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NEW YORK, NEW YORK - APRIL 24: Viola Davis attends the 2023 Chaplin Award Gala honoring Viola Davis at Alice Tully Hall, Lincoln Center on April 24, 2023 in New York City. (Photo by Jamie McCarthy/WireImage )

Viola Davis’ ‘The Woman King’ Oscar Snub Addressed at Chaplin Gala – IndieWire

It took about an hour of speeches saluting Viola Davis during the Film at Lincoln Center’s 48th annual Chaplin Gala before someone addressed the elephant in the room.

“When I see a movie like ‘The Woman King,’ it has Viola’s fingerprints all over it,” said Davis’ “The Disappearance of Eleanor Rigby” co-star Jessica Chastain. “A movie like that with a female director and a cast of powerful Black female leads can get made in Hollywood today because of Viola’s lifelong advocacy for women of color. Maybe one day a movie like that can get nominated for an Oscar.”

The statement was met with enthusiastic applause from an audience comprised of Lincoln Center donors, industry colleagues, and plenty of acting students from Davis’ alma mater, Juilliard. It was an explicit callout to the biggest Oscar snub to cast a shadow over last year’s awards season, and contextualized a celebration that made up for the missed opportunity.

Davis’ performance as an African war general seemed like a shoo-in for the Best Actress category after the Sony release grossed close to $100 million following its successful launch on the fall circuit, yet Davis was shut out of the category, while the movie itself garnered zero nominations — an outcome that led to questions about whether the Academy had truly addressed its diversity problems in the wake of #OscarsSoWhite.

At a dinner following the ceremony, where board members shelled out as much as $100,000 per table for the fundraising event, Chastain — who has two months left in the Broadway production of “A Doll’s House” — was still reeling about the exclusion. “Someone had to say it,” she told IndieWire. “I mean, come on. Not a single Oscar nomination for that movie? There had to be some Academy members in that room, right?”

Indeed there were. The crowd ranged from CAA heavyweight Kevin Huvane to prolific documentarian Roger Ross Williams, as well as several other notable actors and filmmakers who took the stage during the ceremony to praise Davis, only the third EGOT winner to receive the Chaplin tribute Mike Nichols and Audrey Hepburn. Notwithstanding Davis’ 2016 Oscar win for “Fences,” the event made the case that the 57-year-old actress’ talent has often been under-appreciated — and in some cases, the highlight of otherwise forgettable movies. For every “Widows” or “Ma Rainey’s Black Bottom,” there are lesser-known gigs such as “Troop Zero” and “Lila & Eve” where she still manages to stand out.

“Widows” filmmaker Steven McQueen acknowledged as much in his speech. “Watching these clips on the screen is like watching Mike Tyson knockouts,” he said. “It’s Viola and someone else listening. You see someone who is truth. It’s scary and revealing.”

While “Woman King” director Gina Prince-Bythewood didn’t address the recent snub in the explicit terms of her editorial earlier this year, she spoke to the cultural impact of the performance. “The number of audiences who have shared that this film and her performance as Nanisca has literally changed their lives is stunning and inspiring,” Prince-Bythewood said. “It’s why we have fought so hard to allow Black female characters to show their mess.”

She also heralded Davis’ “insane work ethic,” a notion echoed by Meryl Streep, who recalled working with Davis on John Patrick Shanley’s 2008 “Doubt,” Davis’s onscreen breakout that resulted in her first Oscar nomination. Streep recalled her frustrations when Shanley kept asking for more takes of the scene in which Davis, as the mother of a child at a Catholic school who may have been abused by its priest, pushes back on allegations from Streep’s nun. “I said, ‘You’re killing this actor,’” Streep recalled. “I know an Oscar performance when I see one.”

Shanley insisted they come back the following week for additional shoots, which was when Davis delivered the devastating performance that wound up in the movie. “The greatest artists have a gift for conveying what it is to be human,” Streep said. “It’s just undeniable and it can’t be stopped by lack of opportunity.”

Matt Damon as Sonny Vaccaro and Viola Davis as Deloris Jordan in AIR Photo: COURTESY OF AMAZON STUDIOS © AMAZON CONTENT SERVICES LLC — Matt Damon and Viola Davis in “Air”COURTESY OF AMAZON STUDIOS © AMAZON CONTENT SERVICES LLC

The event doubled as a soft launch for what could end up being Davis’ next Oscar campaign for her turn as Michael Jordan’s mother Deloris in “Air,” a movie that didn’t appear in any of the montages from Davis’ work but received a standalone clip towards the end of the show. The scene finds Deloris pressing for Matt Damon’s Nike executive to accept a deal that promises her son will receive indefinite revenues from Air Jordan sales, though it doubles as an argument for pay equity that Davis has pressed for across the industry.

Amazon expects big numbers for the movie when it lands on the streaming service in May following its wide theatrical release, as it inches toward $50 million box office in North America. However, “Air” director Ben Affleck and others associated with the performance did not attend the gala, as the studio is likely to wait until later this year to unleash more advocacy for that performance.

In her own speech concluding the ceremony, Davis hewed to the bigger picture of her career, striking the same rousing note of her memoir “Finding Me,” which came out last year. “The biggest regret of the dying is never becoming your ideal self,” she said. “I do believe that we’re thrust into a world where we don’t fit in. A lot of people sell a bill of goods along the way — that if you get some awards, you mean something. … You swim through all the bad, filthy swill until you come to the really, really stark conclusion that you want to leave this Earth becoming who you know deep within I’m supposed to be. That transcends status.”

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May 8, 2023

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It took about an hour of speeches

Music

Shakira Seemingly Addresses Gerard Piqué Cheating Scandal at Billboard Women in Latin Music Awards

Shakira Seemingly Addresses Gerard Piqué Cheating Scandal at Billboard Women in Latin Music Awards | Entertainment Tonight

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May 8, 2023

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Man in critical condition after suffering a heart attack on the Grouse Grind – BC

North Vancouver Fire crews, BC Emergency Health Services (BCEHS) and North Shore Rescue (NSR) worked together to rescue a man suffering from a heart attack on the Grouse Grind Sunday afternoon.

12 firefighters along with a doctor went up the popular trail around 5 p.m. to reach the man and provide first aid, according to Scott Ferguson, an assistant chief with the District of North Vancouver Fire and Rescue Services.

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Vancouver marathon participants push to the finish line for a good cause

“We had two engines and a rescue crew. Four people on each truck, as well as BCEHS paramedics and NSR personnel on scene, Ferguson told Global News.

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“It does take a lot to bring someone down. It’s especially difficult when they’re in medical distress and we’re trying to care for them as we’re coming down the trail.”

The man was taken to hospital is critical condition, BCEHS said in a statement.

First responders have not confirmed the age or condition of the man following his rescue.

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May 8, 2023

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Tom Cruise Flies Jet While Accepting MTV Movie and TV Award

Tom Cruise MTV

Tom Cruise was soaring after his MTV Movie and TV Awards win — literally. He accepted Best Performance in a Movie from his jet.

The actor, 60, earned the golden popcorn on the Sunday, May 7, awards show for his role in Top Gun: Maverick, so it was only fitting that he accepted while piloting an aircraft.

“Hi everyone, thank you so much for this award,” he shared while speaking into his aviation headset. “I make these films for you. I love you, I love entertaining you! To know how much you enjoy it, how much you appreciate it, there’s just no better feeling.”

Tom Cruise Accepts MTV Movie and TV Award While Flying a Jet — Tom Cruise Scott Garfield/Paramount Pictures

He concluded by promoting his other action franchise, Mission Impossible. The seventh installment in the franchise is due in theaters on July 12.

“I hope you enjoy Mission Impossible: Dead Reckoning – Part 1. It should be coming out in July. It is a wild ride,” Cruise said. “You have a wonderful summer, thank you again for letting me entertain you; It is an absolute privilege. See you at the movies!”

Top Gun: Maverick, which hit theaters in May 2022, is among the few films that have won both the golden popcorn at the MTV Movie & TV Awards and the Oscar at the Academy Awards. The action movie, a sequel to 1986’s Top Gun, won Best Sound at the prestigious ceremony in March and was nominated for Best Picture, Best Adapted Screenplay, Best Original Song, Best Film Editing. and Best Visual Effects.

Though Cruise clearly had an elaborate plan to accept the award virtually, other stars were more low-key after MTV canceled the in-person event at the last minute. On Thursday, May 4, host Drew Barrymore dropped out to support the writers strike. The red carpet was called off the following day amid the Writers Guild of America’s calls to picket the show at Santa Barbara Hangar in California. On Saturday, May 6, the network announced that the MTV Movie & TV Awards would be pre-taped.

Ultimately, the show included a few comedic segments Barrymore pre-taped, retrospective clips from past years and acceptance speeches that were filmed in advance. Pedro Pascal accepted three awards for The Last of Us. Bella Ramsey, Joseph Quinn and Barrymore also filmed virtual thank you speeches, and many of them gave shout-outs to support the writers strike.

Jennifer Coolidge nodded to screenwriters while accepting the Comedic Genius award from home. “Almost all great comedy starts with great writers, and I just think that as a proud member of SAG, I stand here before you tonight side-by-side with my sisters and brothers in the WGA that are fighting right now. Fighting for the rights of artists everywhere,” Coolidge, 61, said.

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May 8, 2023

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Tech

Vox Media’s Stealthy Podcast Play – The Hollywood Reporter

In March, Vox Media unveiled the latest splashy addition to its growing network of podcast creators: Esther Perel, whose show, Where Should We Begin?, has only further burnished her reputation as one of the best-known couples’ therapists around the world.

In attracting Perel, Vox Media beat out competitors like Spotify, which previously had an exclusive deal with the psychotherapist beginning in 2019 via Gimlet Media. The deal has also shown that Vox Media’s podcast ambitions extend beyond the digital media company’s brand of publications, which include New York magazine and The Verge, and into a realm that appeals to more than just “tech and [media] industry nerds,” as one executive put it.

This Friday, Vox Media is making its debut on Podtrac, the industry measurement tool that releases monthly rankings of the top 20 publishers and podcasts in the U.S. With a total of 59 active shows — compared to the 809 of leading publisher iHeartMedia — Vox Media has landed as the No. 10 publisher in the U.S. with more than 5.9 million unique monthly audience members and 33.3 million unique monthly downloads and streams during the month of April.

For the full year of 2023, Vox Media is forecasting that its podcast network will reach more than 500 million — or half a billion — total global downloads, according to Ray Chao, Vox Media’s svp and gm of audio and digital video. (To note: In February, Penske Media, the owner of The Hollywood Reporter, made a minority stake investment in Vox Media.)

The audience figures, which Vox Media is releasing for the first time, represent a measured approach to growth for the media brand’s podcasting business, which began in 2011 with the launch of Vox’s first podcast but didn’t become formalized until 2017 with the debut of the standalone Vox Media Podcast Network. Since then, the network has gone on to acquire companies like Preet Bharara’s Cafe Studios and Phoebe Judge and Lauren Spohrer’s Criminal Productions, as well as attract talent like Perel, former NPR host Sam Sanders and tech journalist and podcaster Kara Swisher — the latter of whom left The New York Times last year to host a new podcast, On With Kara Swisher, for Vox Media.

“Growing things correctly, it can come off sometimes as cautious or really smart, right? And so I think we were aggressive in investing in [podcasts] and, at the same time, not nuts — everyone doesn’t get a podcast, that kind of thing,” Swisher told THR.

That isn’t to say Vox Media as a whole has isolated itself from the turbulence of digital media’s advertising reliance, as the company laid off 7 percent of its staff at the start of the year in response to “the challenging economic environment,” as Vox Media CEO Jim Bankoff described it at the time. But the media company’s more sober approach to podcasting comes as a stark contrast to the so-called “dumb money” era of podcasting, when companies like Spotify plopped down hundreds of millions for talent deals and acquisitions that compelled other buyers to up the ante to compete. Though Vox Media made its share of deals, including for Cafe Studios and Criminal Productions, the company’s top podcast executives say the audio business has remained profitable during a cooler market due to Vox Media’s focus on building infrastructure like an in-house advertising and marketing team and on diversifying revenue outside of advertising alone, such as with podcast subscriptions and live events with podcast talent.

“We’re in podcasting and audio for the long term, so we’re not thinking about this in terms of this boom-and-bust cycle,” Chao said. “I don’t think we’ve felt that volatility in the same way that other companies have felt. Of course, we’re not immune to a lot of those challenges, but this is a moment that will pass and we will get through it, and we’re really proud of the foundation we built.”

With that structure in place, the company can now pitch its franchise-building capabilities to top talent seeking opportunities across formats. “We’re not just an audio company,” Chao said. “What we want to do is build a big media franchise, and so we’re not limited by the medium to say, ‘Hey, we’re only gonna support you in the audio world.”

In the case of Perel, the franchise pitch absolutely worked. “We always wanted a partner that would come to the table with creative ideas that maybe we hadn’t thought of ourselves, and so we were looking for an organization that would surprise us and also have the infrastructure to scale what we had been doing,” Courtney Hamilton, who oversees special projects (including podcasts) for Perel’s team, said. Now at home with Vox Media, Perel will switch her seasonal podcast into a weekly, “always-on” show with bonus content via an Apple Podcasts subscription beginning this summer. Perel will maintain ownership of the Where Should We Begin? IP and continue working with the production company Magnificent Noise, while Vox Media handles ad sales and distribution. Though Hamilton demurred when asked if an Esther Perel conference or event is on the horizon, she pointed to Vox Media’s bona fides in live events and said that “everything’s on the table to discuss.”

Nishat Kurwa, Vox Media’s svp and executive producer of audio, said the company’s strengths also lie in supporting talent as their interests change, rather than keeping them confined to their proven lane of success. “A show may start in a niche topic or category, but then the host’s aspirations may change and they want to move into something much broader,” Kurwa said. “We’re there to support that. Naturally, that’s going to mean a slightly different audience, and so we think we can work with them as their aspirations change and grow.”

But even as Vox Media may take on a broader scope of topics, moving away from its roots in the media and tech sphere, creators who spoke with THR said the company is doing so while maintaining its reputation for quality. “We weren’t going to align ourselves with or be associated with or be taken over by some entity — not to disparage anyone — but some entity that didn’t share our commitment to excellence,” Bharara, whose Cafe Studios has now been under the Vox Media umbrella for two years, said. “I wanted to be at a place where the leadership was strong, the commitment to value and values was strong. And of all the people we spoke to, … Vox Media was number one.”

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May 8, 2023

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Reviews, Television, TV

“Barry” Season 4 Episode 5 Recap: “tricky legacies”

Episode 5 starts after an 8 year time jump, Barry and Sally have escaped Los Angeles for a life cut off from their families and the ghosts of their past. We don’t know where they are but they no longer go as Barry and Sally, rather Clark and Emily and they have a son named John (Zachary Golinger), who doesnt know who they really are.

The previous episode of Barry saw the characters still reeling from Barry’s escape, episode 4 delivered a heavy blow to the show and the fandom, with the murder of Christobal, bringing Hank and Christobal’s story to an end, but marking the beginning of a new chapter for Hank as the Kingpin of the Chechen crime family in LA. This was probably the most violent episode we’ve seen so far. We also saw Fuches being beaten up by the prison guards for information on Barry. Jim Moss hot on the trail, searching for Barry. Meanwhile Cousineau who was isolated at his cabin had accidentally shot his son Leo, thinking it was Barry. After finding out he had escaped from prison, Sally heads home to find Barry there, and without a word, she leaves with him. The most important thing to remember is that the end of the episode sees a young boy who we soon learn is Barry and Sally’s son.

Read the Season 4 Episode 4 Recap Here

This episode mainly follows their life and routine as we see how the once hitman and actress have now adapted to life in hiding. According to Hader this was one of his favorite episodes of the season.

SPOILERS AHEAD FOR BARRY SEASON 4 EPISODE 5

As the episode starts, Barry or Clark takes John to apologize to their neighbor who he had hit because he was made fun of for not knowing what Call Of Duty was. Clark explains that their house is video game free, he pushes John to say “I hope we can be together next time in harmony.” Despite Barry trying his best to make sure his son does not end up like him, it would appear he still has violent tendencies like Barry. Barry homeschools his son and uses principles he learns from people like Lincoln who he has recently started idolizing to teach his son.

Courtesy of HBO

Sally or Emily, has a job and a new look, we see her getting ready, putting on a brunette wig and heading out to Lynette’s Country Diner where she works as a waitress. Things at the Diner move fast as they go from serving coffee to her fellow waiter needing pills to Emily stealing money from the register, and finally Bevel, a cook at the Diner hitting on her. At home, Sally is obsessed with Natalie’s hit TV show Just Desserts, which is on its last season. As she watches her former assistant get the fame and glory that should have been hers she continuously drinks glass after glass of wine.

Barry truly has become a changed man, he is trying to live by Lincoln’s principles of pragmatism, optimism, and compromise. After making up with his neighbor the two talk about baseball, but fter Barry finds the baseball mitt his neighbor gave John, Barry makes him watch videos of children getting hit with baseballs and running into fences on YouTube, which results in John having nightmares, he runs into his parents room saying “I don’t want to get killed by a baseball” and Sally ends up sleeping in his bed, but Sally wasnt too happy about that. She seems completely detached from her own son. Living in the middle of nowhere, with only one paycheck coming in, they weren’t exactly living a life of luxury. Eating undercooked potpies or cereal for dinner, no money for a heater or comforter for their son. For Barry it’s not the material that matters, it’s what’s right there.

While on another YouTube binge Barry learns of all the “messed up shit Lincoln did” from a channel called Heroes Exposed. He seems to

Courtesy of HBO

cling on to the character of Lincoln because if he could change and become “Honest Abe,” maybe there’s hope for him.

Meanwhile while watching another one of Natalie’s interviews, Sally decides she needs a way to let out all her anger. The next day, she sees Bevel at work and hatches a plan. The two have a drink together and she talks to him about his life and a recent job his brother pulled robbing a bank, where people died. What he didn’t realize was Sally was testing him. Sally heads to the bathroom and he follows. She starts by giving him a taste so he would let his guard down, but then she starts choking him, he accidentally pulls her wig off. She makes him keep her secret, but she wasn’t going to take any chances. So she has him fired by telling their boss he was stealing money from him.

When John finds an old medal box of Barry’s from his time in the Marines, (which Barry most likely planted) Barry takes the opportunity to not just tell his son he was in the Marines, but rewrite history a bit. As you may remember what originally happened to get Barry discharged from the Marines was, well a little insane. After his friends Albert was shot in the face, he charged into someone’s house and shot them, basically he got away with murder, like Mr Cousinea said. But in the version that Barry tells his son, after Albert got shot, Barry who was a medic in his story, saved Albert’s life.

