“OUC Speakers at Dr. Phillips Center” Returns With The Big Bang Theory’s Mayim Bialik

 — Tickets for both shows go on sale Friday, March 2, 2018 — 

ORLANDO, Fla. (February 26, 2018) — Dr. Phillips Center for the Performing Arts and OUC – The Reliable One announced today that actress, author and neuroscientist Mayim Bialik will kick off the second year of the popular speaker series, “OUC Speakers at Dr. Phillips Center.”

Best known for her critically acclaimed role as Amy Farrah Fowler on CBS’ The Big Bang Theory, Bialik will explore seemingly dissimilar — yet altogether entertaining — topics such as the work of the brain and behavioral development; her life as an actress and scientist; and the special relationship that exists between The Big Bang Theory and its audience. Her speaking engagement will take place Saturday, April 14 in the Walt Disney Theater.

Tickets for “An Evening with Mayim Bialik” presented by the Dr. Phillips Center in association with UCF Celebrates the Arts start at $35; a limited number of tickets will also be available for $200 for a meet and greet with the actress. Tickets go on sale at 10 a.m. Friday, March 2.

“The OUC Speakers at Dr. Phillips Center platform allows us to make meaningful connections with our customers and our community,” said Roseann Harrington, Vice President of Marketing, Communications & Community Relations of OUC – The Reliable One. “And the series is steeped in both education and innovation — two things we’re passionate about. We’re very pleased to be part of the program for a second year.”

“It’s rewarding to renew our relationship with OUC and collaborate together on the speakers series,” said Kathy Ramsberger, president and CEO of the Dr. Phillips Center. “The popularity of the format is really evolving, as more guests — especially Millennials — look for alternative entertainment options.”

Tickets may be purchased online at drphillipscenter.org, by calling 844.513.2014 or by visiting the Dr. Phillips Center Box Office at 445 S. Magnolia Avenue between 10 a.m. and 4 p.m. Monday through Friday, or 12 p.m. and 4 p.m. Saturday. Online and phone ticket purchases are subject to handling fees.

OUC is part of a growing list of arts center business partners, including Florida Hospital, Fairwinds Credit Union and Morgan Stanley. Businesses interested in learning more about sponsorship opportunities should email corporate@drphillipscenter.org or call 407.992.1746.

About the Speakers

Mayim Bialik 

Mayim Bialik currently stars on the hit CBS comedy, The Big Bang Theory as ‘Amy Farrah Fowler,’ for which she has received two Critics Choice Awards, four Emmy Award nominations and seven SAG Award nominations. From playing the young version of Bette Midler’s character in Beaches to guest spots on series such as WebsterMurphy Brown, and Curb Your Enthusiasm, in addition to her turn as ‘Blossom Russo’ in the iconic 90’s sitcom Blossom, Bialik has appeared in numerous beloved roles throughout her dynamic acting career.

An acclaimed author, Bialik has written #1 New York Times bestseller Girling Up: How to be Strong, Smart, and Spectacular, as well as Beyond the SlingMayim’s Vegan Table and the soon-to-be released, Boying Up: How to Be Brave, Bold and Brilliant. Bialik has recently dedicated her skills as a writer, actress, neuroscientist and mother to driving GrokNation.com, the website she started in 2015.

Following the end of Blossom, Bialik left acting for a time and earned her BS in Neuroscience from UCLA in 2000, with a minor in Hebrew & Jewish Studies. She went on to complete her PhD in Neuroscience, also at UCLA, and then completed her doctorate in the fall of 2007, which examined the role of oxytocin and vasopressin in Obsessive-Compulsive Disorder in adolescents with Prader-Willi syndrome. While at UCLA, Bialik was a dedicated student leader in UCLA Hillel, leading and starting a Women’s Rosh Chodesh group, chanting and blowing shofar for the High Holiday services, and conducting and writing music for UCLA’s Jewish acapella group.

In addition to acting and raising her two boys, Miles and Fred, Bialik serves as a spokeswoman for a multitude of brands and organizations including Texas Instruments, DeVry University, Capitol One, Fisher Price, City of Hope, Gillette, (among others) and speaks at events around the world.

