cinema!" The old story of "The Emperor's New Clothes" keeps happening again and again.
So, if you watched this pretentious crap of a movie, then don't be afraid to admit that it made no sense, that it wasn't any kind of art, that you actually wasted time.
Really another movie that makes you trying so hard and waste your time trying to get into the head of a director with an idea that just him and some pretending Reviews(5 stars and more)can understand ..
I just have to warn people out there, please do not watch this stupid movie, actors like ed Norton are wasted can you believe that ?
Thing is IT WAS NOT FUNNY!If you like this art-house pretentious type of movie (anything with Edward Norton in basically), you will like this garbage.I half expected one of the Wilsons & Bill Murray popping up in cameos as they are want to do in this genre of film.I'd contain spoilers, but there is NOTHING to spoil, as spoiling implies there are good bits!Instantly forgettable Prententious GARBAGEAVOID LIKE THE PLAGUE.
But not really his fault, I suppose -- his character was much like the movie: boring and annoying.I want movies to entertain me and/or make me think about life.
This film is full of great actors doing a good job of acting, but they're in the middle of a story that goes nowhere.I wanted the movie to explain itself but it never did.
Michael Keaton, who was known for playing Batman in the late 80s and early 90s, is cast here as Riggan Thomson, a washed-up Hollywood actor, once famous for playing a superhero Birdman character in the movies, now making a comeback on Broadway, acting in an adaptation of a Raymond Carver short story.The entire film is shot as if it's one long take in a cinema verité style.
The only reason I give this film one star is because of a short scene between Keaton as actor and Lindsay Duncan as Broadway theatre critic were she attacks him as a Hollywood invader of the "High Art" of Broadway and he attacks her for just being a labeller of theatrical types.
great performances by all actors ,Michael Keaton is pushing the limits here (in a good way), Emma Stone and Naomi Watts are sharp and enigmatic , and Norton is kicking like it's 1999.
Well done Hollywood for making a trailer look like this could be a good film, great way to get people into the cinema.
A piece of art, but not a good movie to watch..
It appeals to the life of actors, producers, directors and people in the film and theater industries.