When their doorbell rings, Barry’s worst fears are realized, he immediately tells Sally and John to go hide in the bathtub. There was no one outside though, we simple hear a group of people laughing, they had been died dong ditched. In that moment we see Sally cling on to her son as they hide in the tub, while Barry remains outside with a pistol fiercly protecting his family.

Courtesy of HBO

We then go from Barry or Clay’s empty land to a Warner Bros building, where apparently Gene Cousineau who has been missing for the past 8 year is. But the people from Warner Bros can’t seem to be sure if it’s him. Except it is. Long haired and worn out, Mr Cousinea had heard that a Barry biopic was being made and he says to an executive at Warner Bros “You’re going to want to talk to me.”

Sally suddenly receives a Google alert for the name “Barry Berkman”, she screams “Barry”! There on her phone is an article that reads “Gene Cousineau Resurfaces – May Consultant on Barry Berkman Biopic” in that moment we see him immediately switch from Clay back to Barry, “I’m gonna have to kill Cousineau” says Barry as the episode ends.

With all the dreams Barry had in the previous episodes, most assumed that the ending of episode 4 was a dream too. The fact that it was an 8 year time jump was a huge surprise. We see such great performances from both Sarah Goldberg and Bill Hader. Sarah channeling a much darker side of Sally, and Bill channeling his paternal side to portray the emotion and heart we saw in this episode.

This episode was a bit slower compared to the rest of the season so far, and slower than all the other episodes of Barry in general, with less action and comedy and more deeply rooted in family and emotion. For Hader this was a welcome change of pace. In an interview with The Wrap Hader said “There are certain moments in the show where I’ve just kind of gone off and written it quickly,” Hader said, referencing the “ronny/lily” episode from Season 2 and the motorcycle chase from Season 3. “It was nice to do something that felt completely different from anything we’d done in the show so far, and that’s important to keep it fresh and interesting for the story but also for yourself. It’s definitely an episode that I understand if people are like, ‘What the f–k was that?,’ but it’s my favorite. That and the finale are my two favorite episodes.” That ending is going to lead into an exciting new chapter of Barry.

“Barry” Season 4 airs Sundays at 10 p.m. on HBO and on HBO Max

May 8, 2023

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Episode 5 starts after an 8 year

Drew Barrymore in her "Never Been Kissed" dress in a skit in the MTV Movie and TV Awards (MTV)

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Drew Barrymore Still Appeared at the MTV Awards but in Hilarious Skits

Drew Barrymore may not have hosted the MTV Movie and TV Awards, but she still had a presence Sunday night. The clip-heavy awards show featured several prerecorded skits starring Barrymore doing everything from dancing in “Wednesday” to reprising her role in “Never Been Kissed.”

Barrymore was originally slated to host the MTV Movie and TV Awards but dropped out of the event last Thursday, two days after the beginning of the WGA strike. At the time, the host of “The Drew Barrymore Show” said she pulled out of the event “in solidarity with the strike.” MTV likely planned to accompany Barrymore’s hosting duties with a batch of sketches that put the beloved stars into some of the biggest shows and movies of the past year. But watching the clips sans-Barrymore-as-host was still fun.

The awards show started with a throwback. Donning her iconic “Never Been Kissed” dress, Barrymore charmed her way through such recent hits as Parker Finn’s horror movie “Smile,” Jordan Peele’s sci-fi Western “Nope,” Netflix and Tim Burton’s “Wednesday,” Mike White and HBO’s “The White Lotus,” Gerard Johnstone’s horror comedy “M3GAN,” Joseph Kosinski blockbuster “Top Gun: Maverick” and Elizabeth Banks’ stranger-than-fiction “Cocaine Bear.” And before you ask, yes — of course Barrymore did the “Wednesday” and “M3GAN” dances.

She then appeared in the “Barbie” trailer, correcting a major casting oversight. Barrymore pretended to be an unofficial “Skipper.” If you’re unaware, Skipper was Barbie’s first sister, who appeared in 1964. Barrymore doesn’t just respect the WGA; she respects Barbie lore.

MTV Movie & TV Awards Pivots to Clips in a Preview of Future Awards Shows if WGA Strike Goes Long

She then returned to “Wednesday” to dance some more. As Jenna Ortega stared on in shock, Barrymore twirled in the rain and was eventually struck by lightning.

That’s not all. Barrymore also won an award herself for Best Host of her talk show. During her speech, she made a point to thank her show’s writers.

It’s all part of the MTV Movie and TV Awards intentionally clip-heavy awards show. Originally, the network planned for Barrymore to host its live awards show, which would air after red carpet arrivals. But in the wake of the writers’ strike, MTV was forced to quickly change the format of the program that’s been around since 1992.

While more and more presenters and nominees dropped out of the awards show out of respect to the strike and the WGA protested the event, the red carpet was canceled. The live element of the show was canceled as the event pivoted to heavily feature clips from past ceremonies. The nominees from each category were called and the winner accepted their award via a prerecorded message.

Click here for all of TheWrap’s WGA Strike coverage.

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May 8, 2023

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Drew Barrymore may not have hosted the

Entertaintment

Songwriters Explain Why the ‘Let’s Get It On’ Case Was a Near-Disaster – Rolling Stone

After threatening to quit his musical career if he lost the case, Ed Sheeran was, to say the least, highly relieved Thursday (May 4) when a federal jury ruled that his song “Thinking Out Loud” (co-written with Amy Wadge) doesn’t infringe on the copyright of Marvin Gaye’s “Let’s Get It On.” But the entire community of professional songwriters was also watching the case closely, and with no small degree of trepidation. “If this case had turned out differently, it would have completely changed the landscape,” says James “JHart” Abrahart, who’s written songs for Justin Bieber, Usher, Camila Cabello, and Måneskin.

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In the new episode of Rolling Stone Music Now, songwriters Jenna Andrews (who co-wrote BTS’ “Butter” and “Permission to Dance,” and has written for Noah Cyrus and Jennifer Lopez), and Jamie Hartman (who’s written for the Backstreet Boys, Lewis Capaldi, Jennifer Hudson, and Calvin Harris), along with JHart, discuss the Sheeran lawsuit’s potential ramifications, the limits of musical originality in pop music, the continuing fallout from the “Blurred Lines” case (in which Robin Thicke’s song — written by Pharrell Williams — was found to have infringed on Marvin Gaye’s “Got to Give It Up,” based solely on groove and vibe) and more.

Find the episode here at the podcast provider of your choice, go directly to Apple Podcasts or Spotify, or just press play above.

In the episode, the songwriters say they were particularly horrified by the argument that the song’s chord progression alone was protected by copyright — it was impossible for them to imagine that such basic elements of music could be kept off limits. “There’s only so many chords that you can use,” Andrews says.

“Ed and Amy had a new thought over a traditional arrangement,” says Hartman. “Coming up with an original lyric and an original melody is new. That’s the brief. That’s what you have to do daily as a professional writer.”

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A verdict against Sheeran would’ve had a powerful chilling effect, the writers say — but at the same time, the “Blurred Lines” case and other recent rulings have already left songwriters and artists feeling paranoid, which means nascent songs frequently get scrapped before anyone hears them. “It’s always kind of frustrating when someone’s like, ‘Oh, this reminds you of something,’” says Andrews. “And sometimes they can’t even name the song, but they’re so nervous that they’re stepping on something that they’re just like, let’s go to something else.”

“I have a couple colleagues who have been to court,” says JHart. “And one of them specifically, it’s really affected them. They’re really sort of scared in rooms and it feels triggering for them. And it’s just stifling for people. I’ve seen how it affects people, obviously financially as well, but just being able to be free and be creative.”

Download and subscribe to Rolling Stone‘s weekly podcast, Rolling Stone Music Now, hosted by Brian Hiatt, on Apple Podcasts or Spotify (or wherever you get your podcasts). Check out six years’ worth of episodes in the archive, including in-depth, career-spanning interviews with Bruce Springsteen, Mariah Carey, Halsey, Neil Young, Snoop Dogg, Brandi Carlile, Phoebe Bridgers, Rick Ross, Alicia Keys, the National, Ice Cube, Taylor Hawkins, Willow, Keith Richards, Robert Plant, Dua Lipa, Questlove, Killer Mike, Julian Casablancas, Sheryl Crow, Johnny Marr, Scott Weiland, Liam Gallagher, Alice Cooper, Fleetwood Mac, Elvis Costello, John Legend, Donald Fagen, Charlie Puth, Phil Collins, Justin Townes Earle, Stephen Malkmus, Sebastian Bach, Tom Petty, Eddie Van Halen, Kelly Clarkson, Pete Townshend, Bob Seger, the Zombies, Gary Clark Jr., and many others. Plus, there are dozens of episodes featuring genre-spanning discussions, debates, and explainers with Rolling Stone’s critics and reporters.

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May 8, 2023

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After threatening to quit his musical

Movies

‘Beau Is Afraid’ | Anatomy of a Scene

Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.

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May 8, 2023

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Film directors walk viewers through one scene

What Tom Cruise told King Charles III at coronation concert

Tom Cruise made a video appearance at King Charles III’s coronation concert to deliver a message to the British monarch.

“Pilot to pilot, Your Majesty,” the veteran action star said, “you can be my wingman any time.”

Cruise is known for his high-flying portrayal of United States Navy fighter pilot Pete “Maverick” Mitchell in the “Top Gun” franchise. Like Charles, who served in the Royal Air Force, he is also a trained pilot in real life.

Cruise was among several celebrities who participated in the concert at Windsor Castle following the coronation at Westminster Abbey. Performers at the event included Katy Perry, Lionel Richie, the Royal Ballet, Nicole Scherzinger of the Pussycat Dolls, opera singer Andrea Bocelli and British band Take That.

Other artists — such as Harry Styles, Elton John, Ed Sheeran and the Spice Girls — reportedly turned down invitations to perform at the concert, citing scheduling conflicts and other reasons.

According to the Associated Press, Richie brought Charles and Queen Camilla to their feet with his performance of the 1983 classic “All Night Long,” while Perry sang her empowerment anthem “Roar” during the extravaganza.

On Saturday, British police arrested a number of anti-monarchy demonstrators protesting Charles’ coronation. The protesters held signs and wore shirts with the rallying cry “not my king” while demonstrating during the royal procession.

“It was a completely peaceful demonstration,” anti-monarchy activist Harry Stratton told the Associated Press.

“It feels like something out of a police state because we still don’t know why anyone’s been arrested, and we still don’t know where they’re taking our people. Britain’s meant to be a democracy, but Charles isn’t treating it like one.”

The Associated Press contributed to this report.

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May 8, 2023

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Tom Cruise made a video appearance

MCU

Cobie Smulders Guest Stars on Latest Episode of ‘Marvel’s Moon Girl and Devil Dinosaur’

Agent Maria Hill reporting for duty! In the latest episode of Marvel’s Moon Girl and Devil Dinosaur, Cobie Smulders reprises her long-time role as Agent Hill, stopping by to help “guide” super-genius Lunella Lafayette (aka Moon Girl) — and it makes her feel like a “really cool mom.”

As Smulders explains in a new behind-the-scenes video, which you can watch above, animation had such a huge impact on her life and her hope is that “kids just get inspired by watching the show.”

“The idea that we get to see another strong, powerful, young woman leading this story is very exciting,” she explains.

In the latest episode, “OMG Issue #1,” Lunella uncovers the history of the Original Moon Girl as she struggles to thwart a powerful villain’s plan to use her portal for evil.

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May 8, 2023

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Agent Maria Hill

DCU

Ben Affleck Gets Candid on Zack Snyder’s Directing Skills

Batman star Ben Affleck got quite honest about his thoughts on Zack Snyder’s skills as a director after their experience on Justice League and The Snyder Cut.

Affleck is about to make his final appearance in the DCU as the Caped Crusader in this summer’s The Flash while Snyder left the blue brand behind in 2021 after finally releasing Zack Snyder’s Justice League, his true vision for DC’s super-powered squad.

The two teamed up on three separate occasions to help bring Snyder’s take on the DC story to life, with Affleck playing Bruce Wayne in both versions of Justice League and Batman v Superman: Dawn of Justice under Snyder’s watch.

And considering the time they’ve spent working with each other over most of the last decade, it’s no surprise to see that Affleck is so supportive of the work that Snyder has put in with these characters.

Ben Affleck’s Honest Praise of Zack Snyder

Speaking to a crowd of fans at the Q&A session following the screening of Zack Snyder’s Justice League at the Zack Snyder Full Circle Event in Pasadena, California, Batman star Ben Affleck reflected on his work with the director in the DCEU.

He looked at all of the actors that Snyder had cast in his movies and the work they’d done since, crediting Snyder for being so “intuitive” as a filmmaker:

“As you look at all these actors who Zack cast and how good they are and what they’ve gone on to do, it’s a testament to Zack’s taste. And his taste is very, as he says, intuitive. I don’t know if you can learn it or teach it. He has a feeling if he is, sort of, being like a filmmaker with a point of view is.”

The Batman star praised Snyder for not worrying about “a bunch of other thoughts or opinions” from outside sources along with the director’s ability to stand strong with his decisions:

“As soon as he sees that thing that bounces off him, it’s very wonderful to work with someone who’s not clouded by a bunch of other thoughts or opinions or ‘What are they gonna say? What are they gonna do? How many followers do they have?’ Whatever it is, immediately, and listen, he has an opinion, and he has a strong one.”

Snyder was always one to give his actors the bottom line about their performances, with Affleck liking the way that there weren’t “15 auditions and do a whole circus” involved with the process:

“And that’s kind of what you want as an actor, very much, whether it’s good or bad. ‘Are we doing this or are we doing that? You want me for the movie or you don’t?’ You know what I mean? Both are fine, I just want to know, let’s not do 15 auditions and do a whole circus.”

To close, Affleck highlighted the way that Snyder works off of his instincts and how he’s “decisive and absolutely self-assured” of the decisions he makes, knowing that he trusts everything that his director does with his movies:

“And that’s one of the beautiful things about Zack and his process is that he is worked by instinct and decisive and absolutely self-assured of that, and it’s a very calming thing to have in a director, to go ‘OK, he knows where we’re going, so I’m gonna follow him.'”

Will Ben Affleck Work With Zack Snyder Again?

Ben Affleck’s relationship with Zack Snyder has been well-detailed over the years, with Affleck admitting on numerous occasions that Snyder helped to bring him out of a dark place that he’d been to with his experience as Batman.

Affleck has also never been one to hold back on sharing his experience with the DCEU, even the negative parts of being part of the franchise, with Snyder being one of his biggest supporters through the whole journey.

The actor is likely to end his time with DC in The Flash a couple of years after Snyder’s own exit, with the chances being quite low that the pair will ever reunite under the DC umbrella.

Whether they team up again in other movies is anybody’s guess, but with Snyder working diligently to push out new material, Affleck may look to take on another role in a non-DC project for Snyder someday.

Zack Snyder’s Justice League, along with Snyder’s other DC movies, are available to stream on HBO Max.

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May 8, 2023

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Comics

Major Publishers Report AAA Franchises Can Cost Over a Billion to Make

On Wednesday, the UK Competition and Markets Authority (CMA) blocked the Microsoft and Activision Blizzard Merger due to its implications for cloud gaming. Along with fundamentally changing the future of Microsoft and Activision Blizzard, the document released alongside this decision has revealed quite a few details about the increasing financial demands behind AAA games.

In a massive report on the decision, the CMA revealed that some major publishers report their AAA franchises can cost over $1 billion to make.

According to the report, AAA games that are greenlit now with potential releases in 2024 or 2025 typically receive development budgets of $200 million or higher — Call of Duty has already surpassed $300 million in development costs alone, and the next Grand Theft Auto title will likely require a development budget of $250 million or more. When considering marketing costs, this number can jump to over $1 billion across a franchise, with one large studio reporting that a major franchise’s development cost $660 million and marketing cost nearly $550 million.

These costs demonstrate a significant increase from five years ago, when most AAA games had budgets between $50 and $150 million.

The CMA’s ruling, citing a report by market intelligence group IDG, also revealed details about the increasing development demands for new Call of Duty titles.

“We have to make so much content for Call of Duty that we can’t even lean on one lead studio anymore,” Activision was quoted as saying in the report. “Now we need almost 1.5 lead studios for each annual CoD. That kind of bandwidth pressure is forcing us to use outsourcers more and more. I don’t see that changing anytime soon.”

Alongside its insights into the rapidly increasing costs of AAA game development, the CMA’s report also asserts that Nintendo’s platforms aren’t “technically capable” of running Call of Duty despite Microsoft’s confidence. The report also details how Microsoft could potentially make Game Pass more expensive after the acqusition.

Amelia Zollner is a freelance writer at IGN who loves all things indie and Nintendo. Outside of IGN, they’ve contributed to sites like Polygon and Rock Paper Shotgun. Find them on Twitter: @ameliazollner.

This article was amended after publication to specify $1 billion over a franchise, rather than a single game.

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May 8, 2023

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On Wednesday, the UK Competition and Markets

Series Mania, BAFTA & BBC In Deadline’s Latest International Insider – Deadline

Festivals

Writers’ Strike, Cannes Jury & UK’s Coronation – Deadline

The strike has begun, Insiders. The industrial action, the first in the U.S. since 2007-08, dominated news coverage in film and TV this week but there’s been plenty more going around the world. Jesse Whittock here to take you through. Be sure to sign up for the newsletter here.

Strike, Camera, Action!

Queen Charlotte

Netflix

Shows of solidarity: The moment is upon us. Following several weeks of failed negotiations, the WGA is striking for the first time in 15 years over issues including compensation and streaming residuals, mini-rooms, late-night streaming shows and pensions. As writers across the U.S. hit the picket lines, attention here at Deadline International has been focused on the ripple effects being felt globally. Multiple writers unions around the world were swift in their shows of support. Australian, Canadian and UK guilds have already urged their own writers to down tools and refuse to work on U.S. projects, while bodies from the likes of Israel, Ireland and France have all publicly backed the WGA, with more reaction likely over the weekend. Our international roundup, which we are updating, can be found here.

True impact: We’ve also spent the week figuring out the impact of the strike on the non-U.S. landscape, with a deep dive looking at the UK. Rushed scripts, confusion and blacklisting threats is what we found, with sources saying that they are still digesting what is taking place. Many are still working out whether their shows will be affected, with question marks surrounding streamer shows that have been commissioned outside the U.S., or the big U.S. series being filmed in the UK. House of the Dragon Season 2 is pushing on for now, as is The Lord of the Rings: The Rings of Power Season 2. “It’s very complicated,” said a high-profile UK scribe. “If you’re a UK writer working on a U.S. show under WGA jurisdiction you can’t continue until this is resolved. The Guild has been firm about this.” John McVay, CEO of indie trade body Pact, sought to downplay the situation and pointed to a broader scripted slowdown. “Moving on from the boom is good because people were working back-to-back, getting burned out and wage rates were through the roof,” he added. We will be keeping our eyes trained on what comes next. And to read Deadline’s round-the-clock coverage so far, click here.

