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• 11th Annual WOmen's Event of the New York Lesbian, Gay, Bisexual & Transgender Community Center
• Generations
• The L Word phtots from Jennifer Beals
• Unlock additional special features on your PC via Ebridge technology: First two episodes of United States of Tara
• First two episodes of The Tudors, season 3

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• Season 1:
• The unedited Spyz movie that Ali G pitched in Hollywood
• Footage of Borat at the Hamptons Horse Show and the American patriotism event
• Audio commentary
• Season 2:

For a film that touches on so many challenging and controversial topics -- including sexual and mental/emotional abuse, teen pregnancy, HIV, and illiteracy -- Precious is told with such energy, style, and conviction that it’s impossible not to be awed by the artistry of the film even when we’re shrinking away from the devastation taking place on the screen. Even when things get so grim that all hope seems lost, director Lee Daniels keeps us emotionally involved by merging documentary-style filmmaking with urban surrealism in a way that's genuinely captivating and original. While some may argue that Daniels’ stylistic flourishes have no place in a story like Precious, it’s precisely his bold artistic choices that set the film apart from any number of inner-city underdog stories, and take us into the mind of a young woman whose devastating circumstances are preventing her from reaching her true potential.

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Filmmaker John Hughes, the director of such teen-centric classics as The Breakfast Club, Sixteen Candles, and Ferris Beuler’s Day Off, died today at the age of 59. Hughes passes just as a series of celebrity deaths have reminded us how nothing inspires geyserous outpourings of nostalgia like the mortality of our former heroes. But I think it’s fair to say that Hughes’ work has continued to inspire the same steady stream of deeply personal affection from its viewers since day one.

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