Monday on TV: "Legends of Tomorrow" and "Rake" of DC



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The heroes of DC's "Legends of Tomorrow" are coming back to stave off another threat. And the last season of "Rake" comes on Acorn TV.

THE LEGENDS OF TOMORROW OF DC 21h on the CW. Last season, the legends rejoiced after killing the Mallus demon with a stuffed giant. In this first season of season 4, the team joins Ava (Jes Macallan) and the Time Bureau to take care of the remaining anachronisms, but reaches a climax when they learn that their defeat against Mallus sparked a wave deadly magical beings across the timeline. Their hunt for wicked unicorns, fairy godmothers and other deceptive creatures drives them to Woodstock.

Girls stolen: buried by Boko Haram (2018) 20h on HBO. In 2014, 276 Nigerian schoolgirls were abducted by Boko Haram, an extremist terrorist group, and taken to the Sambisa Forest. Three years later, 103 returned to their city. This new documentary captures their re-adaptation to ordinary life and revisits the night of the kidnapping with heartrending testimonials.

T.I. & TINY: FRIENDS & FAMILY HUSTLE 21h on VH1. A year after the reality series "T.I. & Tiny: The Family Hustle "has concluded its six seasons, the award-winning rapper at the Grammy Awards and his family are back for this new series. This time, they are joined by friends from Houston: the singers Monica and LeToya Luckett and the author Toya Wright. Each member of the cast has his fair share of luggage, so expect a dramatic adventure.

HALF PHOTO (2018) 21h on Starz. Director Amy Adrion discusses gender inequality in Hollywood through interviews with Ava DuVernay, Jill Soloway and other women in the film industry who share the difficulties and joys of working in the film industry. business sector. Adrion also addresses experts and government officials who discuss research that proves systemic discrimination based on gender and its effects. In her Teo Bugbee wrote that if the film is missing something, "it's the effect that sexism has on the art of these women, not just about their livelihoods" "becomes an unintentional example the impossibility of facing female directors. "

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