Cannes: The Jury’s Out

Ruben Östlund, Julia Ducournau, Damián Szifron, Rungano Nyoni, Denis Ménochet, Maryam Touzani, Atiq Rahimi, Brie Larson, Paul Dano — Ruben Östlund; Clockwise from Top left – Julia Ducournau, Damián Szifron, Rungano Nyoni, Denis Ménochet, Maryam Touzani, Atiq Rahimi, Brie Larson, Paul Dano

Getty/Gabriel Macado/Gabriel Gauchet/Sabine Villiard/Lorenzo Salemi/ Frederic Stucin/ Getty

The great eight: With 11 days to go until its kick-off on May 16, Cannes Film Festival announcements have been falling thick and fast. One key missing element was who would be serving on the main Competition jury alongside its previously announced president Ruben Östlund. The festival finally dropped the news this week and the two-time Palme d’Or winner is in good company. He will be joined by a Cannes first-timer, Captain Marvel star Brie Larson, as well as Croisette habitués Moroccan director Maryam Touzani, French actor Denis Ménochet, British-Zambian screenwriter and director Rungano Nyoni, American actor and director Paul Dano, Afghan writer and filmmaker Atiq Rahimi, Argentinian director and screenwriter Damián Szifrón and French director Julia Ducournau, who is only the second woman to win the Palme d’Or over 76 editions of the festival. There are 21 films in the running for the Palme d’Or this year, which will be announced at the closing ceremony on May 27.

Iran stops Rasoulof: Cannes also announced the jury for the Un Certain Regard line-up this week but one member who should have been on the press release was absent. It emerged that dissident Iranian filmmaker Mohammad Rasoulof had been invited to participate but was barred from leaving Iran. The festival had hoped to secure the filmmaker’s attendance following his temporary release from Tehran’s Evin jail in February due to ill health, following a seven-month stint at the notoriously tough facility. The director, who has long been in the crosshairs of his country’s draconian Islamic Republic government for his hard-hitting work critiquing Iranian society under its rule, has a long history with Cannes. His films Manuscripts Don’t Burn and A Man of Integrity world premiered in Un Certain Regard in 2013 and 2017, winning the Fipresci and best film prizes respectively. It remains to be seen whether the winds of change blowing through Iran with the Woman Life Freedom protest will bring greater freedom for its filmmakers in the future.

Charles On Coronation Street

King Charles — Charles will be crowned tomorrow (May 6)

Alastair Grant – WPA Pool/Getty Images

“I just can’t wait to be king…”: Love it or hate it, the British monarchy remains the world’s leading real-life soap opera. Tomorrow, the latest chapter in the royal story will be written as King Charles III is officially sworn in as monarch, following the passing of his mother, Queen Elizabeth II, last year. Though the royals have spent years trying to modernize their brand, the King’s Coronation will be nothing but old-school regal pageantry — think oversized crowns, ceremonial staffs and biblical readings. Millions – maybe billions – will tune in. I’ve run down how the countries are covering the $125M+ proceedings here — many major terrestrial channels are clearing large parts of their Saturday schedules to make way for the event, with news analysis coverage before and after. International news channels will blanket cover. However, it will probably come as little surprise that the King’s big day won’t be carried on major networks in Russia.

Like buses: One such major event is a huge technical broadcasting feat, so it’s quite the stress when two come along at once. Next week, the UK hosts the Eurovision Song Contest, as last year’s winners Ukraine can’t hold it due to the ongoing war. Max spoke with the BBC live event execs who are juggling both the Coronation and Eurovision, along with next Sunday’s BAFTA TV Awards. It’s the biggest undertaking of its kind for the BBC in a decade, execs told Max, when then London Olympics and Queen Elizabeth II’s Diamond Jubilee celebrations ran during summer 2012. “This is what you get into TV for,” said a fired-up BBC unscripted boss Kate Phillips. We’ll have more details on UK and U.S. coverage tomorrow, along with links to live streams of the coverage on Deadline.com, so make sure to check back in.

‘MasterChef Australia’ Rocked

RIP Jock Zonfrillo: MasterChef Australia has been one of the highest-rating shows on TV down under for many years and a top international seller, so it’s always a big deal when a new season comes around on Network Ten. However, tragedy struck just before the 15th run began on May 1, as the news emerged judge Jock Zonfrillo had passed away. The energetic Scotland-born celebrity chef and broadcaster was just 46 and leaves behind a wife and young children. “Keep this proud Scot in your hearts,” urged his family in a message confirming his passing. Ten and producer Endemol Shine Australia then delayed the cooking competition’s season launch to this coming Sunday (May 7), with his family’s blessing (shooting wrapped last month). Zonfrillo had joined MasterChef Australia in 2019, along with former winner Andy Allen and food critic Melissa Leong. The trio replaced three long-time judges and were under huge pressure to keep ratings up — and became a resounding success. While Zonfrillo at times had a difficult past, his death has shocked friends, family and fans to the core, and left MasterChef Australia without a key component to its recent success.

Baz Had A Dream

'Mamma Mia!' — Judy Craymer and the original West End cast of ‘Mamma Mia!’ (L-R) Louise Plowright, Siobhan McCarthy and Jenny Galloway

Alex Lake/Catherine Ashworth

Cramer versus Cramer: Our roving International Editor-At-Large Baz Bamigboye has known Judy Cramer, the creator and driving force behind West End super show Mamma Mia!, for decades. With an ITV talent show expanding her ABBA-inspired universe, the two pals sat down to talk about how times have changed, the chances of the show returning to Broadway and (whisper it) the growing likelihood of a third Mamma Mia! movie. “It’s in its earliest stages,” revealed Cramer. The challenge is how she can magic up a way of getting the previous films’ favorite characters — hi, Meryl Streep’s Donna Sheridan and Cher’s vivacious Ruby — back together. Besides the news nuggets, Cramer recalled when legendary Universal chairwoman Donna Langley took a pilgrimage to London to see the show and close a ground-breaking deal with Cramer’s Littlestar. Shimmy your way over to the full piece here.

The Essentials

Carey Mulligan, Tom Basden & Tim Key

Michael Buckner for Deadline/Zoe Barling/Getty

?️ Hot One: Carrey Mulligan, Tom Basden and Tim Key are set to star in comedy One For the Money, as Andreas revealed.

?️ Another One: Sheridan Smith and Celine Buckens will appear as sisters in Paramount+ UK drama The Castaways.

?️ Hotter: Shah Rukh Khan’s son Aryan Khan will make his directorial debut with Red Chillies Entertainment series Stardom.

?️ One more: Mad Men‘s Christina Hendrix will lead the Cannes-bound psychological thriller Reckoner.

? Exiting: Long-serving Starz international programming chief Jeff Cooke, as I revealed Tuesday.

?️ Signed up: Tunisian-Egyptian actress Hend Sabry, for representation at CAA, as Andreas revealed.

? Done deal: The UK’s Pinewood Group bought the Toronto production facility that bears its name.

? Another deal: Canada’s Crave renewed its multi-year licensing agreement with Warner Bros Discovery for the likes of Harry Potter and Game of Thrones. Max with the scoop.

? Musical number: This week’s Global Breakout was Dutch entertainment format Don’t Stop the Music.

? Abracadabra!: British magician Dynamo is making his latest Sky series, Dynamo: Mind Over Magic. Jake with this one.

?️ Honored: Michael Douglas will receive an honorary Palme D’Or in Cannes.

? Box office: John Wick: Chapter 4 blazed past $400M at the global box office.

⛺ Festival: German industry shindig Seriencamp unveiled its line-up — and Deadline as official media partner.

? Falling: Revenues at Fremantle, down 5.6% year-on-year as it targets annual turnover of €3BN ($3.3BN) by 2025.

? Trailer: Mel brought you the international trailer for Valérie Donzelli’s domestic violence feature Just the Two of Us ahead of its Cannes bow.

Melanie Goodfellow and Max Goldbart contributed to this week’s International Insider

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May 8, 2023

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The strike has begun, Insiders. The industrial

Kate Middleton Doubles Down on Her Bold New Style Direction at the Coronation Concert

While reflecting on Kate Middleton’s recent style shift, British Vogue’s Sarah Harris called out one welcome change in particular: “She has embraced bolder colors: cue the Alexander McQueen red power suit she wore to unveil her ‘Shaping Us’ campaign, the cobalt-blue Catherine Walker coat dress for Easter this year, and the vivid blue 1995 vintage Chanel boucle blazer she wore to Coach Core’s 10th-anniversary celebrations.”

It’s fitting, then, that the Princess of Wales chose to re-wear said Alexander McQueen red power suit to the Coronation Concert on 7 May, accessorizing it with a necklace and earrings from Van Cleef & Arpels’ Alhambra Collection. The jewelry set has become something of a favorite for the Princess, who has been spotted in it everywhere from the BAFTAs to the Bahamas.

Getty Images

As for the rest of the Wales family? Prince William and Prince George wore coordinating blue suits and ties—about as close as the heirs to the throne will ever get to festival dressing—while Princess Charlotte sported a dress by Self-Portrait, one of her mother’s favourite designers. In fact, Kate Middleton wore a royal-blue dress courtesy of Han Chong’s label to greet foreign dignitaries at Buckingham Palace on Friday evening.

The Princess’ fashion choices have run the gamut from haute couture to high street over the course of the Coronation celebrations. Having attended the formal service in Westminster Abbey in a custom Alexander McQueen gown of ivory crepe embroidered with roses, thistles, daffodils and shamrocks, Middleton turned to some of her off-duty style staples to greet the crowds during the Coronation Big Lunch celebrations in Windsor this afternoon, pairing a classic sky-blue blazer by Reiss with cigarette trousers and her trusty Veja Esplar sneakers. How long until Princess Charlotte is spotted in the kids’ version of the queen-in-waiting’s favorite trainers?

This article was originally published by British Vogue.

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May 8, 2023

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While reflecting on Kate Middleton's recent style

What to Watch

Is ‘Heartland’ on Netflix UK? Where to Watch the Series

Great news! “Heartland” is available to watch on Netflix UK!

Date Added: 27th January 2016

Known expiry dates are shown above as well as on the Last Chance page.

Want to keep forever? Try looking for ‘Heartland’ on Amazon (paid link)

History:

03/08/2013: 5 Seasons (2007-2011)

05/09/2013: 6 Seasons (2012)

05/01/2016: Removed from Netflix

27/01/2016: Streaming Again – 6 Seasons (2012)

03/02/2017: 7 Seasons (2013)

14/04/2017: 8 Seasons (2015)

23/06/2017: 9 Seasons (2016)

30/09/2017: 10 Seasons (2016)

23/08/2018: 11 Seasons (2017)

04/01/2019: 8 Seasons (2017)

06/01/2019: 11 Seasons (2017)

08/04/2019: 12 Seasons (2019)

01/03/2020: 13 Seasons (2019)

22/06/2021: 14 Seasons (2021)

01/01/2022: 8 Seasons (2021)

19/03/2022: 9 Seasons (2021)

06/05/2023: 10 Seasons (2022)

Description:

Spunky teenager Amy is reeling from the sudden death of her mother when she and her grandfather are threatened with the loss of their horse ranch.

Certificate: Suitable for ages 12 and up

Year: 2022

Duration: 10 Seasons

Available Seasons: Season 7 (18 Ep), Season 8 (18 Ep), Season 9 (18 Ep), Season 10 (18 Ep), Season 11 (18 Ep), Season 12 (11 Ep), Season 13 (10 Ep), Season 14 (10 Ep), Season 15 (10 Ep), Season 16 (15 Ep)

Audio: English [Original], Spanish, French, Brazilian Portuguese

Subtitles: Arabic, English, French, Brazilian Portuguese, Simplified Chinese, Traditional Chinese

Episode Length: 44min

Cast and Crew

Cast: Amber Marshall, Michelle Morgan, Graham Wardle, Shaun Johnston, Chris Potter, Alisha Newton, Kerry James, Jessica Steen, Jessica Amlee, Gabriel Hogan, Nathaniel Arcand

Production & Season Details:

Status: Returning Series”Heartland” is a TV show produced by SEVEN24 Films. The show was originally broadcast on CBC Television (Canada) and premiered on October 14th 2007. So far there have been 16 seasons (comprising of 249 episodes) of “Heartland”. The most recent episode aired on February 5th 2023 and more seasons are expected in the future.

RATINGS:

IMDB rating 8.5/10

The Movie Database rating 83%

Average Rating Average rating 84%

LISTS:

DISCUSS ON…:

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This title is available on Netflix UK

Where else can you watch ‘Heartland’ on Netflix?

Want to keep forever? Why not rent or buy ‘Heartland’ from one of the online services below?

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May 7, 2023

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Awards

Twitter Under Attack After Graphic Texas Shooting Images and Video Go Viral

Critics took aim at Twitter on Sunday after graphic, bloody images spread on the platform from Saturday’s mass shooting at a Texas outlet mall that resulted in nine deaths, including the gunman.

At the center of the criticism was Elon Musk’s decision to gut the platform’s content moderation team amid layoffs, shortly after he bought Twitter in October.

“This family does not deserve to see the dead relatives spread across Twitter for everybody to see,” veteran journalist Pat Holloway told the New York Times.

According to Reuters, a graphic 10-second video from the scene showed dead bodies, including that of at least one young child, circulated on Twitter. The news wire reached out to Twitter for comment.

“In past shootings, social media sites have worked to take down links to such graphic images,” Reuters reported Sunday evening. “An emailed request for comment to Twitter, which no longer has a communications team, returned an automated reply with a poop emoji.”

Another image showed a man, shot, lying on the floor in a pool of blood. “The #AR15 shooting resulted. So @GovAbbott and @tedcruz can get money from the @NRA ,” tweeted retired serviceman Russell Honore.

TheWrap has chosen not to share these images.

The site’s lack of content moderation staff had previously been considered a drawback for users and major advertisers who feared very little would be done by the platform in combating hate speech and misinformation. In response, Musk announced he’d create a content moderation council.

From $8 Verifications to Mass Layoffs: How Elon Musk’s Early Twitter Plans Size Up | PRO Insight

There are some who believe that images that graphically depict the reality of terrible events should have a place in public discourse, there’s disagreement on whether social media sites like Twitter and its users should be the arbiters of such imagery versus traditional media and groups who follow rules of conduct in their decision making.

“I understand where people on social media are coming from who want to circulate these images in the hopes that it will make a change,” UCLA professor Sarah T. Roberts, who focuses on content moderation, told the Times. “But unfortunately, social media as a business is not set up to support that. What it’s set up to do is to profit from the circulation of these images.”

Megyn Kelly Uses Texas Mass Shooting to Shame Gun Control Activists: ‘You’ve Failed to Effect Change’

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May 7, 2023

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Critics took aim at Twitter on Sunday

Music

season 2, episode 3, “SLS”

With an impending wedding in the air, it would make sense that love would worm itself into the fabric of Somebody Somewhere. Not that it’s been absent. It was Sam’s love for her sister that first brought her back to Manhattan. And it is the affection she feels for her family (no matter how vexing those relationships may be) that keeps her there. Moreover, no matter how uncomfortable it may make her, it’s also clear that Joel cares for her quite a bit. He loooves her, as he needles her often. She clearly also has a soft spot for that blindingly optimistic BFF she’s made. But romance has, for the most part, been an elusive theme. Until now.

Alec Baldwin and “Rust” producers reach a settlement

It begins with an awkward moment as Sam starts back up again with her singing lessons with her old school teacher (Barbara Robertson) decades later. She’s called to sing something she loves. Perhaps even a love song. It’s a simple request but it hits a chord. Sam gets pensive and even gets a tad emotional once she sings a few bars of “That’s All” (“I can only give you love that lasts forever”). Sure, she’s there to hone her voice so she can perform at Fred’s wedding but there’s something about these professions of love that make her uncomfortable. That’s only made worse by yet another throwaway line once they begin working on Sam’s breath at a later lesson: The feeling of getting to master her breath is, she’s told, “like the first time falling in love.”

Talk about a sore subject. It’s only later that Sam confesses to Joel that such a harmless line cut right through her because, well, she’s never been in love. It’s an admission she tries to brush off as a defensive posture. Why would anyone, let alone she, want to fall in love when it so clearly comes with so much pain, so much disappointment? “Why would I do that to myself?” she asks Joel. The Sondheim fan in me almost wished the show had gone full Company here, as Sam likely needs a dose of “Being Alive.” Then again, Joel’s grinning wide-eyed outlook on the world was enough to soften Sam enough (eventually!) to admit that maybe she should grapple with those feelings rather than push them away forcefully.

She should learn a thing or two from Joel who may well be in his very own rom-com. For our beloved Brad (Tim Bagley) made a welcome return and got to have a lovely meet-cute with Joel as the latter waited out for Sam’s lesson to be over and agonized over his own assignment for Fred’s wedding. (Will Fred want a religious kind of wedding, even as Joel is still struggling with how to return to the church after those lies he had to own up to last season?) Hiller and Bagley are a wonderful comedic duo, each of their twee awkwardness making their dynamic feel unlike any other queer flirting you’re likely to encounter anywhere else on American television—followed, of course, by talk of a boner and pleats, because that’s the kind of show we’re in.

The other show we’re in is a dysfunctional family dramedy, and it’s a testament to Somebody Somewhere that even in dealing with particularly painful topics like Mary Jo’s behavioral issues and the stress they cause her daughters, the show never becomes dour nor weighed down by such dark moments. That moment when Tricia and Sam are told her mother’s going to be transferred to Wichita where she’ll get the help she needs is heartbreaking because it begs the question of how much can you love and care for someone who so obviously doesn’t want either (from you, at least)? Mary Jo is still “vicious,” as her daughters note, and yet there’s no question of what her two daughters will do. Here is love as sacrifice, a feeling familiar to many of us watching.

No wonder Sam can get so bogged down when she has to assess her life, especially her romantic life. Everything around her can feel like a chore (even hanging out with Joel, who won’t let her just stare at the wall in peace). What kind of room could she make for anyone else? The season did begin with a rule of NNP (“no new people”) and now, between Brad and Susan, can we expect someone else to show up for Sam?