About OUC

Established in 1923 by a special act of the Florida Legislature, Orlando Utilities Commission is the second-largest municipal utility in Florida and 14th largest in the country. OUC provides electric, water, chilled water and/or lighting services to 375,000 customer accounts in Orlando, St. Cloud and parts of unincorporated Orange and Osceola counties.

About the Dr. Phillips Center for the Performing Arts

Dr. Phillips Center for the Performing Arts is a nonprofit 501(c)3 organization operating the state-of-the-art performing arts center in downtown Orlando, Florida. With its opening in November 2014, the performing arts center launched its vision of Arts for Every Life by being a gathering place for creativity and discovery; a vibrant urban destination where artists, audiences and students come to experience, explore and learn. The two-block community destination features the 2,700-seat Walt Disney Theater, 300-seat Alexis & Jim Pugh Theater, Seneff Arts Plaza, Dr. Phillips Center Florida Hospital School of the Arts, the DeVos Family Room, and other event rental spaces. Future expansion includes Steinmetz Hall, a 1,700-seat acoustical theater, along with rehearsal, classroom, office space and commercial development spaces. Dr. Phillips Center is a private non-profit collaborating with the City of Orlando, Orange County, the City of Winter Park, the State of Florida and generous donors.

 

Related Content

Olivia Wilde and Reed Morano discuss the film “Meadowland”

In Reed Morano’s new drama Meadowland, Olivia Wilde stars as school teacher Sarah, the mother of Jesse (Morano’s son, Casey Walker). While on a family trip with Jesse and her husband Phil (played by Luke Wilson), Sarah loses Jesse from a bathroom at a rest stop. Morano and Wilde sat down at this year’s Tribeca Film Festival to discuss the making of the film.

Because the film is largely about Sarah’s journey in coming to terms with her lost son, it begins with the harrowing realization that Jesse is gone.

Lauren Damon: Could you guys talk about filming the opening sequence, both technically and emotionally of the child initially going missing?
Reed Morano: I mean, I think I just wanted to not follow the typical conventions of ‘okay, something bad’s about to happen, this is a thriller’ like I didn’t really want to do any indication of it. And that’s sort of like why you don’t–we don’t really even see Jesse before he goes into the bathroom. And I thought okay…We also didn’t really have very much time.
Olivia Wilde: Yeah.
Reed: I was surprised there. So I was like okay, we’re gonna film, let’s just do it. Let’s just have [the actors] do the whole action and we’re gonna kind of–I’m just gonna follow [them] with the camera. Since we were handheld, it was just very easy to just kind of like go with these guys, move off of them. We kind of had a general–we kind of planned out in general where [they] were gonna go look and then I just kind of went with [Olivia] and then focused on you know, Sarah for a while. And then I focused a little bit on Phil.
Olivia: It was very true to life to, we wanted to show that tragic realism of when something bad happens and if you play it back in your mind, you think ‘What would I have done differently?’ And that guilt that both parents may have felt. That they didn’t spend enough time focusing on him right before he went. You know, they’re in the front seat, Sarah’s working on something, Phil’s driving. And there is Jesse in the back kind of entertaining himself. And that’s why, you know, it’s a scene about real life, real parenting, [a] real family moment where everyone is not necessarily completely 100% focused on each other. And then they go into the rest stop and as we said, you don’t even see [Jesse] because that’s how it would be played back in their minds. Like for me watching it, that’s how Sarah’s remembering her last moments with him…She remembers the cookie, she remembers his little voice, she remembers small moments of looking at Phil. And then once they get to the rest stop, it’s kind of blotchy. She doesn’t really remember. She remembers he’s not there and then he’s gone. And when she goes back in her mind, she thinks ‘Who was there? When’s the last time I touched him?’ You know, all of that that we would all do trying to relive it and think what could I have done differently? So I loved how Reed made that choice just to do this as it would be true to life. Just another day, another moment.
Reed: Yeah because if you lose something, you don’t know ahead of time that’s going to happen…There was this thing at one time where people thought I was going to do this poignant moment in the first scene in the car and I was like no, it should be like real life. Like completely real. We don’t want to indicate–it’s not perfect. It’s just like a regular family hanging out, driving. Some people told us ‘Oh some of this stuff’s a little mundane’ and it’s like but that’s a family driving on a road trip. And then him going into the bathroom–I debated should I show a shot of the bathroom at first? To show, to reveal that the door wasn’t open initially. And then it’s like you’re putting too much pressure, you’re putting too much emphasis on him going into the bathroom. It’s like you’re already–people going into the movie, kind of already know what’s going to happen, but that would really indicate it.

