The Trouble Makers

In celebration of the WI's centenary, Lucy Worsley goes beyond the stereotypes of jam and Jerusalem to reveal the surprisingly radical side of this Great British Institution. Beginning on the Welsh island of Anglesey, where the WI's first meeting was held in a garden shed in 1915, Lucy discovers that its humble origins were no bar to the movement's grand ambitions. Some of the institute's founding members were suffragettes and it saw itself as a campaigning organisation, engaged in the fight for women's rights. Lucy explores some of the WI's most important campaigns, like its 1918 crusade for decent housing and its remarkably radical fight for equal pay in 1943.

This comprehensive collection of Max Fleischer cartoon masterpieces presents over 30 rarely seen Technicolor animated shorts, produced during the golden age of animation. Fleischer created the “Color Classics,” a twisted collection of musical cartoons, to showcase his patented “Stereo-optical Process” that created the illusion of depth by animating his characters over three-dimensional, live action backgrounds. In this special digital picture and sound restoration, you”ll discover a menagerie of wonderfully bizarre new characters and a massive dose of the Fleischers” surreal humor.

Professor Evan Farnsworth is a widower who works tirelessly at a prestigious boarding school in Maine, dedicating all his time to helping his students believe in themselves. Accepting a job to teach the students left behind during Christmas vacation, including …

Gabrielle (Helene Hallier), an ambitious but innocent would-be young chorine, trumps a music hall publicity stunt to become the new Parisian nightclub Cinderella. But this lighter-than-champagne-bubbles story is only a pretext for LA REVUE DES REVUES's white-hot, non-stop procession of outrageously and scantily attired exotic dancers, showgirls, and acrobats including the Tiller¹s Follies Girls, Ruth Zackey and the Hoffmann Girls, and danseuse russe Lila Nikolska. But it's Josephine Baker, "the high priestess of primitivism" (J. Hoberman Village Voice), who triumphs in two show stopping numbers in which "her clownish backfield-in-motion Charleston shimmy is unlike anything else in the movie and perhaps unlike anything anyone ever did."