Then again, maybe Somebody Somewhere is setting up a broader conflict between the two central BFFs that’s borne out of Sam’s rigid idea of what her (love) life can be. How long can Joel keep up his sunny smile in light of Sam’s constant smirk-turn-frown? Can Sam really keep up with his positivity? Does he have enough patience to keep bringing her up from her burrowed depths of depression? Can Joel win her over into his optimism or will he eventually cave at her indomitable sense of cynicism?

Stray observations

Do we think it’s spelled “Tricia’pon a Star”? Unsurprisingly, Tricia is pretty great at this whole event design planning thing and was unsurprisingly attentive and empathetic to what Fred and Susan wanted as they came over to figure out what kind of table setting they’ll best enjoy at their wedding. (Also, of course Susan and Tricia would hit it off!)
Speaking of Tricia, I may have to borrow “That is so drama, can you just not?” as a valid response when I have no time for whatever is taking place in front of me.
Speaking of Tricia Part 2, I truly laughed out loud when she asked, “Who is Amy Sedaris?” (which, really, is what Amy herself would’ve wanted).
More Tricia and Sam bonding, please. First it was drinks at home and now it’s drinks by the car. What’s next?
Because of its unassuming and low-key vibe, one may get the sense that Somebody Somewhere is more focused on dialogue and chemistry than any stylistic preoccupations. That’s a needless dichotomy and I wanted to make sure to highlight one aspect of the show that risks being unheralded: its costume design. It may not be flashy nor eye-catching in a traditional way. But understood as wholly helping flesh out who people like Joel and Sam are—and, ironically, how much or little they actually care about their own appearance, not to mention the way they clearly work on a given budget to achieve their everyday wear—what Tasha Goldthwait is doing is quite remarkable. Sam’s oversized shirts, Joel’s shorts, even Tricia’s beige aesthetic, give us a window into a world of big box stores where things like “style” and “fashion” feel like foreign words. Still, the show keeps forcing us to avoid judging books by their covers. (See: Brad and his tote bag!)
In case you were wondering, Joel’s busy reading Dearie: The Remarkable Life Of Julia Child because of course he is.

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May 7, 2023

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With an impending wedding in the air,

Docs

One of These Days | Film Threat

I drive a Volkswagen Golf. I’m about as far-removed as one can be from Southern truck culture. Still, I can always appreciate the allure of the South (particularly the dripping humidity of Louisiana) as a setting for films. As distant as I am from that singular cultural identity, it must seem even more alien to German filmmaker Bastian Günther. His film One of These Days, which had its premiere way back at the 2020 Berlin Film Festival, is a commentary on American materialist culture in the most non-European of locales.

Kyle Parson (Joe Cole) is dead broke. At home, he’s got a baby with his young wife Maria (Callie Hernandez). Our first glimpse of Kyle features him dropping a basket of fries into a deep fryer, only to receive a call informing him that his name has been drawn from a raffle to determine the winner of a brand-new, full-size pickup. Naturally, he desperately needs this vehicle to support his family, the only catch being that a dozen or so other contestants’ names were also drawn. In order to win the truck, the contestants must compete to see who can keep their hands on the vehicle the longest — rain or shine, day and night.

“…the contestants must compete to see who can keep their hands on the vehicle the longest…”

The contest is overseen by peppy TV personality Joan (an energetic Carrie Preston who might just steal the show). Fun and optimistic outwardly, Joan’s personal life is a bit more tempestuous as she’s in a secret relationship with a well-known figure in the town. That’s not even mentioning her poorly-hidden depression regarding her daughter, who has flown the coop to go to college in Florida. Unfortunately, her chipper personality is frequently at odds with the misery the contestants are putting themselves through for this truck, though they’re all grateful for her maternal presence.

The setup in One of These Days is compelling. Unfortunately, it just doesn’t coalesce into a cohesive whole. The final quarter is shocking, but it frankly takes too long to get there, and one has to question the wisdom to extend the contest for so long. Günther should have prioritized building the characters’ backstories before plopping them all down around the truck so early on. The competition is a fairly original aspect to build a film around. Still, the novelty wears thin fairly quickly as we become anxious for more time with the characters outside the truck’s context. We definitely needed more of Preston and her character’s background.

The film is an admittedly biting statement on American culture’s unfortunate tendency to equate worth with material wealth and possessions. This is also a thesis we’ve seen plenty of times before, though. The utterly depressing conclusion to the film ultimately feels unsatisfying. If Günther worked to lighten the film’s tone a bit, One of These Days could have been a more memorable exploration of what it means to be an American instead of such a dour one. But giving credit where it’s due, the atmosphere is one that we don’t get enough of. No truck is worth peeing into a urostomy pouch, though.

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May 7, 2023

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India Kerala: At least 21 dead as boat capsizes

The death toll is expected to rise as rescuers pull the vessel out of shallow, muddy waters.

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May 7, 2023

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’90 Day Fiancé’ Recap: Jen Breaks Up With Rishi After His Parents Disapproved of Her Age

’90 Day Fiancé’ Recap: Jen Breaks Up With Rishi After His Parents Disapproved of Her Age | Entertainment Tonight

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May 7, 2023

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Tech

Twitter Criticized for Allowing Texas Shooting Images to Spread

Like other social media companies, Twitter has once again found itself in a position akin to that of traditional newspaper editors, who wrestle with difficult decisions about how much to show their audiences. Though newspapers and magazines generally spare their readers from truly graphic images, they have made some exceptions, as Jet magazine did in 1955 when it published open-casket images of Emmett Till, a 14-year-old Black boy who was beaten to death in Mississippi, to illustrate the horrors of the Jim Crow-era South.

Unlike newspaper and magazine publishers, however, tech companies like Twitter must enforce their decisions on a huge scale, policing millions of users with a combination of automated systems and human content moderators.

Other tech companies like Facebook’s parent, Meta, and YouTube’s parent, Alphabet, have invested in large teams that reduce the spread of violent images on their platforms. Twitter, on the other hand, has scaled back its content moderation since Mr. Musk bought the site late last October, laying off full-time employees and contractors on the trust and safety teams that manage content moderation. Mr. Musk, who has described himself as a “free speech absolutist,” said last November that he would establish a “content moderation council” that would decide which posts should stay up and which should be taken down. He later reneged on that promise.

Twitter, Alphabet and Meta did not respond to requests for comment.

Graphic content was never completely banned by Twitter, even before Mr. Musk took over. The platform, for instance, has allowed images of people killed or wounded in the war in Ukraine, arguing that they are newsworthy and informative. The company sometimes places warning labels or pop-ups on sensitive content, requiring that users opt in to see the imagery.

While many users clearly spread the images of the massacre, including of the dead attacker, for shock value, others retweeted them to underscore the horrors of gun violence. “The N.R.A.’s America,” one tweet read. “This isn’t going away,” said another. The New York Times is not linking to the social media posts containing the graphic images.

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May 7, 2023

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Alexander Skarsgård on His Succession Journey and Blood Bricks

Note: This story contains spoilers from “Succession” Season 4, Episode 7.

Sunday’s episode of “Succession” marked a major turning point in the final season, as the Roy siblings found new leverage in their effort to stop Gojo’s acquisition of WayStar Royco.

In addition to learning about a troubling relationship between Lukas Matsson (Alexander Skarsgård) and his head of public relations Ebba (Eili Horboe), Episode 7 reveals that Gojo’s subscriber metrics in India have been inflated — a major concern that could prevent the deal from closing.

TheWrap spoke with Skarsgård about the HBO drama’s latest chapter and the “honor” of returning for the final season. Check out the full conversation below.

What is it like to be a key player in the final season one of the biggest drama series of our time?
It’s been a real honor. When they called and asked if I wanted to do it I was a huge fan of the show. It was the only show I would watch religiously every week on television and follow. I’ve followed Jesse Armstrong’s career from “Peep Show” to “In the Loop” and just think he’s an extraordinary writer. So to me, this season is just like a spectacular bonus for me. I came on to do this little thing last year, just again, because I was a huge fan of the show. It was supposed to be two but ended up being three episodes and was such a treat for me.

That was kind of it. Even though considering how last season ends, there was a potential opening for some more Matsson this year. But I didn’t really know at all until Jesse [Armstrong] called at the beginning of last year when they were getting ready to start Season 4 and he asked if I had any interest in coming back, and explained a little bit about the storyline; the idea for kind of the structure, the dynamic of the group, what was gonna happen and he mentioned the blood bricks, which got me very excited (laughs). I think years and years from now when I look back on my career, I’m pretty sure it would be one of the highlights.

Are “Succession” fans asking you for blood bricks now?
Yeah. I get a lot of blood brick jokes when I’m out in public for sure. (Laughs)

What were the early conversations with Jesse Armstrong about your character, and how much did he tell you about where the Matsson storyline was going?
I knew broadly before we started about how Lukas would see an opening, a little rift between the brothers and Shiv. Lukas is a predator, and in that moment he’ll see an opportunity and he’ll pounce. I think that’s been part of his success story, that he can read people and he can feel when he has an opportunity like this where she might be open to this and then he will go in full force. And it works, he got her on his side now. And at this point in this story, he’s also still kind of testing her because he doesn’t know if she’s got what it takes. He has in general quite little respect for all the Roy siblings because he believes that it’s just pure nepotism, they’re here because of the relationship to their father who was a titan. But he’s kind of figuring her out a little bit to see if she’s just like a little nepo baby or does she got what it takes? And with the party scene, Matsson comes in like a hand grenade into this room of gray suits and his philosophy is like it always has been. He just moves fast and he breaks things.

In Sunday’s episode, we learn about Gojo inflating its subscriber metrics in India. What does that mean for the merger?
There’s a weird juxtaposition between him being incredibly smart and thoughtful and tech savvy in a way, but also kind of unhinged and reckless and sometimes not very thoughtful. This whole India thing — which could be very, very bad for him — he’s just very optimistic about everything in life and he’s just like “No, we’ll figure it out, it’s fine. We’ll just throw some PR people on it and we’ll sort it out.” Which obviously scares Shiv because she’s like “Well, am I betting on the wrong horse here? Like how bad is this? And does he realize that this could be really f-ing bad?” But he just kind of charges forward.

How would you describe Lukas Matsson’s relationship with Ebba?
It’s incredibly inappropriate and masochistic and weird, but she’s got so much leverage. Now, obviously, she is literally sitting on more of his blood than he is. But we also wanted their relationship to be weird because you could go one direction where it’s like, he is just an abusive boss and she f—g hates him and she’s gonna take advantage of this. It’s not that they’re co-dependent but it is f—g weird like he is horrible to her at times. But then she can be really vulnerable and sweet and you see them arguing and then five seconds later they’re like whispering to each other and like holding hands and then they go out partying together and then she’s like maybe I’ll sue him tomorrow and I’ll make a gazillion dollars or maybe I’ll marry him. It’s that kind of relationship and it’s very toxic, but, there’s also complexity to it that I really enjoyed exploring with [Eili Horboe] who plays Ebba.

‘Succession’ Star Peter Friedman on Episode 5’s Merger Kill List: ‘It’s a Different Generation’

What has it been like working with Sarah Snook, Jeremy Strong and Kieran Culkin? What lessons have you taken away from working on Succession?
I’m pretty sure that when I look back, I will consider this one of the highlights creatively of my career. I don’t remember when I had as much fun on a set. It’s 100% good people, everyone is just genuinely nice and lovely to be around in front of and behind the camera, and their writing is so spectacular that you don’t have to change a single word, which is rare. You don’t have to change a single word but there’s still room for improvisation if you wanna try something, or go on a tangent or play around with it. So you’re filled with this creative freedom and confidence by Jesse and the team, and getting to know the core cast and how they kind of opened their arms and just generously let me and other newer members of the cast in has been, I’m incredibly grateful for that. We’ll be friends forever but I will definitely miss being on the set of “Succession” with these crazy motherf—s.

‘Succession’ Director on the ‘Treat’ of Shiv/Tom in Episode 6, Investor Day and Kieran Culkin: ‘Give That Man His Flowers’

What was your reaction to Logan’s shocking death in episode 3?
I’m just really amazed that Logan’s death was able to be held a secret until it aired, because we shot some big, big sequences with hundreds of extras and where you can hear the dialogue, it’s very clear that Logan is dead. But the fact that it didn’t get out and they were able to keep that a secret until the episode aired was pretty remarkable I would say, because he didn’t have many people know about it.

I found it difficult, I had to bite my tongue a bunch of times between reading the episode and then it airing, but I think it’s quite a remarkable feat that they kept that a secret. I just thought it was spectacular to end the titan of Logan Roy the way Jesse did.

In terms of the narrative, it’s so unconventional, it’s so surprising, which is part of what makes it so genius. And on 99.9% of shows that storyline would definitely end as a cliffhanger, like the last episode of the season and you would see the characters stumble a bit and have a big death scene. The fact that you’ve seen none of that and it happens in a very dramatic way, it was a weird missed phone call eight minutes into the third episode of the season, I think it adds to the confusion and it makes it feel so real because it doesn’t feel dramatized or heightened. It just feels you’re with the siblings as they’re finding out in real-time and the disbelief of it and the confusion of it. There’s something mundane about it, which I find so spectacular. So hats off to Jesse and the writers for that.

“Succession” airs Sundays on HBO.

Warner Bros. Discovery CEO: Streaming ‘No Longer a Bleeder,’ Will Reach Profitability in 2023

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May 7, 2023

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Entertaintment

Joy Oladokun Reaches Out to the Mainstream With ‘Proof of Life’ Album

This past awards season, Joy Oladokun was nominated for the Grammys’ first Song for Social Change award, for a song off her previous album called “I See America.” If all you ever heard — or heard about — was that tune (opening lines: “I saw God out on the block today / He was darker than the preachers say”), or know that Oladokun once called herself “the trap Tracy Chapman” (half-jokingly), you could easily leap to the assumption that she’s more of a protest singer than a pop artist. But can she be at least a little bit of both? She takes it as a compliment that anyone would use that second P-term in describing her third album, “Proof of Life.” Oladokun has been out on the road opening for John Mayer, and the new record is so radio-friendly — and just so friendly, generally — that it wouldn’t feel like a stretch to see her doing tour dates with someone like a Taylor Swift.

“I don’t know that I have ambitions to rock stadiums and be on, like, the Joy version of the Eras Tour,” she says. “But it’s so cool that the feedback to this record is that it’s mainstream; someone even called it a pop record — and I was like, that’s cool. I think my desire for things to be accessible to everybody is what makes it mainstream. As an artist, I think the the aspirations are mostly about: How many different types of people can we get to the table? Who else relates? We’re in such a fraught, weird, divided time. And it’s interesting because I am, as a Black queer human, a pretty divisive figure on paper. But I’ve been given this amazing gift to be able to make music, and I do feel like music is that one last open, safe dialogue that we’re having in humanity. So I want to create work that allows people to come to the table and to think, and to reconsider, and to have to hear my story, not judge it, and realize that they relate to it.”

Variety got on the phone with Oladokun on the eve of the release of “Proof of Life” to talk about subjects including her wanting to represent for queer kids and other outsiders; whether or not she identifies as an Americana artist; the new album’s duet with Chris Stapleton; turning down a duet with Morgan Wallen; playing a high-profile benefit in response to anti-drag laws in Tennessee; being signed to two labels, Republic and Verve; and why weed figures prominently into her persona and personal life.

People might have pegged you for a certain niche of music, but you have been out there succeeding in very commercial arenas — literally, when you’re opening for John Mayer on tour — and you have said you aspire to be the Black Bruce Springsteen. On top of everything else, there are songs here with hit potential. It seems like you are not considering “mainstream” a dirty word, at all.

I don’t know that like anybody would listen to the song I wrote about no one coming to my eighth birthday party (“Taking Things for Granted”) and be like, “This is a pop record!” But I do think that the journey of that song, and most of my songs, is about starting with the specific and the personal, and then reaching a hand out, whether that’s through a catchy melody or a guitar riff or whatever, and saying, “Do you also feel this way? Or am I just shouting my feelings out into the void?” And I think that’s what makes it mainstream.

I do think that for some people, encountering a Black queer woman at a John Mayer concert shifted their worldview a little bit, because they’re like, “I relate to this music, but I don’t relate to this person. So now I have to rethink how I would treat this person, if faced with them.” I think that that is the value of my work and what gets me out of bed in the morning is — the ability to not only represent a course for people who are like me, but also represent a change for people who are unlike me.

It seems like you’ve embraced wanting to be sort of an Everyman, or Everywoman, figure in a lot of ways, without losing the specificity of your story. And there’s a simplicity sometimes to the way you phrase things sometimes, eve around subjects like depression and anxiety — there’s a sweetness in the opening song in the way you sing, “It’s easy to feel kind of anxious,” that it’s easy to imagine being relatable for a lot of young people, not just the singer-songwriter enthusiasts who might have been your initial audience.

My favorite artists are conversational in the way they approach things. I want people to feel close to how they would feel if we were having coffee on my back porch when they’re listening to my music. Because I think naively, as a kid, that’s what I thought listening to records was, until I learned about personas and stage presence. I then sort of learned that there are things people can put on that then becomes the music. But as a lover of folk music at heart, there’s this real, innate desire for it just to be simple. And I want things to be beautiful and for there to be craft there, but I never want things to be overwritten; I always want it to feel genuine. And hopefully me overstating how genuine I want things to feel doesn’t become disingenuous. [Laughs.]

You said you don’t see yourself necessarily doing your version of the Eras Tour, but one thing you and Taylor Swift have in common is, you both have songs in your new albums about nobody wanting to be around you as a kid. So, maybe that’s what drives the great artists…

Totally. A hundred percent.

Up to now, at least, a lot of people have pegged you as an Americana artist. How much is that is people thinking anyone working out of Nashville is automatically that, or how much of it is how you identify? You play the Newport Folk Festival. But you cite some really mainstream rock influences, and this album does skew a little more pop than things that often fall under the Americana banner.

I think I put myself there (in Americana) a little bit, because as a human and an artist fascinated by what we brand specifically as sort of folk music, especially in this country, it’s cool to be part of the conversation, saying: Is music by a Nigerian American as American as music by Jason Isbell, or is it different? And if so, why? I like to sort of poke my head into the Americana and country music world, just as a reminder that I’m surrounded by about 20 guitars right now, and most of them are older than I am. There’s a deep relation there, even though the product doesn’t always come out the same. I like to be part of the conversation of, OK, what is Americana? Is it just things that Dave Cobb produces, or is it more? I bring myself back into that conversation.

I think the realistic thing is, I’m a singer-songwriter, because I write ’em and I sing ‘em — that’s pretty basic. But I like being part of the Americana conversation because there are some songs that I’ve written, even on this album, that creep their toes into those traditions. To be able to say, “I’m a person of color, and maybe I made a pop record, but I did do a song with Chris Stapleton,” and still kind of challenge some of the assumptions we have of what is or isn’t Americana, is really fun, for me. Probably for no one else.

