UNTITLED AZHAR USMAN PROJECT is a refreshingly honest and ferociously independent standup film by veteran (yet indie and underground) standup comic Azhar Usman, directed by his longtime collaborator, Paul Elia. The one-time co-creator of "Allah Made Me Funny-The Official Muslim Comedy Tour" now finds himself working in Hollywood, inside the proverbial 'Belly of the Beast,' writing for successful TV shows, and even joining the Marvel Cinematic Universe. But who cares? From thoughtful ruminations on the nature of life and existence itself, to deeply confessional and personal stories, Azhar takes a startling (yet hilarious) look at his own fears, insecurities, and privately held beliefs, while trying to make sense of the crazy world around us. UNTITLED AZHAR USMAN PROJECT is a tour-de-force of spiritual wisdom, philosophical examination, and raw standup comedy, illustrating why Dave Chappelle once remarked: "Azhar is untouchable, he's like a comedian from the future."

A withdrawn young man, Leland Fitzgerald is imprisoned for the murder of a mentally disabled boy, who also happened to be the brother of his girlfriend, Becky. As the community struggles to deal with the killing, Pearl Madison, a teacher at the prison, decides to write about Leland's case. Meanwhile, others affected by the murder, including Becky and her sister, Julie, must contend with their own problems.

The United States Steel Hour is an anthology series which brought hour-long dramas to television from 1953 to 1963. The television series and the radio program that preceded it were both sponsored by the United States Steel Corporation.

The United States Steel Hour is an anthology series which brought hour-long dramas to television from 1953 to 1963. The television series and the radio program that preceded it were both sponsored by the United States Steel Corporation.

United States is a short-lived half-hour comedy-drama that NBC added to its Tuesday primetime schedule in March 1980.Larry Gelbart, the show's executive producer and chief writer, said the name United States was not a reference to the country but rather to "the state of being united in a relationship". Gelbart envisioned a series that would be "a situation comedy based on the real things that happen in my marriage and in the marriages of my friends".Episodes tackled such topics as marital infidelity, household debt, friends who drink too much, death within the family, and sexual misunderstandings.United States focused on Richard and Libby Chapin, an upwardly mobile couple who lived in a Los Angeles suburb. Beau Bridges played Richard, and Helen Shaver played Libby. Gelbart reverted to black-and-white script for the show's titles. He said that was to convey the mood of "a sophisticated '30s film." Gelbart also avoided use of background music and a laugh track. Scripts featured dialogue such as, "Just for once I'd like to be treated like a friend instead of a husband," and "Maybe you and Bob can go out and get yourselves one redhead with two straws."United States premiered at 10:30 p.m. on March 11, 1980. NBC pulled it from the schedule within two months, after only six of 13 episodes had aired. The remaining episodes were not broadcast until 1986, when the A&E cable channel aired United States.

A film interviewing the families of the heroes of United Flight 93, prior to the theatrical release of the feature film, United 93.

In 1821, in Cinema, he records the cinematic representations of the Revolution from the first decades of the 20th century. until the present day. Despite the fact that the Revolution of 1821 constitutes the founding act of the modern Greek state, as a subject matter it is underrepresented in national film production. This is one of the points on which the research looks, which simultaneously examines the periods of concentration of films on the subject of the Revolution or, respectively, the periods of its collective silence. The purpose of the documentary is to study the ideological discourse and the cinematic language of the films with the theme of 1821, in order to highlight the function of the cinema as a carrier of Public History and as a factor in shaping the collective historical consciousness.

Tara's multiple personalities include "T" the wild-child teenager, "Buck" the rough and tumble biker dude, and "Alice" the type-A homemaker. But with a family that loves her just the way she is, Tara never gives up hope that someday she can just be herself.

Riley, a marine combat veteran, is struggling to adjust to civilian life in Ohio and the interpreter, Al, who served with his unit in Afghanistan, has just arrived to start a new life in America.