 

LD: What was the thought process behind casting Reed’s actual son as Jesse?
Reed: Well, I mean there are practical reasons and there are emotional reasons to cast him. And I felt like when I was trying to cast–
Olivia: He was the best one!
Reed: He was the best one. I auditioned a lot of kids and I finally–and I was trying to avoid it–I think we talked about it and it’s like it’s so perfect, not only does Casey look like he could be Luke and Olivia’s son, he is also, he’s not an actor. He’s like really subtle…Like I know him, he’s sort of been my muse for a long time and I take a lot of photos of him. But just knew that he, he’s just wise beyond his years. And I just thought he’s going to be a natural in front of the camera. But besides that, originally I was scared of the idea because I was like, that’s so fucked up for me to do that. Am I putting this idea out to the universe and then my own son’s going to go missing? God forbid. And then I thought, no maybe it’s the other way around. Like I’m doing this so that it won’t happen to me. And I also thought it’s such a huge thing to ask of these actors, in particular Olivia, who has just had a son. And I know from experience that right after you have a baby, it’s the most emotional time period. It’s such a weird time for women. That’s why postpartum happens and all these other things. And I just thought I’m asking so much of her and I want to be like in it with her as much as possible and it was sort of like my way…And also, I wanted to make sure I got it right. You know, I feel like I wanted to know–and I don’t know, maybe it would have been better if it wasn’t a kid I was connected to because then I could find a way to make it emotional without having extra baggage attached–but I just, I wanted to really feel what they were feeling. And I felt like that was like the closest way I could do it.
Olivia: I think also in terms of performance, something I loved so much about the opening scene is how natural that moment is. And it’s hard to get a child actor to relax to that point. So I thought we were really lucky to have Casey, who’s not only I think a good actor, but he was so relaxed that we got these real moments that kids don’t typically do when they’re performing.
Reed: And to be noted, pretty much all the dialogue in that scene in the car is ad-libbed by the actors. It’s not–we ended up not really using anything from the script. I think the only thing we used was when he says ‘I’m thirsty’ and Luke says ‘Milk or juice?’ But then Luke added in ‘Or beer?’ and then Casey was like ‘Beer.’ [Laughs] I mean that’s what I mean. He was like SO on it. And then that whole story that Casey tells about ‘I was running…’ that was just me saying ‘Why don’t you tell us some stories about why you like going to see Uncle Tim’ and he’s like ‘Well last time I saw Uncle Tim in Ithaca, we were running around in a field of grass…’ And he just like made that up. The weird part is that later on in the movie, Luke tells a story about seeing Jesse running around in a field of grass behind his house. But that was actually in the script. But Casey had never read the script. So it was this weird like thing that happened. And I had to put it in and my editor was like ‘No no no, it’s too much of a coincidence’ But I’m like when people see the first scene, they don’t know what happens later so it’s fine.

The other child actor in the film is Ty Simpkins as Adam, an autistic student with whom Sarah emotionally connects at her school.

LD: What was the thinking behind having the character of Adam be autistic? And what was it about Adam that would have drawn Sarah in more than her other students?
Olivia: Well he’s an outsider and she relates to that. He has trouble connecting and communicating and she relates to that and so I think that was the reason for it. And I think Reed made the really wise choice, along with Ty, to create Adam to be subtlety different and so that Sarah would be the one to recognize what makes him special. But yeah, that everyone else had just kind of abandoned him and that she in no way sees herself as his proxy mother or him her proxy son, but I think she connects more to him. That he’s her and he’s probably the only one that she wants to be around because he’s not asking her to act normal. And she’s not asking him to act normal.