Joy Oladokun performs during the 2022 Newport Folk Festival at Fort Adams State Park on July 24, 2022 in Newport, Rhode Island. (Photo by Douglas Mason/Getty Images)
Photo by Douglas Mason/Getty Ima

The Chris Stapleton duet (“Sweet Symphony”) had to feel like a big “get.” He has to field about 50 times as many requests to be on somebody’s record as he’s ever going to accept.

I feel so honored, not only that he did it, but that he was kind and engaged and really wanted to actually be part of it. Because I feel like some of those things can go either way. I wouldn’t have been surprised if Chris just did it for whatever his reasons were and never reached out to me and never communicated, so I love that he’s been so encouraging and excited. It’s crazy. I started that song by myself in my apartment five years ago, and my dream person to have on it was Chris Stapleton. I get emotional almost every time I talk about that song, because so much of it is the product of love from its origin to the fact that then Chris hopped on it, and then turned out to be a good human.

As an aside, there was a feature story on you in the New York Times that mentioned in passing you’d been asked to sing with Morgan Wallen, which seems sort of hard to believe.

Yes, twice. We are label-mates. And in my heart of hearts, I really do wish him the best and growth and health. I actually genuinely don’t believe in writing people off entirely. But I am really wary of who people show themselves to be after something happens. And I’ve just sort of always been uncomfortable with how people, whether it’s him or the people around him, have approached things in the wake of it. So I think whether it’s he needs more time or whatever, it’s just like it’s “no” for me right now, and probably forever. But it’s just an interesting life thing where it’s like, I get why people (asked). Of all the people in town, they’re not gonna ask Adia Victoria — because she’ll light their hair on fire. [Laughs.] I get why I was the one that they asked, and I also understand that they were surprised that I said no. But I think that’s the magic of my personality, that I am a sweetheart, but I have teeth. And I think drawing those lines and having boundaries in my career has been really important.

Speaking of labels, you’re on Verve Forecast-slash-Republic, which suggests a hybrid of some sort, figuratively as well as literally. Is there a symbolism to having both those two labels as your label?

Yeah, I have the coolest marriage of labels. I’m sure that conceptually, when it came about, it was maybe scary or nightmarish for them. But to me it’s cool to be tied to a label that is both legacy and cutting-edge like Verve Forecast — like, they have Maddy (aka Madison) Cunningham and Samara Joy, but also Gregory Porter. There’s such a deep history and respect for the craft, and an awareness of some of the things that I love that aren’t as mainstream, that I think have been really helpful to have Verve on my side. And then there’s Republic, which is, like, Taylor/Drake, cool and cutting-edge, specifically in terms of how they market things. What really excited me about Republic was wanting to be able to get people to understand that I do mushrooms and listen to Paul Simon, but I also watch “Real Housewives” on my free time. I think there’s been a really interesting dance of making sure people understand that I’m not 85 years old! [Laughs.] Verve and Republic have been so amazing. They work so hard. They’re totally flipping the narrative that we’ve heard about record labels all our life in the sense of, I feel really supported and heard, and accepted as who I am. And I think it’s maybe because I sort of fused these two babies together, but whatever it is, I feel really championed.

It’s understandable that you would say people sometimes think you’re older, because you’re somebody who knows and can speak about who Odetta is, but you’ll be mentioning your favorite videogames at the same time, so there’s that. And maybe you get some of your references through something else. Like, you’ve said you learned about Odetta through the Tracy Chapman influence. And then, you have an original song called “Purple Haze” on your new album, but it’s not your tribute to Hendrix, necessarily — there is a cannabis strain by that name you are paying homage to.

When we play “Purple Haze,” my guitarist plays the Hendrix line, because I’m also a Hendrix fan. And that’s why in the video, Jimi Hendrix and I fly the plane into a field of flowers, for a reason. [Laughs.] So that’s why I’m signed to Verve/Republic — that whole sentence right there. There are just a lot of cross sensibilities.

You also throw in an interesting range of covers, like when you play a snippet of Jimmy Eat World’s “The Middle” at the end of your song “Somehow,” the closing song on the new album… Let’s talk about “Somehow,” anyway. You recently played that song at the “Love Rising” benefit at Nashville’s Bridgestone Arena, which was set up to fight the new anti-drag legislation, where you told the live audience and everyone watching via livestream about the meaning of that tune… that it was about escaping into the woods as a youth when you couldn’t deal with the pressure of being who you are. Can you talk about why that song was important to do at that show?

The “Love Rising” night was amazing. I really commend Allison Russell and the team of people that put it together. When things like that happen, you can’t understate what gathering together does for people’s morale.

Allison Russell, Jason Isbell, Maren Morris, Joy Oladokun and Amanda Shires perform onstage during the Love Rising: Let Freedom Sing (and Dance) A Celebration Of Life, Liberty And The Pursuit Of Happiness show at Bridgestone Arena on March 20, 2023 in Nashville, Tennessee. (Photo by Jason Kempin/Getty Images)
Getty Images

The reason I chose that song is… The only reason I haven’t hightailed it out of Nashville for fear for my safety is because I think of young teenage Joy, living in a small town in Arizona. And I’ve been saying this a lot because I feel like it’s important for people to contextualize: Arizona is Texas without the character. [Laugh.] I think there’s an undercurrent of people that think I was in the desert and didn’t face some of the things that Black Southerners face, but I did. And then to be queer on top of that, and to be in a tiny religious town, where there was my Nazarene church and then “cowboy church” three miles outside of the city center…

I think that I chose that song to just sort of reach an arm out — first of all, to past little Joy, who never thought she would be in arenas, or truly would be alive at 31. I say that out loud a lot, because I don’t think people realize, whether it’s from mental health or the actual danger that queer and Black and marginalized groups face… we don’t always dream of bright futures. Specifically for “Love Rising,” I was like, if there’s one kid who’s livestreaming this in the middle of Nowhere, Ohio that can hear lines like “There’s this place in my hometown…” And I know the place that I’m talking about, but this might be a different park or lake or whatever to this kid, where they go to hide and process and to be afraid. And for someone young to hear that things get better over time through hope and persistence and awareness, I think, is helpful. Even if everybody else hated the song and there is one person that was like, “That was really helpful,” that is the goal.

And I think specifically for queer youth today… when I was growing up, I knew people around me were very vocally homophobic; I just don’t remember the government and the culture being so vocally homophobic. Maybe they were when marriage equality came up. But if I was a teen growing up today and I was having to listen to Ron DeSantis’ bullshit, or having to do shooter drills while my government in Tennessee bans drag queens, I would be so disillusioned and so fearful. So when I am doing these one-off appearances, maybe I just sing “Somehow” to say, “Hey, there is one adult human who is fighting and conceiving every day to make sure you don’t have to live in this weird world anymore.”

Singing at the White House for a marriage equality ceremony was probably not part of your vision board, growing up. So even though there have been lots of negative things happening in state legislatures, to be at an event like that where there’s something positive happening on the national level had to have been an exciting moment for you?

It’s amazing. If there’s anyone more confused by my trajectory than me, it’s my parents. Like, if they were taking bets on which of their kids was gonna end up at the White House, I was not the favorite. And I’m sending them videos of me smoking weed in Joe Biden’s dressing room. Anyway, I feel so blessed.

There’s a time when I was a lonely, fresh-out-of-ministry closeted person, just reading affirming literature in my studio apartment in L.A., and the thing that I couldn’t get rid of in my heart was: It can’t be an accident that I am this person right now, at this time on this planet. I just felt like being Black, being gay, being female-slash-gender-nonconforming — all of those things were coming to a head right as I decided to start pursuing music, or to stop doing what I was doing. So I think the thing that felt so significant about being able to go to the White House was, I was there for something that I never dreamed I would see our federal government acknowledge on that level. And two, I was there just as me. I didn’t pull any special strings, of being somebody’s cousin or something where they heard of me and they’re like, “For this day, this type of person might be a good representative.”

I’m one of those rare birds where it’s like, I don’t think I’m more talented and prettier than anybody else. I think that maybe the noise I’m making is consistent with what is happening during these times. And I just try to hold onto that, especially in moments where… not that I feel out of my depth, but I’m like, I can’t believe I’m at the White House, you know? And I just try to bring a sort of sense of confidence that comes from being like: There might be people who can sing better, but there’s only one me.

Speaking of weed in Joe Biden’s dressing room, you are very upfront about that, like when you were on Twitter the other day saying, “Smoking a joint in the sunlight, the way God intended.” There’s a lyric on the album: “Jesus raised me, good weed saved me.” Do you feel like you need to tell people that this is OK to help deal with daily life, and that it’s helped you?

Yeah. It’s funny, I lit a joint, as you started this question. [Laughs.] There are a few brands of stoners. I’m not one of the brands that thinks it’s for everybody. But I do think that cannabis as a plant is really medicinal, whether that’s me ingesting THC because I think it helps me focus and deal with anxiety a little bit, or my mom putting it on her muscles because they ache after a long day of work, and it’s just CBD and she’s not gonna eat Lucky Charms and pass out to “The Simpsons,” she’s just gonna go to bed. [Laughs.]

I try not to be secretive about the fact that I use it, and I also try not to be irresponsible, like, “Everybody do this.” A lot of people ask me how I get so much done, which, number one, is hilarious. But there used to be a time in my life where I wasn’t able to get as much done because I was so anxious that I couldn’t just sit down and focus on anything. So now if I have a joint with my tea in the morning, I can knock out emails for an hour while my eyes are at the bridge of my nose. And then I use it as needed to sort of bring down the anxious energy that I sometimes ride around with. I try to be open about it, just in case people need it.

Is there a song on the new album you’re most proud of?

I’m really proud of the album as a whole. It’s the only album I’ve ever made that I listened to… I haven’t heard “In Defense of My Own Happiness,” which makes everything that’s happened since even more confusing. It’s kind of awesome.

You never listened to that after it was done?

No. I listened to it during the mixing/mastering process, but after release, no. And there was a good chunk of time between mastering and release, so who’s to say what it sounds like?

Why can you listen to this one, then? Is it the way it was produced, or do you like the material better?

Honestly, this is true of “In Defense of My Own Happiness” too, but I think maybe it’s just the growth. I guess I hear this person that made a record in their attic like three years ago, who now made something that not only has Manchester Orchestra and Maxo Kream and Chris Stapleton on it, but is honest and vulnerable and interesting, and they’re the same person. And as I’m processing the things that have happened to me, this album has been a good guide because the way I write is almost like re-reading my journal. It’s allowing me to get a real sense of my bearings as an artist and a human now, which I need.

All my favorite artists are bands or pop stars that seem to be like in competition with themselves, if that makes sense — the Gagas and the Beyonces and the Charli XCX-es, but also the Sturgill Simpsons, people who chart their own course. And so I’ve taken a lot of… caution is not the right word, but I’ve been really intentional to be able to say my only goal as a musician, as a songwriter, as a producer, is to feel like I’ve moved the goalpost a little bit further. And that’s what I feel like this record is. I don’t know that it’s the coolest record ever made. I just feel like, as an artist on a journey of evolution, it feels like it’s growth, and that feels exciting to me as a human.

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May 7, 2023

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This past awards season, Joy Oladokun was

Movies

Best Anime Movies And TV Series Of 2023 (So Far)

I still need to watch Buddy Daddies and Campfire Cooking in Another World with My Absurd Skill — and one day, I’ll get around to finally watching Vinland Saga and Doctor Stone, as I know there are new seasons that have premiered. There aren’t enough hours in the day to watch anime, tbh.

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May 7, 2023

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The Coronation Concert: TV Review

Ahead of the “Coronation Concert” – aired on the BBC on Sunday as the climax of the weekend’s royal celebrations – all the talk was of who wasn’t going to perform. Multiple A-listers (Adele, Ed Sheeran, Harry Styles et al.) were reported to have declined official invitations, and their wariness around hitching their brands to what often feels like Britain’s longest-running soap opera, currently scattering followers after a succession of unsavory plotlines, now seems understandable. Tonight, as we were confronted with the concert’s arbitrarily assembled ensemble, it’s clear we were probably only a few refusals away from witnessing the Duke of York bashing a tray with a spoon.

Hopes that the evening would prove a London Olympics-style triumph-over-adversity rapidly dimmed. If these two hours recalled anything, it wasn’t Danny Boyle’s opening ceremony, channelling Williams Blake, Morris and Shakespeare, but the justly forgotten closing ceremony, with its eggy whiff of Simons Cowell and Fuller. There was evident relief that Coronation Day’s downpours had relented, yet the clouds parted only to reveal a lot of money had been spent on very slim pickings indeed. “The excitement is definitely building here,” insisted backstage reporter Clara Amfo, striding past a terse police battalion on her way to interview Olly Murs.

Notionally, this was a major event. 20,000 people – charity volunteers, NHS workers and winners of a public ticket lottery – had been invited to join the royals in the grounds of Windsor Castle, under a stage resembling a giant H.G. Wells tripod. MC Hugh Bonneville, pausing between dad gags, reassured us that 100 countries were watching globally. Yet right through to Take That’s promotion over Katy Perry in the headline slot, the result felt cringingly parochial, indistinguishable in its content from the half-time slot on a Saturday night talent show. You half expected to find King Charles and Queen Camilla seated in rotating chairs, behind illuminated buzzers.

Sprayed-on pomp and ceremony abounded: a 200-piece orchestra, sweeping crane shots, Union Jacks in every hand, and a shifting lightshow illuminating Windsor Castle itself. (No sign, however, of Queen’s Brian May, such a stalwart of previous royal shindigs that Channel 4’s expert royal satire “The Windsors” could claim – in its recent Coronation Special – that the guitarist had taken up permanent residence among the squirrels on Buckingham Palace’s roof.) Perry, importing tried-and-tested showstoppers “Roar” and “Firework,” looked the part in a flowing golden dress suggesting a Disney truffle wrapper. (If the U.K. suffers a foil shortage in coming weeks, it will be part Brexit, part Perry.)

Yet despite a high-profile fly-by from Tom Cruise – inviting the king to be his wingman – so much of the show felt trivial and unmemorable. Scene changes were covered with “Did You Know…?” segments in which random celebrities reeled off notionally fun (but largely familiar) Charles facts: the green credentials, the children’s books, the watercolors. Even before Prince William bounded on stage to sing his dad’s praises, the underlying message was clear: Charles is Great. Wildlife presenter Hamza Yassin even revealed the king has a frog named after him: “What a handsome fella!” The frog looked no more or less handsome than any other frog.

More ambitious interactions tended to fall flat. A sequence involving the so-called “Commonwealth Choir” – performing Zoomed-in karaoke to Steve Winwood’s enduring “Higher Love” – didn’t exactly translate on screen. And you don’t, surely, recruit Lang Lang just to accompany Nicole Scherzinger on one of “Mulan’s” duller ballads. Better was the collaboration between the Royal Ballet, Royal Shakespeare Company and Royal College of Art, featuring new Doctor Who Ncuti Gatwa alongside Mei Mac as Romeo and Juliet.

You clung to such small mercies, and the passing moments of old-school showbiz competence. An Andrea Bocelli/Bryn Terfel duet at least introduced singers for whom the king has publicly expressed some fondness. (Even if “You’ll Never Walk Alone” felt like a rebuke to those Liverpool football fans who booed the National Anthem this weekend.) And with a vibrant “All Night Long,” Lionel Richie once again demonstrated he knows how to keep an audience in the palm of his hand. Briefly, the concert felt like a party, with awkward dancing in the Royal Box. The Queen cast a surreptitious glance at her watch. We were 45 minutes in.

Much of it, however, proceeded with no greater rhyme or reason than the James Nesbitt poem that built to the payoff “Please welcome Paloma Faith.” Who needed Adele? This was culture as interchangeable primetime pabulum; three minutes apiece for the acts to impress the new judges and boost sales. Great for them, of course. Not so reassuring for any commoners, faced with an ongoing cost-of-living crisis and swingeing arts cuts liable only to seal the drawbridge shut. As an illustration of the muddle the Windsors now find themselves in, the concert was second to none. But if I were a new monarch trying to rebrand the royal family, pointless extravagance wouldn’t have been my opening gambit.

The Coronation Concert is now streaming on the BBC iPlayer.

Production: BBC Events.

(Pictured: Take That)

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May 7, 2023

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Ahead of the “Coronation Concert” – aired

MCU

Mahershala Ali’s Blade Reboot Supervillain Reportedly Revealed

Despite the film being more than a year from release, fans may know who Blade‘s villain will be.

Mahershala Ali is set to play the MCU’s take on Marvel’s iconic vampire slayer when Blade hits theater screens next year.

While Ali has been attached to the project for almost four years, not much about the gothic action film is known. This likely has something to do with the various production issues the project has run into including complete rewrites which reportedly left the film’s star “very frustrated.”

However, amidst the hiccups, there has been news to latch onto, including X star Mia Goth joining the cast as the villainous Lillith; although, how much of a role Goth’s character will play has not been confirmed in any official capacity.

Blade’s Villain Reportedly Confirmed

Mia Goth

According to insider Daniel Richtman, Mia Goth’s Lilith will reportedly be the main villain of Mahershala Ali’s upcoming Blade movie.

In a string of recent Patreon posts, Richtman wrote that Old‘s Aaron Pierre was “no longer part of the cast, and his character was removed from the current script:”

“My understanding is that Aaron Pierre is no longer part of the cast and his character was removed from the current script. Delroy Lindo is playing Deacon Frost. Mia Goth is playing Lilith (not sure which version of Lilith or maybe a combo of the two).”

The insider noted that in this new script, Hollywood veteran Delroy Lindo had joined the film as classic Blade villain Deacon Frost and Goth was still set to play Marvel’s Mother of Demons, Lilith.

Richtman added in a separate post that with Pierre’s character being written out of the film, Mia Goth as Lilith would serve as Blade’s primary villain.

He also revealed that Saul Williams had been cast in the movie as well as Blade’s mentor from the page, Jamal Afari.

Riding the Mia Goth Train With Blade

Given the momentum, Mia Goth’s career is seeing with breakout roles in Ti West’s Pearl and X, it would make a lot of sense for Marvel Studios to be reworking Blade to better feature the young actress as the film’s big bad.

Goth’s star is seemingly only going to rise further as Blade works its way into production (upon the close of the Writers Guild of America (WGA) strike). This would mean that by the time Mahershala Ali’s vampire-slaying epic hits theaters, the Mia Goth iron is hotter than it ever has been and the MCU can cash in on that positive momentum.

With all the turmoil Blade has seen thus far, better spotlighting a young star like Mia Goth should be taken as a win.

