A coronavirus parody of Disney musical ‘Frozen‘ has circulated around the internet, delighting viewers. Lawyer Charlotte Fisher dressed up as Disney princess Elsa to sing about coping with the everyday challenges of the pandemic lockdown. The viral video is in aid of a fundraising campaign for NHS staff and volunteers to help to tackle the outbreak in the UK.
On her Just Giving page, Ms Fisher wrote: “My husband Sam and I (with the help of Henry our dog) have put together this parody to raise money for NHS heroes caring for COVID-19 patients.
“If you’ve enjoyed watching, please give generously to show your support for the heroes fighting on the frontline and keeping us safe in our homes.”
The couple aimed for a target of £800, but have already surpassed it.
At the time of writing, the total stands at £900.
One supporter wrote: “This was very creative, it made me and my daughter smile and hope you raise loads of money for this great cause.”
Another named Angela said: “Great work for a very worthy cause!”
Pippa Stewart praised the video: “Well done guys, we really appreciate what you are doing for us.”
Another doner thanked the couple: “You guys are awesome. Thank you for lifting everyone’s spirits at such a difficult time.”
The campaign is run for the Association of NHS Charities.
There are 250 NHS Charities in the UK providing funds and services above and beyond what the NHS alone can provide.
Every day NHS Charities give £1million to the NHS.
Ms Fisher’s clever take on the popular hit has delighted viewers: “Let me go, let me go, I want to go outside.
“Let me go, let me go, I’ll stay two metres at all times.
“Joe Wicks and one hour of exercise a day is not enough.
“I can’t live in this virtual world in which I’m bound.
“Wi-Fi connection is in frozen fractures all around.”
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”