Reed Timmer talks about docu-series "Tornado Chasers"

Having intercepted over 300 tornadoes and a dozen powerful hurricanes during the last decade, Reed Timmer is well-known as the most successful and extreme storm chaser in the world. Reed starred on Discovery Channel’s Storm Chasers, one of the highest-rated shows on the Discovery Channel with over 19 million viewers. He is currently using Kickstarter to fund the second season his online docu-series “Tornado Chasers”.  Media Mikes had a chance to chat with Reed about chasing tornadoes and his his new show.

Jennifer Kish: What motivated you want to start driving into a storm? What goes through your mind the very moment you are about to drive into a tornado?
Reed Timmer: Well I loved the weather ever since I was five years old. I was a major science nerd growing up and weather and storm chasing were my passion. The second I got my driver’s license, I was trying to chase storms. I had no idea what I was doing, but when I was eighteen I came down to the University of Oklahoma and started in meteorology. Back then I had a 1985 Plymouth Reliant with a blown out muffler, trying to chase storms and actually I didn’t know what I was doing and I was a long way from knowing how to storm chase. I came into the path of an F5 and I abandoned the vehicle and went underneath an over pass and this massive tornado went through it and trees were getting knocked to the ground and wobbled a little when it was outside the circulation and I got covered in mud I never felt like it was threatening me. I was just obsessed with being that close to something so powerful and photogenically beautiful but also scientifically beautiful because I wanted to understand it. Then I saw the dark side of the tornado and the damage that they leave behind, which was more motivating to go out and storm chase and help out the best we can in the warning process without getting directly caught in the damage path. Seeing tornadoes up close they have these complexities near the ground where when the main tornado interacts with the friction of the earth they will split up into multiply vortices which are called suction vortices and the suction vortices can have winds that are way above 500 or 600 miles per hour. At least that’s what the math or the theory shows but they have never been measured directly. So our goal in building the armored case or the Dominator is to enter probes inside these things and the mobile radar and all kinds of instruments and try to be the first to measure what would be that high directly. So that of course would be the armored case of the Dominators one main goal.

JK: So what can you tell us about your docu-series “Tornado Chasers” and using Kickstarter to fund it?
RT: We were on Discovery Channels “Storm Chasers” for four years and it was a great run and it helped us in making these armored vehicles financially. There was a lot that went in that was my own money, I am not the kind of guy that saves up for retirement so I put everything into the radars and we have this air canon probe in the back of Dominator. We put in these containers that shoot instruments probes inside and the parachutes deploy that can turn around inside that measure temperature, moisture & pressure. When “Storm Chasers” came to end, I thought we had a few more years to go on it. That’s when we decided to go full board to the Internet and we always knew the Internet was the future and in the normal right amount of time, but we did the “Tornado Chasers” in 2012 and it was with our old director of photography and the guy that filmed in the tornadoes with us. And Discovery through Whiteneck and he did the show like “Deadliest Catch,” “Dirty Jobs” so it has this television quality but it was also shot and edited by our best friends that know us very well so when you’re out there storm chasing you’re not just shooting a show but your just out there with some friends storm chasing. So you have the unique ability to cover not only the storm chasing but our lives. We make a lot of sacrifices for chasing tornadoes putting together over 50-80 thousand dollars a year. I’ve been back home here only 10 days total in the last year. Your personal life is thrown out the window; you eat of gas stations, staying in crazy hotels. But shooting these independently with your best friends gives them a unique opportunity to cover intimately our lives as storm chasers doing what we love and following our passion but also seen tornado activity that is extreme footage from cameras and all the new technologies we can mount on the outside the vehicle while as we are intercepting and show a tornadoes power first hand and show what a tornado looks like from inside. We have Dominator 1 &2 and we are building a third vehicle for our plans to surround tornado with the three vehicles. The goal is to cover more of the characters side of a storm chaser balancing tornado to tornado and team to team is very difficult to build that story on it. People can watch our 2012 season on our web page tvnweather.com. The Kickstarter campaign at tvnweather.com/kickstarter or you can go to kickstarter.com/tornado chasers. We ask you to help fund our 2013 series and we want to take it to the next level with newer technologies and more people to power the vehicles and it’s just fun that demographic and independent . It’s more fun and more natural.