And even though it is still unknown which version of Lilith Goth will be playing, this move will very likely be celebrated.

There has not been a lot to get excited about from the Blade camp really since it was announced, so surely fans of both Goth and the Lilith Marvel character will latch onto this report and hold it as something to look forward to.

Right now, Blade is set to release in theaters on September 4, 2024, but given its production being delayed because of the ongoing WGA strike, it would not be all that surprising if that date slipped.

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May 7, 2023

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Pennywise's origins to be told in It's Prequel Welcome to Derry

DCU

Andy Muschietti Shares First-Look At It’s Prequel Welcome to Derry

Welcome to Derry kicks off production and celebrates it with the first image from the set of the It prequel, shared by director Andy Muschietti weeks after the official green light from Warner Bros. Discovery.

While a large number of series and movies halt their productions in the midst of the Hollywood writers’ strike, HBO is moving forward with some of those that already have their scripts ready, like the second season of House of the Dragon and the long-awaited Welcome to Derry.

Released in 1986, It has become one of the most popular and recognized books in the Stephen King bibliography. In 1990 it first came to the screen in the form of a two-part television movie, directed by Tommy Lee Wallace and with Tim Curry in the role of the terrifying main villain. And although for many it was a perfect adaptation, beyond some small details, it got adapted once again in 2017.

The Argentine Andy Muschietti, who had just directed the disturbing Mama, was the chosen one to once again adapt King’s work. And, to the surprise of many skeptics, it managed to live up to it. Such was the success of its two installments that Warner Bros. Discovery announced some time later that the universe would expand with a prequel series, titled Welcome to Derry.

Today, through his Instagram account, the director of The Flash shared the first official image of the show announcing the start of production. The photo shows the door of the office of the Derry police chief, who in the prequel is named Clint Bowers.

The Bowers last name is no stranger to It fans, as it is carried by two well-known characters in the original story. Henry, the leader of the group of bullies that harasses the protagonists and his father, Butch. In the book, Butch is a farmer, but in the Muschietti movies he’s a cop, so it’s probably a relative of his who’s in charge of the Derry Police Department in the series.

What to Expect From Welcome to Derry

Green/Epstein Productions

The story of It takes place precisely in the fictional town of Derry, Maine. There, every 27 years, a destructive and murderous force known as It resurfaces to feed on the fear of children, usually taking the form of the disturbing clown Pennywise.

Although it has not been confirmed in which specific year Welcome to Derry will be set, but as it is a prequel it will be before the events of the book and the films. It’s possible that it takes place in one of the previous 27-year cycles, maybe even the first time Pennywise attacks Derry.

Welcome to Derry is part of the long list of productions that seek to expand the great Warner Bros. Discovery franchises with different spinoffs, such as the new Game of Thrones series or The Big Bang Theory, which will have a new derivative show in addition to Young Sheldon.

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May 7, 2023

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Welcome to Derry kicks off production and

Comics

How Resident Evil 4 Saved The Resident Evil Franchise

GameSpot’s big new video week continues with the first installment of “How It Saved.” This is a recurring series in which senior producer Dave Klein documents how specific games have pulled franchises back from the brink, or in some cases, how they helped save game studios stay up and running.

The Resident Evil series debuted in 1996, and it helped define the survival horror genre, and its sequels expanded on the formula and helped grow the franchise to new heights. In the debut episode, “How Resident Evil 4 Saved Resident Evil,” Dave discusses in detail how the 2005 game helped turn things around after the series began to slow down in terms of sales.

“Resident Evil 4 carried the torch for Resident Evil through a slowing of interest in survival horror. It completely revitalized the series, introduced it to new fans, and was able to pave a path for Resident Evil until its next big comeback,” Dave argues in the video. “Resident Evil 4 may be divisive for some, but I think there’s no doubt that it saved the Resident Evil franchise.”

If you are just catching up, check out GameSpot’s History of Legend of Zelda video and the first episode of The Kurt Locker that digs into all the recent remakes. You can also watch a video about why you’re doing yourself a disservice by only playing Resident Evil 4’s remake once. We also have a neat video where a swords expert reacts to Star Wars Jedi: Survivor’s lightsabers.

The products discussed here were independently chosen by our editors.
GameSpot may get a share of the revenue if you buy anything featured on our site.

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May 7, 2023

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Festivals

LumaFusion’s MultiCam Studio Changes the Game for Content Creators and Low-Budget Filmmakers

A simple plugin that enables syncing of multiple camera angles by audio or timecode.

LumaFusion is a great tablet-based video editor for mobile filmmakers and other content creators looking to put together a video on the fly.

But what has eluded the app up until now is the ability to switch between multiple cameras shooting video at once. With Luma’s new MultiCam Studio, the game has changed.

Let’s get into it.

An App-Based Plugin

MultiCam Studio works in concert with the traditional LumaFusion app and acts as a kind of plugin so editors can create a multicam workflow within the LumaFusion timeline.

The app, which is available for iOS and iPadOS, syncs up multiple camera clips by time code using the Multicam container, aligning audio waveforms and creating a master multi-cam clip that can then be used to switch between clips with a simple tap. Camera angles are also color-coded so that they become easier to see on the timeline.

Syncing From up to 6 Different Angles

Users can sync by audio or video, and switch between up to six different camera angles as many times as necessary, and those switches can be audio-only, video-only, or both. The plugin uses source audio mapping to map the audio from one camera or recorder to another so that the files are all synced up for easy transitioning.

Timecode can also be used, and a manual mode option works to align clips frame by frame until the sync is perfect.

LumaFusion can also add color changes, audio, and visual effects to an individual cut or angle, move all changes around on the timeline and keep the clips linked up. Roll trim can also be accomplished to lengthen or shorten the clip before switching to another angle.

Mapping Master Audio

Separately recorded sound can also be mapped and added using Source Audio Mapping which syncs the primary recorded audio track with the video’s “scratch” track, and replaces it. Users can also drop in important master audio tracks that should not be cut upon switching using the Primary Track Drop Zone.

This is useful when creating presentations or music videos where the audio is fluid and needs to remain non-destructive, or when adding B-roll from multiple angles is necessary to tell the story.

Videoscopes on the iPadCredit: LumaFusion

Ideal for Content Creators on the Go

Content creators, YouTubers, documentarians, news gatherers, and interviewers can now sync up multiple camera angles and edit them within seconds without a complex workflow that could rapidly become unsynchronized and take hours to repair.

With LumaFusion MultiCam Studio, the company says that videos can be cut in minutes or even seconds while keeping sync through audio cues or timecode.

Pricing and Availability

The LumaFusion MultiCam Studio Add-on is available for iOS and iPadOS for a one-time purchase of $19.99, so there’s no annoying monthly subscription rate. The plugin can be added through the in-app purchase feature within LumaFusion with a simple tap.

Moreover, for those who haven’t tried the LumaFusion app, it will also be available for a discounted price of $19.99 (reg. $29.99) from April 18th-25th. Therefore, for around $40, Multicam video editing from your iPad is now a reality, and LumaFusion is leading the charge.

For more information on Multicam Studio for LumaFusion, please visit the LumaTouch Multicam Studio Website.

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May 7, 2023

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A simple plugin that enables syncing

Film

M3Gan (Review) – Horror Society

Director – Gerard Johnstone (Housebound, Terry Teo)
Starring – Allison Williams (Get Out, Horizon Line), Violet McGraw (Doctor Sleep, The Haunting of Hill House), and Ronny Chieng (Godzilla vs Kong, Shang-Chi and the Legend of the Ten Rings)
Release Date – 2022
Rating – 3.5/5

Blumhouse is not a company that I closely follow but when they release something I do like I absolutely fucking love it. Movies like Black Phone, Freaky, and Happy Death Day are movies that I absolutely love while films like Paranormal Activity, Halloween, The Invisible Man are films that I could barely finish. With that being said, there is more films from Blumhouse that I don’t care for when compared to the ones I love so I tend not to get too excited when they announce a new project.

When I originally saw the press release for M3gan I was a little unimpressed with it all. However, as more and more of the film was revealed I found myself just a little curious about the film. Prior to the film’s physical release I received a massive press kit with a lot of goodies and trinkets inspired by the film which did put me in the mindset to see it. When I was finally able to check it out I found myself impressed with it. I could see this being the beginning of a new franchise for horror fans.

**Spoiler Alert** The film follows a toy designer who is working with cutting edge technology and is under a tough deadline to deliver the next hit when she is assigned custody of her niece after her sister and husband die in an auto accident. She gets the idea to combine a prototype with AI to create a friend for children that helps them learn while giving the parents a bit of freedom. However, as M3gan learns more and more about what she really is and her connection to the little girl she finds herself crossing the line to protect her regardless of the body count she leaves in her path. **Spoiler Alert**

I went into M3gan expecting to find a dull remake of Child’s Play with a gender flipped doll. I was fully convinced that the story was centered around the production of the AI doll but the evil consciousness of one of the creators was transferred into it. I was wrong. The movie was very straight forward and gave us a more modern spin on the classic killer doll sub-genre that hasn’t been as fun since the Child’s Play franchise took over. I really enjoyed it and look forward to seeing where we will be going next because there is no way Blumhouse and the others involved will sleep on the popularity of this film.

The acting in this one is probably the weakest aspect of the film. All of the characters are extremely annoying. They are unlikable from beginning to end and when the bloodshed finally hits you are fully prepared to watch them all die in the most gruesome fashion. The cast is one of the reasons behind this. The characters are very one dimensional and their performances are very lackluster. The lack of energy and intensity made most of the scenes have less of an impact on the viewer than it was intended. As much as I enjoyed this one I still found myself rolling my eyes during the death scenes or scenes with any sort of action due to the casts lack of commitment. The film would be one of my favorites in my collection if the cast would have gave viewers some characters that we could enjoy. The lack of personalities and likability really held this one back.

The story for this one was nothing like I expected but did follow the trailer and marketing material. We follow a children’s companion with AI as it becomes self-aware and too close to her human. This results in several deaths associated with her and the company she was manufactured at. It was very modern and piggybacked off the idea that smart devices are becoming so prevalent relied upon that it makes sense it would eventually make it’s way to something like this. When you mix that with the broken family and rebuilding after the loss of a mother/sister and how they relied on the M3gan unit to repair them instead of bonding in a natural way. I really liked the story and how it was done I just wish some of the characters were likable.

Finally, the film has some enjoyable deaths that fit the film wonderfully but they are not as imaginative as I would have liked. They are bloody, violent and work with the story very well but if you are looking for plenty of blood and gore then you will be very disappointed. With that being said, the visual effects are great and the practical, though limited, looked great as well. Overall, M3gan is not my favorite Blumhouse production but I liked it. The story has so much potential to become a classic horror franchise and I can’t wait to see where it goes from here. Check it out.

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May 7, 2023

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Director – Gerard Johnstone (Housebound, Terry Teo)Starring

Dropped Out of ‘You’ S4 Audition Because of Sex Scenes – The Hollywood Reporter

Jameela Jamil has revealed that she pulled her audition for the fourth season of You because she didn’t want to film intimate scenes.

The She-Hulk: Attorney at Law actress opened up about why she doesn’t “do sex scenes” during Tuesday’s episode of the Podcrushed podcast, hosted by Penn Badgley, Nava Kavelin and Sophie Ansari.

Jamil said she was initially supposed to audition for the latest season of Badgley-led Netflix series, but when she learned her “character was supposed to be quite sexy,” she “pulled out of the audition, because I am so shy about anything sexy that I can’t.”

The Good Place star didn’t say which role she was set to audition for, but she did bring up Badgley’s past comments on asking showrunner Sera Gamble for fewer sex scenes in crime-drama series.

“And then you fucking came out and was like, ‘Yeah, I’m not doing sex scenes anymore…,’” Jamil said. “And I was like, ‘Fucking hell, I didn’t even know that was a boundary that we could draw. That’s fantastic.’ But then I was like, ‘I should have gone and done the fucking show.’”

The Gossip Girl alum later told GQ during a March interview that the social media discussion regarding his sex scenes comments were “blown out of proportion.” “What I was speaking about wasn’t actually the final product,” he told the outlet at the time. “It was sort of like the culture inherent to the production of all movies but particularly those scenes. It’s like, look, we know that Hollywood has had a history of flagrant exploitation and abuse.”

The Pitch Perfect: Bumper in Berlin actress also explained that she “can’t even watch sex scenes in films. … Even on my own, I have to fast-forward through sex scenes because I’ve become so shy about watching other people.”

Jamil clarifies that “it’s not a shame. … I feel there’s an awkwardness around it.”

Earlier in the conversation on Podcrushed, the actress shared a personal take, saying, “I don’t think I’ve ever been someone who would have enjoyed objectifying myself, personally. But that’s also because I have so much deep, like, childhood, like, sexual trauma stuff. So I think that was never in the cards for me.”

She continued, “You know, I still wear the little skirt or the busty top, but like, occasionally. But generally, I feel quite protective of myself in that way.”

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May 7, 2023

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Jameela Jamil has revealed that she pulled

What to Watch

What’s Coming to Netflix This Week: May 8th to 14th, 2023

Pictured: UglyDolls, The Mother, and Documentary Now!

Another week of new releases awaits on Netflix. Below, we’ll look through all the scheduled movies and series set to release throughout the week, with highlights including the new Netflix Original Jennifer Lopez movie and the controversial Jada Pinkett-Smith docudrama series.

If you’ve missed any of the new releases from last week, you can catch up with all the new movies, series, and even games that got added last week. Of course, there’s plenty coming up on Netflix throughout the rest of May 2023, with new titles just announced, including Missing and The Son.

There are a number of big removals planned for this week, including three Netflix Originals. Mindhorn, Live, and Bordertown will all be departing throughout the week.

Most Anticipated New Releases on Netflix This Week

Documentary Now! (Season 4)

Coming to Netflix: Tuesday

The long-running news magazine spoof docuseries is back with its fourth season once again presented by Helen Mirren. Each episode takes aim at various documentaries over the years and, frankly, takes the piss out of the format.

Created by Fred Armisen, Bill Hader, Seth Meyers, and Rhys Thomas, the series did briefly depart Netflix, but following the renewal of the fourth season bound for AMC+, Netflix managed to reacquire the rights and now sees the latest six episodes drop.

This season’s guest stars include Alexander Skarsgård, Nicholas Braun, Cate Blanchett, and Jonathan Pryce.

The Mother (2023)

Coming to Netflix: Friday

Netflix’s big new movie for the week (and to be honest, Netflix’s biggest movie for the entire month of May) is the new Jennifer Lopez action thriller, The Mother.

Here’s what you can expect from the new action movie that also featured Joseph Fiennes and Omari Hardwick:

“After years of hiding out in the Alaskan wilderness, a deadly assassin returns to rescue the daughter she loved from afar.”

UglyDolls (2019)

Coming to Netflix: Saturday

For the kids this week is UglyDolls coming to Netflix for the first time next weekend.

STXfilms (the same studio working on Leo for Netflix) is behind this musical adventure that’s about free-spirited UglyDolls confronting what it means to be different and ultimately discovering who you truly are.

Kelly Clarkson, Nick Jonas, Janelle Monáe, Blake Shelton, and Pitbull feature.

Full List of What’s Coming to Netflix This Week

Please note: this list primarily covers Netflix in the United States – other regions lineups will vary.

Coming to Netflix on May 8th

Justice League (Seasons 1-2)
Justice League Unlimited (Seasons 1-2)
Spirit Rangers (Season 2) Netflix Original

Coming to Netflix on May 9th

Bread Barbershop (Season 3)
Documentary Now! (Season 4)
Hannah Gadsby: Something Special (2023) Netflix Original

Coming to Netflix on May 10th

Dance Brothers (Season 1) Netflix Original
Missing: Dead or Alive? (Season 1) Netflix Original
Queen Cleopatra (Season 1) Netflix Original

Coming to Netflix on May 11th

Arini by Love.inc (2022)
¡Que viva México! (2023)
One Night Stand
Royalteen: Princess Margrethe (2023) Netflix Original
St. Vincent (2014)
Ultraman (Season 3) Netflix Original

Coming to Netflix on May 12th

Black Knight (Season 1) Netflix Original
Call Me Kate (2023)
Mulligan (Season 1) Netflix Original
Queer Eye (Season 7) Netflix Original
The Mother (2023) Netflix Original
Why didn’t I tell you a million times? (Season 1)

Coming to Netflix on May 13th

INKSYLAND Concert (2023)
UglyDolls (2019)

What will you be checking out on Netflix over the next 7 days? Let us know in the comments down below.

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May 7, 2023

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Pictured: UglyDolls, The Mother, and Documentary Now! Another

Awards

See The Full List (Updating) – The Hollywood Reporter

The 2023 MTV Movie & TV Awards are being handed out in a pretaped ceremony airing Sunday night.

The show is being held amid the ongoingwriters strike, which led host Drew Barrymore to drop out in a show of support for the striking scribes. (She will, however, host the 2024 edition of the Movie & TV Awards.) Though MTV originally planned to forge ahead with a live audience, the channel announced Friday plans to shift to a pretaped event.

The news came shortly after the Writers Guild of America said it had planned to picket outside of the Barker Hangar in Santa Monica, where the awards had been scheduled to take place as a live event. On Friday night, the WGA canceled its intentions to demonstrate.

Heading into the ceremony, Netflix’s Stranger Things leads with seven noms, followed by Top Gun: Maverick and HBO’s The Last of Us with six nominations each.

Jersey Shore Family Vacation, RuPaul’s Drag Race, The Real Housewives of Beverly Hills and Vanderpump Rules all tied in the unscripted categories with two nominations each.

This year’s ceremony also features two new categories: best reality onscreen team and best kick-ass cast. The winners are voted on by fans.

The list of nominees below will be updated as the winners are announced. Refresh for the latest.