JK: How is the second season going to be different from the first season?
RT: Well more research equipment & cameras and the instruments are working and everything is all tested out and the air cannons are valid and we have Dominator 3 which is like the back to the future vehicle with these Delorean doors which go up and can be in stronger tornadoes. If we can blow pass our Kickstarter goal the more that we can generate. We will get inside stronger tornadoes. I feel like with Discovery we never got the opportunity to show what the second Dominator was capable of. They have an armored shell aerodynamic and they have hydraulics that drop spikes to the ground. Dominator one never had spikes so we would get in strong tornadoes and slide across the ground and that would have been an improvement in Dominator two the spikes would be hydraulically deployed into the pavement and they go a good 4 to 5 inches. We have better radar data and we really want to show what we are capable of scientifically and get inside that really strong tornado that we never had the opportunity to do during “Storm Chasers.”

JK: What makes this Dominator different from the previous two? Do you have a special process that helps you determine what vehicle to use and the modifications you need to make?
RT: Yes, well Dominator one was build on the concept of an airplane wing, rounded top, sides and flat bottom side and that caused lift. So we added hydraulics and aerodynamic bullet proof outer shell with power windows instead of the windows you had to lift manually because that took forever and that way there is no problems. The hydraulics will drop the vehicle flushed to the ground so that no wind can get underneath and that get rids of that upward force and we won’t go flying through the air. We had the window blow out because outer Lexan window got stuck so I had to roll up the other window and we are inside the tornado blew out the window. So in Dominator three, we added a triple windshield wiper system to keep the windshield clean. So we have a windshield wiper on the outside the inside of the outer windshield, the outside of the inner windshield. It can get a little confusing with all the windshield wipers. And with Dominator 3 we actually added a compartment in the back for search and rescue and first aid so if we come across a damage path we are more equipped from that angle to help out the rescue efforts. We also have an missile launchers that will shoot a rocket probe into the tornado that measure temperature, moisture, and pressure.

JK: How did the show “Storm Chasers” impact your life and the way you chase storms?
RT: I have always chased storms the same and have gotten really up close to them. All in like 400 hundred dollar vehicles 85 Reliant, 1991 Topaz and after that I had a Chevy Lumina that was held together with duct tape. And what the show “Storm Chasers” was started for five years it felt like a time warp, everything happened so fast and the next thing we know we have two armored vehicles and then three and then all this people around working on the same things, people I didn’t know. I realized when storm chasers ended all those people were gone and I ended up sitting in my house by myself looking at my computer looking around and wondering where the hell did everybody go? The people that are left behind are the people are the people that were always there from before “Storm Chasers” and are really truly passionate about tornado side and not are more into the sheltered side then the reality TV side of things. There are a lot of good things about it and a lot of bad things too. It did help us develop and do a lot research wise then just getting close to tornadoes and shooting videos of them. It helped us get instruments like mobile radar and air cannons all this stuff. I put all that I had in my pocket and the funding help from discovery made this all happen and faster instead of taking ten years to develop all these research equipment.

JK: You took storm chasing to the next level with not only driving along side of the tornadoes but driving inside of them.. That is a pretty extreme career.. So what do you do when you are not chasing? Do you find yourself trying to top that level of excitement or do you do the opposite and pursue more low key activities?
RT: Well it takes us year round with storm chasing. We chase blizzards and hurricanes and all kinds of things. We are the road non-stop and we also do a lot of speaking events to help make ends meet. I am home like 10 days out of the year. I don’t get out much and I don’t get to have that much of a personal life. I work on my dissertations and graduate. I was in school for 15 years and grad school too. I guess I’m a lot like Van Wilder minus the fun part. I like to ski but I haven’t been able to do for a year and a half. I almost feel lost in the off season because when you are storm chasing there is a well defining goal of driving into a tornado and during the off season it isn’t there so I just don’t know what to do with myself sometimes.

JK: Besides the thrill and love of storm chasing, there is also the scientific side; what have you learned and what do you hope to continue to learn about these storms?
RT: Well we learned that with the mobile radar that the vertical wind can be just as strong a s the horizontal and contrast speeds of 170- 200 mph can extend all the way to the ground so the tornado is almost like a vacuum cleaner. The ground based measurements of tornadoes and most of the research previously with mobile radar is through the wind that is higher opposite storms ✳ so our goal is to unravel that mystery right to the ground and prove that those wind speeds can get up to 500-600 mph in the suction vortices of tornadoes and the multiply vortex tornadoes that are spinning around like a merry go round. That’s our goal is to try to get up close and to get inside it proves how strong the tornado is right by the ground and those are the ones that matter most because that cause the damage and loss of life and property. The just generally understanding the dynamic of tornadoes will help us increase warning times in the area.