Best Movie

Avatar: The Way of Water
Black Panther: Wakanda Forever
Elvis
Nope
Scream VI
Smile
Top Gun: Maverick

Best Show

Stranger Things
The Last of Us
The White Lotus
Wednesday
Wolf Pack
Yellowstone
Yellowjackets

Best Performance in a Movie

Austin Butler — Elvis
Florence Pugh — Don’t Worry Darling
Keke Palmer — Nope
Michael B. Jordan — Creed III
Tom Cruise — Top Gun: Maverick

Best Performance in a Show

Aubrey Plaza — The White Lotus
Christina Ricci — Yellowjackets
Jenna Ortega — Wednesday
Riley Keough — Daisy Jones & the Six
Sadie Sink — Stranger Things
Selena Gomez — Only Murders in the Building

Best Hero

Diego Luna — Andor
Jenna Ortega — Wednesday
Paul Rudd — Ant-Man and the Wasp: Quantumania
Pedro Pascal — The Last of Us
Tom Cruise — Top Gun: Maverick

Best Villain

Elizabeth Olsen — Doctor Strange in the Multiverse of Madness
Harry Styles – Don’t Worry Darling
Jamie Campbell Bower — Stranger Things
M3GAN – M3GAN
The Bear — Cocaine Bear

Best Kiss

Anna Torv + Philip Prajoux — The Last of Us
Harry Styles + David Dawson — My Policeman
Madison Bailey + Rudy Pankow — Outer Banks
Riley Keough + Sam Claflin — Daisy Jones & the Six
Selena Gomez + Cara Delevingne — Only Murders in the Building

Best Comedic Performance

Adam Sandler — Murder Mystery 2
Dylan O’Brien — Not Okay
Jennifer Coolidge — Shotgun Wedding
Keke Palmer — Nope
Quinta Brunson — Abbott Elementary

Breakthrough Performance

Bad Bunny — Bullet Train
Bella Ramsey — The Last of Us
Emma D’Arcy — House of the Dragon
Joseph Quinn — Stranger Things
Rachel Sennott — Bodies Bodies Bodies

Best Fight

Brad Pitt (Ladybug) vs. Bad Bunny (The Wolf) — Bullet Train
Courteney Cox (Gale Weathers) vs. Ghostface — Scream VI
Jamie Campbell Bower (Vecna) vs. Millie Bobby Brown (Eleven) — Stranger Things
Keanu Reeves (John Wick) vs. Everyone — John Wick 4
Escape from Narkina 5 — Andor

Most Frightened Performance

Jennifer Coolidge — The White Lotus
Jesse Tyler Ferguson — Cocaine Bear
Justin Long — Barbarian
Rachel Sennott — Bodies Bodies Bodies
Sosie Bacon — Smile

Best Duo

Camila Mendes + Maya Hawke — Do Revenge
Jenna Ortega + Thing — Wednesday
Pedro Pascal + Bella Ramsey — The Last of Us
Simona Tabasco + Beatrice Grannò — The White Lotus
Tom Cruise + Miles Teller — Top Gun: Maverick

Best Kick-Ass Cast

Ant-Man and the Wasp: Quantumania
Black Panther: Wakanda Forever
Outer Banks
Stranger Things
Teen Wolf: The Movie

Best Song

Demi Lovato — “Still Alive” (Scream VI)
Doja Cat — “Vegas” (Elvis)
Lady Gaga — “Hold My Hand” (Top Gun: Maverick)
OneRepublic — “I Ain’t Worried” (Top Gun: Maverick)
Rihanna — “Lift Me Up” (Black Panther: Wakanda Forever)
Taylor Swift — “Carolina” (Where the Crawdads Sing)

Best Docu-Reality Series

Jersey Shore Family Vacation
The Real Housewives of Beverly Hills
Family Reunion: Love & Hip Hop Edition
The Kardashians
Vanderpump Rules

Best Competition Series

All-Star Shore
Big Brother
RuPaul’s Drag Race: All-Stars
The Challenge: USA
The Traitors

Best Host

Drew Barrymore — The Drew Barrymore Show
Joel Madden — Ink Master
Nick Cannon — The Masked Singer
RuPaul — RuPaul’s Drag Race
Kelly Clarkson — The Kelly Clarkson Show

Best Reality Onscreen Team

Mike “The Situation” Sorrentino, Vinny Guadagnino, Pauly D (MVP) — Jersey Shore Family Vacation
Tori Deal and Devin Walker — The Challenge: Ride or Dies
RuPaul Charles and Michelle Visage — RuPaul’s Drag Race
Ariana Madix, Katie Maloney, Scheana Shay, LaLa Kent — Vanderpump Rules
Garcelle Beauvais and Sutton Stracke — The Real Housewives of Beverly Hills

Best Music Documentary

Halftime
Love, Lizzo
Selena Gomez: My Mind & Me
Sheryl
The Day the Music Died: The Story of Don McLean’s American Pie

Best Musical Moment

Daisy Jones & the Six: “Look at Us Now (Honeycomb)”
Don’t Worry Darling: Jack’s Tap Dance
Elvis: “Trouble”
Ginny & Georgia: “I Will Survive” (Bachelorette Party)
M3GAN: “Titanium”
Matilda the Musical: “Revolting Children”
Purple Hearts: “Come Back Home”
RRR: “Naatu Naatu”
She-Hulk: Attorney at Law: “Body”
SNL: “Big Boys”
Stranger Things: “Running Up That Hill”
The Last of Us: “Long Long Time” (Bill & Frank Play Piano)
The School for Good and Evil: “You Should See Me in a Crown”
The Summer I Turned Pretty: “This Love (Taylor’s Version)”
Wednesday: “Goo Goo Muck”
Young Royals: “Simon’s Song”

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May 7, 2023

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The 2023 MTV Movie & TV Awards

katy perry coronation concert king charles lionel richie

Music

Katy Perry, Lionel Richie Perform at King Charles Coronation Concert – Rolling Stone

Katy Perry, Lionel Richie, Take That, and Nicole Scherzinger were among the artists to celebrate the coronation of King Charles III at a star-studded concert Sunday at Windsor Castle.

Perry — performing on arguably her biggest stage since the Super Bowl XLIX halftime show — delivered a rendition of “Roar” while drones formed the shape of a lion, denoting the newly crowned king’s coat of arms.

Perry then segued into “Firework,” which served as the evening’s final song, dedicating the song to the King. “Thank you for bringing out the firework in so many young people,” she said.

Despite the concert taking place on Sunday night, Ritchie took to the grand piano to perform the Commodores classic “Easy” – a song about weathering a breakup – before, thankfully, livening things up a bit with “All Night Long.”

Richie wasn’t the only Rock and Roll Hall of Fame inductee on hand: Steve Winwood also appeared to perform his hit “Higher Love” alongside the Commonwealth Choir.

Scherzinger was joined by pianist Lang Lang for “Reflection,” a song from the soundtrack for Disney’s Mulan previously performed by Christina Aguilera. Scherzinger, who had never sang the track live before, noted, “It’s a beautiful song when you listen to the lyrics.”

Prior to the performances, host Hugh Bonneville from Downton Abbey joked that the evening would feature “the artist previously known as prince,” a.k.a. King Charles III. It was that kind of night.

The coronation concert was plagued by reports of a number of artists turning down offers to perform at the coronation, with some theorizing that the royal family’s recent “PR disasters” were partly to blame.

However, Perry answered the King’s call given her history with Charles III: She’s been an ambassador of The British Asian Trust, a charity founded by Charles, since 2020.

“I am excited to be performing at the Coronation Concert, and helping to shine a further light on the British Asian Trust’s Children’s Protection Fund, whose work includes on-ground initiatives to fundraising, with the aim to find solutions to child trafficking,” said Perry.

Richie said in a statement, “To share the stage with the other performers at the coronation concert is a once-in-a-lifetime event and it will be an honour and a celebration.”

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Katy Perry, Lionel Richie, Take That,

Docs

DR Sales Closes a Deal for the Canadian Rights With Level Film on ‘Praying for Armageddon’

DR Sales has sold Canadian distribution rights for Norwegian director Tonje Hessen Schei’s “Praying for Armageddon” to LevelFilm. The deal was revealed follows the film’s North American premiere at Hot Docs Film Festival. The film made its world premiere in CPH:DOX.

The film explores the power and influence of powerful U.S. fundamentalist evangelicals as they aim to fulfil the biblical prophecy of Armageddon. With close quarters journalism, the feature documentary embeds with American believers who prepare for the Holy War and exposes how powerful megachurch pastors call for the “final battle” that they believe will trigger the Second Coming of Christ. A deep dive into power and policy, the film unveils how politicians driven by faith embrace Israel as the key to their prophetic vision for the end of days. At any cost.

The film is directed by Tonje Hessen Schei (“iHuman,” “Drone”), co-directed by Michael Rowley, and produced by Christian Aune Falch, Torstein Parelius and Ingrid G. Aune Falch from UpNorth Film. Executive producers are Hussain Currimbhoy, Sue Turley and Jan Rofekamp.

The deal was negotiated between DR Sales’ executive Freja Johanne Nørgaard Sørensen and Robin Smith, head of factual content at LevelFilm.

“LevelFilm is the perfect partner for this film. Robin Smith has an impressive track-record in distributing documentaries, and his passion and enthusiasm for ‘Praying for Armageddon’ has been clear from the start,” Nørgaard Sørensen said.

“We have been keenly tracking director Tonje Hessen Schei and the UpNorth producing team’s latest film ever since its first public pitch over five years ago. We are absolutely thrilled to see where they have taken this story and excited to bring this cinematic investigative-cautionary tale to Canadian audiences in the near future,” Smith said.

DR Sales is the international sales department of the Danish Broadcasting Corporation.

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May 7, 2023

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DR Sales has sold Canadian distribution rights

Global

Edmonton makes resources available to 1,500 registered evacuees

More than 1,500 people have registered at the Edmonton reception centre as of Sunday afternoon after fleeing their homes and communities due to wildfire risk.

Most people are evacuees from Drayton Valley and Brazeau County seeking a place to stay, food, clothing, medical services and animal care.

Many supports are available to people directly at the reception centre. The Canadian Red Cross and insurance companies are on site, and the Alberta Health Service is there to offer mental health services, as well as a prescribing pharmacist for anyone who needs additional medication.

Pets have been a big concern for many residents having to leave their homes and about 1,300 pets have been registered at the reception centre — almost a one-to-one ratio to humans, according to the city, whose Animal Care and Control Centre is providing on site, temporary daytime care for pets.

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Pet supplies, including food, are available to be picked up at the Edmonton Humane Society from 9 a.m. to 7 p.m. every day. Pet food and supply donations are welcome.

Donations to the reception centre are not accepted at this time, as the city’s Emergency Support Response Team continues to provide necessary supplies and care to evacuees.

Evacuees can also access fitness and health services through the Jamie Platz Family YMCA, which is opening its doors for free access to showers and rec centre. The Commonwealth Recreation Centre is also offering showers to anyone who has been displaced.

Despite the challenges many people are facing, the city is alerting people to fraudulent texts targeting people impacted by the wildfires.

“These texts are asking for personal information to access services or financial support. Residents are advised to only provide information in-person at the Reception Centre or through the provincial online registration system at emergencyregistration.alberta.ca,” according to the city.

“I’m really impressed. It’s amazing what they had set up on such short notice for so many people,” said Anna Turtiak, who arrived from Drayton Valley Saturday morning with her family and dogs.

She added that seeing all the people at the reception centre really puts the wildfire into perspective and shows just how big their community is, but everyone has come together to help each other out.

&copy 2023 Global News, a division of Corus Entertainment Inc.

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More than 1,500 people have registered at

Two hands holding the Canon EOS M6 Mark II

Tech

Rumored ultra-wide RF-S lens is what Canon APS-C cameras badly need | TechRadar

Recent rumors point to a Canon RF-S lens in the mold of the Canon EF-M 11-22mm f/4-5.6 IS STM in the pipeline. There’s no strong leaks regarding key specs, but an ultra-wide angle lens is what Canon’s excellent APS-C mirrorless cameras really need to realize their potential.

While the Canon EOS R7 is one of the most capable APS-C cameras in the market for wildlife and sports photography, and the EOS R10 is our top choice among the best mirrorless cameras for beginners, these models are hamstrung to a degree by limited lens choice.

Only three RF-S lenses are available and all of these lenses are moderate zoom lenses with modest maximum apertures – in short, not the lenses that truly excite photographers, nor up their game. It’s prime lenses and premium zooms that get the juices flowing, and there are none of these, yet.

Nikon’s Z-mount mirrorless camera system is in a similar position to Canon’s, too. We hope that they both begin to show similar levels of enthusiasm for APS-C as they do with full-frame, by way of developing a broader range of lenses. Let those rumors of a so-called Canon RF-S 11-22mm be true, and the sign of more to come.

Full-frame vs APS-C – imbalanced scales

The three big names that have established full-frame and APS-C mirrorless camera systems are Sony, Canon and Nikon.

Sony was one of the pioneers in mirrorless cameras, launching its first APS-C cameras, the NEX-3 and NEX-5, in May 2010, and then its first full-frame cameras (the a7 and a7R) in October 2013. Those full-frame cameras are now in their fourth and fifth generations, and Sony has created a formidable choice of proprietary glass for both sensor formats, with 22 APS-C lenses and 46 full-frame options.

Canon and Nikon entered the mirrorless camera market much later, launching full-frame cameras – the Canon EOS R, Nikon Z6 and Z7 – only in 2018. They’ve each gone about developing a broad range of high-quality full-frame lenses with impressive haste. The same cannot be said for APS-C.

(Image credit: Future)

At the time of writing there are 28 Canon RF lenses for full-frame cameras, and three RF-S lenses for APS-C cameras. Nikon stands at 30 full frame lenses to four APS-C lenses.

It was only one year ago that Canon released the EOS R7 and EOS R10 (and, more recently, the EOS R50), so it can be excused for only having three APS-C lenses so far. But it does have a history of modest investment in this sensor format. The Canon EF-M mirrorless system has effectively been discontinued; despite early promise, it never really got off the ground.

Nikon’s APS-C system was announced much earlier than Canon’s, in October 2019, with the Z50 and since then the Z fc and Z30 cameras, but still only has four lenses. The latest of those – the recent Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR – is similar to what we hope the new Canon lens will be. Nikon has opened its arms to third parties and a trio of excellent Sigma prime lenses for Z-mount recently hit the shelves, while Canon has remained closed.

Why is an ultra-wide lens so important for APS-C?

Full-frame lenses are compatible with APS-C cameras, and Canon’s full-frame RF lenses can be used on its APS-C cameras without the need for an adapter. In doing so, there is a crop which effectively extends the focal length by 1.6x (for Sony and Nikon it’s 1.5x).

An image area crop is beneficial should you wish to get closer. For example, the Canon RF 16mm F2.8 STM lens is a 25.6mm lens when cropped. Nikon essentially launched the Nikon Z fc camera with the full-frame Nikkor Z 40mm f/2 lens. The camera and lens matched in style if not sensor format, and the lens’ effective 60mm focal length is ideal for portraits.

A Canon camera with lens on a wooden block — (Image credit: Future)

Both of those lenses are a size match with APS-C cameras, and fairly priced. However, the same cannot be said for most other full-frame lenses, which are disproportionately large when attached to an APS-C camera.

The crop also hampers those that want to shoot wide, and that is why it’s so important for a native ultra-wide angle lens that matches the sensor format with no crop, to be made available. So, if you’re thinking of buying a Canon EOS R7 or EOS R10, be sure to keep an eye out for new RF-S lenses, and especially the rumored RF-S 11-22mm. Let’s hope it’s a good one.

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May 7, 2023

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Recent rumors point to a Canon RF-S

Video

Katy Perry, Tom Cruise and More

The Windsor Castle Concert capped off a weekend of celebrations of the coronation of Charles III and his wife, Camilla, as King and Queen of the United Kingdom of Great Britain and Northern Ireland, and the other Commonwealth realms that took place at Westminster Abbey Saturday.

Katy Perry, Lionel Richie and Andrea Bocelli were among those entertaining members of the royal family and 20,000 guests including 10,000 members of the public. And Tom Cruise sent a special short video for His Majesty.

(Queen Camilla and King Charles III in the Royal Box during the Coronation Concert – Photo by Getty)

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May 7, 2023

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The Windsor Castle Concert capped off a

Entertaintment

Menahem Pressler, Pianist Who Co-Founded Beaux Arts Trio, Dies at 99

“In recent years, we’ve seen a rapid expansion not only of the audience for chamber music, but of that audience’s sophistication and its awareness that the genre also includes sonatas, piano trios, small vocal ensembles, quintets, sextets and indeed all manner of combinations,” John Rockwell of The Times wrote in 1979. “And for that expansion of awareness, we can partly thank the Beaux Arts Trio.”

In 2008, when the trio disbanded after 53 years, Mr. Pressler was still its anchor, the last original member still in the group. He was 84, but he continued performing as a soloist and with ensembles. He also continued teaching at Indiana University, where he held the Charles H. Webb chair in Music.

Menahem Pressler was born in Magdeburg, Germany, on Dec. 16, 1923, 153 years after what is generally accepted as Beethoven’s birthday. One of three children of Moshe and Judith (Zavderer) Pressler, he began playing the piano at 6 and was an accomplished performer as a teenager, taught secretly by a church organist after Hitler’s persecution of the Jews rose to a fever pitch.

He recalled Kristallnacht, in November 1938, when the Nazis orchestrated a nationwide attack on Jewish homes, businesses and synagogues.

“The thugs broke into our family shop in Magdeburg — a gentleman’s outfitters,” Mr. Pressler told The Guardian in 2008. His English still accented with the German of his childhood, he slipped into the present tense as vivid memories returned: “We are hiding in the house, hoping it will go by. In the street, you hear running, yelling, smashing sounds, banging at the door.”

Menahem, his parents and his siblings, Leo and Selma, escaped to Italy months later and then reached Haifa. His grandparents, aunts, uncles and cousins all perished in the Holocaust.

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May 7, 2023

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“In recent years, we’ve seen a rapid

Movies

Marvel’s ‘Guardians of the Galaxy Vol. 3’ Opens to $114 Million

There is nothing like the promise of a chapter closing to draw people to the movie theater, especially when tied to the Marvel Cinematic Universe.

This weekend, “ Guardians of the Galaxy Vol. 3,” which says goodbye to this iteration of the space misfits and its driving creative voice, director James Gunn, earned $114 million in ticket sales from 4,450 locations in North America, according to studio estimates Sunday.

Internationally, where the film opened in 52 territories including China, “Vol. 3” earned $168 million, giving it a $282 million global debut.

Domestically, it’s both an impressive sum for any movie and slightly less than what we’ve come to expect from a Marvel opening.

Last year on the same weekend, “Doctor Strange in the Multiverse of Madness,” riding on the success of “Spider-Man: No Way Home,” raked in $187.4 million in its first three days in North America. And in November, “Black Panther: Wakanda Forever” also opened over $181.3 million.

But things have come back to earth this year, at least by high-flying superhero standards. “Ant-Man and the Wasp: Quantumania” debuted just over $106 million on its way to $474 million worldwide. At rival studio DC/Warner Bros., “Shazam! Fury of the Gods” only made $133.4 million total. The question on some analysts’ minds this weekend is whether it’s because of the specific character or a bigger issue of “superhero fatigue.”

“Guardians Vol. 3” bumped “ The Super Mario Bros. Movie ” out of first place after four weekends atop the charts and kicked off the summer movie season, a vital and usually profitable corridor for Hollywood that runs through Labor Day and often accounts for 40% of a year’s box office.