JK: I’ve seen on your website that you offer extreme tornado tours. What can someone expect to experience from one of those tours?
RT: It is extreme. You can go to extremetornadotours.com for schedule. They ride along in a town car and of course you don’t get inside a tornado but they get you close. You get these tornadoes and softball size hail. They have ten day tours. If you go to our Kickstarter campaign site at tvnweather.com/kickstarter or search tornado chasers on kickstarter.com and you can make these pledges and you can get rewards and one of the rewards is riding with us in the Dominator one.

JK: Out of all the storms that you have experienced throughout your chase career, is there any kind of storm that even you have been intimidated by?
RT: Yes definitely. The tornado that blew our window out, I thought we were in trouble because that was a slow moving one and we were inside for so long. It just kept intensifying and intensifying and our ears were popping and the whole vehicle was vibrating back and forth and I thought for a second there we were going to get lifted off the ground. There was also Hurricane Katrina where we were trapped in the storm surge and then we were on a third floor balcony and we hitched a ride by fishing boat and then we actually hitch hiked while walked 4-6 miles but we hitch hiked to Louisiana and we squatted in a hotel because all there was all chaos. The next day we hitched hiked again a guy picked us up and drove to Mississippi and we rented a car and drove home. I didn’t have cell coverage and couldn’t make a phone call for three days. I called my mom and found out she filed a missing persons report. My poor mom!

Interview with Joel M. Reed

Joel M. Reed is the writer and director of the cult classic film “”Bloodsucking Freaks”. Joel also appears in the upcoming independent horror/comedy “Supernaturalz”. Media Mikes had a chance to chat with Joel about creating a cult classic and what he has planned next.

Mike Gencarelli: How did you get involved with the film “Supernaturalz”?
Joel M. Reed: For many years Kevin (Sean Michaels) has been a student of mine and follower. However he misled and said I was to do a hard core scene with a stripper. I would have not only added length to the production but width.

MG: How was it working with Kevin Sean Michaels being the director?
JR: He made me the man I am today.

MG: Tell us about how you came up with the idea for “Bloodsucking Freaks”?
JR: I was producing a film called “Teen Demon” and having trouble raising money when an agent Dorothy Palmer told me about an off-Broadway S &M Ballet being presented by a guy name Giles Fontaine. It was him and his girlfriend totally nude. I had dinner with a group of famous and rich ballet aficionados the following week and told them of the show. They all demanded tickets. After the performance they all said if I made a movie about an off Broadway S&M theater they would give me all the money. I wrote the script in one day and they all sent over s&m stuff from their collections. Some too sick for me. When they read the final script they said they loved it but they were all broke at the moment. About that time Joel Weinberg a film attorney called me and asked me if I had a movie I could should before the end of the year. I said, “Yes, “Sardu, Master of the Screaming Virgins”. Do you want to read a script?” He replied, “Fuck the script.” Pick up a check on Monday. It was for $125,000.00 dollars.

MG: When Troma acquired the film they changed the title, which was the third time for this film, any feeling about that?
JR: The film would have succeeded under any title.

MG: Did you ever feel that you were going to far with the content and gore in the film?
JR: I thought the film was funny. Actually is quiet tame by today’s standards.

MG: How does it feel to be the director of one of the most controversial films of all time?
JR: A lot of Goth kids chase me down the street.

MG: Tell us about your film school and its teachings on how make your own cult movie?
JR: I have a new concept in teaching film writing and directing and producing. It’s more like Navy Seal Training. It trains you in all the qualities that make one a film maker that have nothing to do with art.

MG: Will we ever see “Bloodsucking Freaks II” get made?
JR: I have some even more earth shaking films to made with more shock value.
Sardu and Ralphus are gone. Anything I do is the true “BSF Part II”.