For Comscore senior media analyst Paul Dergarabedian, it’s still a solid opening for the summer season, which he said is poised to deliver the most robust profits since 2019.

“Though ‘Guardians of the Galaxy Vol. 3’s’ debut may reflect a bit of audience fatigue for the reliable superhero genre, this is just the beginning for what promises to be an irresistible movie marketplace with a killer combination of appealing films for every taste and every audience demographic,” Dergarabedian said.

The next major superhero movie on the schedule is DC’s “The Flash,” set for June 16, which has its own flurry of intrigue around it because of star Ezra Miller’s legal and personal troubles.

“Guardians Vol. 3” sees the return of actors Chris Pratt, Zoe Saldaña, Dave Bautista, Karen Gillan, Pom Klementieff, Bradley Cooper and Vin Diesel. Reviews have been mostly positive, but a little more divided than previous installments. And it remains difficult to compare a pre-pandemic opening such as Vol. 2’s $146 million debut (May 2017) with a post-pandemic one.

“Vol. 3” is Gunn’s last Guardians/Marvel movie as he turns his focus to leading DC Studios.

“The Super Mario Bros. Movie” added $18.6 million in its fifth weekend to take second place, bringing its domestic total to $518.1 million. Globally, it has now surpassed $1.1 billion.

Third place went to “Evil Dead Rise” with $5.7 million, and in fourth place was “Are You There God? It’s Me, Margaret,” with $3.4 million — both were holdovers.

Studios left the weekend mostly clear for the superhero behemoth, but Screen Gems and Sony did debut their new Priyanka Chopra Jonas romantic comedy “Love Again” (featuring Celine Dion and some new songs) in 2703 locations. It made a modest $2.4 million to take the fifth place spot.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Guardians of the Galaxy Vol. 3,” $114 million.

2. “The Super Mario Bros. Movie,” $18.6 million.

3. “Evil Dead Rise,” $5.7 million.

4. “Are You There God? It’s Me, Margaret,” $3.4 million.

5. “Love Again,” $2.4 million.

6. “John Wick: Chapter 3,” $2.4 million.

7. “Dungeons & Dragons: Honor Among Thieves,” $1.5 million.

8. “Air,” $1.4 million.

9. “Guy Ritchie’s The Covenant,” $1.2 million.

10. “Sisu,” $1.1 million. —-

Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr.

Read all the Latest Movies News and Entertainment News here

(This story has not been edited by News18 staff and is published from a syndicated news agency feed)

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May 7, 2023

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There is nothing like the promise of

The murder of Yolandi Botes is revisited in M-Net’s ‘Cold Blood: The Violent Crime Cases of Mike Bolhuis’

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May 7, 2023

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The murder of Yolandi Botes is revisited

MCU

NEW Epic Loungefly Loki Collection Now Available Online

It’s time to celebrate one of Marvel’s most notorious but well-loved baddies Loki! Loungefly has just released a new metallic Loki Collection in the character’s signature colors of green and gold. The new Loungefly Marvel Metallic Loki Mini Collection includes a mini backpack as well as a wallet.

Marvel Metallic Loki Mini Backpack

The Marvel Metallic Loki Mini Backpack features Loki’s famous gilded helmet on the front with horns. The bag overall has a metallic green design.

Details of Loki’s armor appear on the front zipper pocket below and continue onto the bag’s side pockets.

The back of the bag features Loki’s nickname “Masters of Mischief.”

The side of the Marvel mini backpack features Marvel Studios Infinity Saga.

The Loungefly Marvel Metallic Loki Mini Backpack is made of vegan leather and features adjustable shoulder straps and shiny gold hardware. Additional features include applique, debossed, glitter, metallic, and printed details. Also, note the coordinating inside lining featuring Loki’s famous helmet.

You can get the backpack for $80.00 on Loungefly here.

Marvel Metallic Loki Zip-Around Wallet

Also included in the Marvel Metallic Loki Collection is this shimmering zip-around wallet. On the front, you’ll find Loki’s helmet with horns that rise above the wallet’s metallic green design.

Details of Loki’s armor appear on the back of the Loungefly Loki wallet.

Inside you’ll find five slots for holding cards and a clear slot to hold ID. The wallet features plenty of room to carry your tricks and schemes.

The Loungefly Marvel Metallic Loki Zip Around Wallet is made of vegan leather. The wallet zips closed with shiny gold hardware. Additional features include applique, debossed, glitter, and metallic details. The wallet also includes a coordinating inside lining.

The Loki Loungefly wallet retails for $40.00 and can get yours here.

Readers are encouraged to keep following along with MickeyBlog for further Walt Disney World news and updates. We’ll be coming to you LIVE from the theme parks each and every week.

Have you heard the news? MickeyTravels just earned the incredible distinction of being a Diamond Earmarked Agency!

Whether it’s a visit to the theme parks, a Disney cruise, a stay at Aulani in Hawaii, or the trip of a lifetime with Adventures by Disney, I can’t wait to help you plan your vacation utilizing all of our incredible concierge-level services. This includes discount monitoring, itinerary planning, flexible booking and so much more. Best of all my services are 100% FREE!

Find out more or get your FREE no-obligation quote at mroden@mickeytravels.com at 1.800.801.4025 or via Facebook

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May 7, 2023

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It’s time to

DCU

Guardians of the Galaxy Vol. 3 Post-Credits Scenes Explained!

The finale of James Gunn’s Guardians of the Galaxy trilogy has arrived, and delivers an emotional sendoff for Marvel’s ragtag team of cosmic heroes. Dan dives in to break down the movie’s post-credit scenes and what they mean for the future of the Guardians on today’s episode of Nerdist News!

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The post Guardians of the Galaxy Vol. 3 Post-Credits Scenes Explained! appeared first on Nerdist.

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May 7, 2023

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The finale of James Gunn’s Guardians of

Comics

Humble Easy-Going Games Bundle Out Now

The Humble Easy-Going Games Bundle just launched recently. It has twelve items including Aground, Evan’s Remains, Teacup, and more.

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May 7, 2023

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The Humble Easy-Going Games Bundle just launched

Festivals

Inside Out 2SLGBTQ+ Announces Full Lineup For 33rd Annual Film Festival – Deadline

The 33rd annual Inside Out Toronto 2SLGBTQ+ Film Festival has revealed its full film lineup.

Showcasing 107 films from 30 countries, including 33 feature films, and 7 world premieres. The festival will take place both in-person and virtually from May 25th to June 4th in Toronto, Canada. The announcement was made today by Inside Out’s Co-Head & Executive Director, Elie Chivi, and Co-Head & Artistic Director, Andrew Murphy.

The festival’s opening night film this year will be the Canadian Premiere of acclaimed filmmaker Ira Sachs’ French romantic drama Passages, which premiered earlier this year at Sundance to rave reviews. The drama about three people caught in a love triangle marked by passion, jealousy, and narcissism stars Franz Rogowski, Ben Whishaw, and Adele Exarchopoulos. Closing the festival will be the World Premiere of a fantastical summer romance with a big musical heart, Glitter & Doom by Tom Gustafson, which is a love story told through the song lyrics by the Indigo Girls and features Alex Diaz, Missy Pyle, Tig Notaro, Alan Cammish and Lea DeLaria, along with the Indigo Girls themselves.

This year’s RE:Focus Gala selection is the Sundance Next Audience Award and Berlin Panorama Audience Award winner, Kokomo City by Grammy-nominated artist, D. Smith. Through laughter and conversation, D. Smith captures an unapologetic and unfiltered look into the lives of four Black transgender sex workers. The documentary also features a unique and exhilarating soundtrack that matches the film’s striking black and white visuals.

Inside Out’s Centerpiece Gala will host the World Premiere of Canadian documentary, Supporting Our Selves, directed by Lulu Wei. The documentary is a moving exploration of more than four decades of the Toronto-based philanthropic organization, Community One Foundation, which continues to support the needs of the 2SLGTBQ+ communities.

Highlights from the Special Presentations lineup include the Canadian premieres of Ally Pankiw’s I Used To Be Funny starring Rachel Sennott (SHIVA BABY), Olga Petsa, Jason Jones, Dani Kind, and Ennis Esmer. In addition the film Blue Jean, which is also a part of Special Presentations is a story about a gym teacher living a double life in Thatcher’s England.

Other notable festival titles include the World Premieres of Loveleen Kaur’s music documentary Leilani’s Fortune, which follows queer, immigrant Ethiopian-Eritrean artist Witch Prophet as she navigates newfound momentum in the music industry; while festival highlights include the Canadian premieres of 20,000 Species Of Bees by Estibaliz Urresola Solaguren. Inside Out will also host a special 20th Anniversary screening of Richard Linklater’s School of Rock, starring Jack Black, with cast member Rivkah Reyes in attendance (who also has a film they wrote, GIANNA, playing at the festival).

“We are thrilled to welcome audiences to the 33rd annual Inside Out 2SLGBTQ+ Film Festival. We are incredibly grateful to our members, donors, sponsors and stakeholders as well as our queer filmmaking family, for their continued loyalty and support, and without whom, this festival would not be possible,” said Elie Chivi, Co-Head and Executive Director.

“2023 is the year of Inside Out! Further solidifying our place in the spring pre-pride calendar, the Inside Out family has been hard at work to unveil today the best and most crucial cinematic voices from the 2SLGBTQ+ community.” said Andrew Murphy, Co-Head and Artistic Director. “Built around the heart of our cinematic experiences, we continue to strive to build experiences of connection, industry and professional development, and at the end of the night, a dance floor, because joy comes in many forms,” commented Andrew Murphy, Co-Head & Artistic Director.

“This year’s program offers an eclectic and captivating lineup of films, showcasing the rich and multifaceted experiences of 2SLGBTQ+ communities globally and right here in our own backyard. From the bold and innovative works of local talent Luis De Filippis, VT Nayani, and Ally Pankiw to the world premieres and festival favorites from 30 countries, we are excited for our audience to join us and explore the complex and joyful nuances of queer life,” added Jenna Dufton, Director of Festival Programming.

The programming team is led by Director of Festival Programming Jenna Dufton, and is comprised of Lucia Linares (Programming Coordinator), and programmers Ferdosa Abdi, Rasheed Bailey, Ashley Bodika, Katherine Connell, Jacob Crepeault, Ferrin Evans, Ahlam Hassan, Claire Jarvis, Allia McLeod, Emma Pitters-Fisher, Nik Redman, and Scott Smart.

All in-person screenings at the festival will take place at the TIFF Bell Lightbox in Toronto, and all industry events, including the opening and closing night parties, as well as the activities for the LGBTQ International Financing Forum, will take place at Artscape Sandbox. Many films will also be available virtually and available in Ontario.

Individual tickets for screenings (in person and digital), ticket packages, and all-access passes are on sale as of today at insideout.ca.

The full 2023 festival selections include:

OPENING GALA

PASSAGES, directed by Ira Sachs (France/Narrative)
The latest work by acclaimed filmmaker Ira Sachs starring Ben Whishaw, Franz Rogowski and Adele Excharpouplo, is a tale about two men who wonder if their crumbling marriage can survive when one of them has an affair with a woman.

CLOSING GALA

GLITTER & DOOM, director by Tom Gustafson (USA/Narrative)

When carefree Glitter and aspiring musician Doom meet it is love at first sight but they have only 29 days to discover if their love will last. Told through song lyrics by the Indigo Girls, the romance features some of their greatest hits, including the iconic anthem “Closer to Fine.” The film stars Alex Diaz, Alan Cammish, Lea DeLaria, Missi Pyle, Tig Notaro, and the Indigo Girls themselves.

RE:FOCUS GALA

KOKOMO CITY, directed by D. Smith (USA/Documentary)

Through conversation and laughter, Grammy nominated artist D. Smith presents a vibrant portrait of four black transgender sex workers in New York and Georgia who reflect on belonging and identity within the Black community and beyond.

CENTREPIECE GALA

SUPPORTING OUR SELVES, directed by Lulu Wei (Canada/Documentary)

A moving exploration of more than four decades of activism, told through the lens of the Toronto-based philanthropic organization, Community One Foundation. What started as a predominantly white, middle-class collective redefined itself during the AIDS crisis in the 1980s and ’90s and continues to adapt today to better meet the needs of our Toronto communities.

SPECIAL PRESENTATIONS

I USED TO BE FUNNY, directed by Ally Pankiw (Canada/Narrative)

An au pair and aspiring stand-up comedian, struggling with PTSD, must decide to join the search for a missing teenage girl she used to nanny as she tries to recover from her trauma and get back on stage.

BLUE JEAN, directed by Georgia Oakley (UK/Narrative)

Jean, a gym teacher, struggling to live her life openly under Margaret Thatcher’s Conservative government faces a crisis with the arrival of a new student that challenges Jean to her core.

PREMIERES

20,000 SPECIES OF BEES (20.000 ESPECIES DE ABEJAS), directed by Estibaliz Urresola Solaguren (Spain / Narrative)

An eight-year-old child struggles with identity, her birth name feels very wrong, and her nickname Cocó doesn’t feel quite right either. During a summer among the beehives, she explores her name and identity alongside her mother and the women of her family.

OPPONENT (MOTSTANDAREN), directed by Milad Alami (Sweden/Narrative)

Iman and his family were forced to flee Iran and end up in northern Sweden. To protect his family he joins a local wrestling club. However, one sparring partner in particular ignites old feelings and Iman must choose between his own desires and the safety of his family.

RUNS IN THE FAMILY, directed by Ian Gabriel (South Africa/Narrative)

Former scam artist Varun and his trans drag performer son, River, embark on a road trip across South Africa. As River worries about missing Her Majesty’s Drag Competition and the opportunity to win the prize money to pay for his top surgery, secrets bubble to the surface and the duo’s relationship will be tested like never before.

SISI & I (SIS & ICH), directed by Frauke Finsterwalder (Germany, Switzerland, Austria/ Narrative)

Countess Irma finds Empress Sisi in Greece, away from the etiquette of the court. They live in freedom, but no matter how much Irma and Sisi resist, in the end they are left with only one fatal path that will bind them together forever.

ICONS

COMMITMENT TO LIFE, directed by Jeffrey Schwarz (USA / Documentary)

Hollywood played a critical role in the battle against HIV/AIDS as doctors, movie stars, studio moguls and activists came together to change the path of the epidemic and how the world saw it.

HUMMINGBIRDS, directed by Silvia Del Carmen Castaños and Estefania ‘Beba” Contreras (USA/ Documentary)

Filmmakers and activists Silvia Del Carmen Castaños and Estefanía “Beba” Contreras are coming of age in Laredo, Texas. Stuck in an immigration process with the threat of deportation for their families, they boldly refuse to be scared into submission and spend their days planning protest actions while expressing themselves with music, poetry, and art, creating magic in everyday moments.

IS THERE ANYBODY OUT THERE?, directed by Ella Glendining (UK/Documentary)

Filmmaker Ella Glendining was born with a very rare disability. Using intimate video diary entries, conversations with similarly bodied people and doctors treating her condition, Ella explored what it takes to love oneself fiercely despite the pervasiveness of ableism.

IT’S ONLY LIFE AFTER ALL, directed by Alexandria Bambach (USA/Documentary)

Amy Ray and Emily Saliers began performing together in high school as queer friends who never expected to make it big. Against all odds, they broke through in the 1980s, maintaining musical careers on their own terms with an unwavering commitment to progressive politics and queer rights.

LEILANI’S FORTUNE, directed by Loveleen Kaur (Canada/Documentary)

An intimate journey with queer, immigrant, Ethiopian-Eritrean artist Witch Prophet, as she navigates newfound momentum in the music industry. After a decade of making music she is now receiving critical acclaim and nominations, finally getting the validation and support she needs to embark on the creation of the album of her prophecies.

SPOTLIGHT ON CANADA

A QUEER’S GUIDE TO SPIRITUAL LIVING, directed by Ari Conrad Birch and Michal Heuston (Canada/Documentary)

The lives of four queer folks from various religions meet at the intersection of faith and queerness – Summeiya, the genderfluid founder of Queer Muslim Network Toronto, Juliana, a bisexual teacher and former Baptist Christian, Vaibhav, a gay Hindu dancer, and Ari, a trans Coptic Orthodox drag artist.

BEFORE I CHANGE MY MIND, directed by Trevor Anderson (Canada/Narrative)

Robin’s arrival at a small-town Alberta middle-school causes a stir because the students aren’t sure of Robin’s gender. When Robin becomes friends with Trevor, the school bully, their friendship is put to the test when they are both attracted to Izzy.

BLOOM ROOM, directed by Tristen Sutherland, Yasmijn Nicolle, Christian Anderson, Sochima Nwakaeze, Ajahnis Charley (Canada/Series)

This six-episode series follows a group of Black millennials in an online community who love plants. As the group becomes entangled in each other’s lives, they find purpose in caretaking for their plants and their budding relationships.

GOLDEN DELICIOUS, directed by Jason Karman (Canada/Narrative)

Everyone wants something from high school senior Jake. But it’s not until Aleks, an openly gay teen with a love for basketball, moves in across the street that Jake begins to struggle with his own desires. To get closer to Aleks, Jake devotes himself to making the basketball team – only to realize it’s not basketball he really wants.

SOMETHING YOU SAID LAST NIGHT, directed by Luis de Filippis (Canada, Switzerland/Narrative)

Ren reluctantly accompanies her very Italian family on a beach resort holiday. As Ren navigates a resort not suited to her trans identity and coped with her parents’ loving yet overbearing nature, she tries to balance the yearning for independence and the need to rely even more on her family’s support.

THIS PLACE, directed by V.T. Nayani (Canada/Narrative)

Kawenniióhstha leaves her community of Kahnawà:ke for Toronto and to find her Iranian father, who she has never met. Malai is a Tamil woman dealing with her father’s terminal illness and trying to decide what her future should look like. The women meet by chance but form an intense attraction and bond as they navigate complex issues of identity and family.

INTERNATIONAL SHOWCASE

A PLACE OF OUR OWN (EK JAGAH APNI), directed by Ektara Collective (India/Narrative)

Trans women Laila and Roshni are looking for housing after they are evicted from their rental. As their search continues, it transcends physical spaces and biological bonds, and as new friendships blossom, help arrives from unexpected places.

ALL THE COLOURS OF THE WORLD ARE BETWEEN BLACK AND WHITE, directed by Babatunde Apalowo (Nigeria/Narrative)

Bambino is a delivery driver in Lagos, living a quiet life but when he meets Bawa, a friendly and easygoing photographer, something clicks. But in a country where homosexuality is illegal and taboo, Bambino doesn’t know what to do with their connection; judging by the life choices of his friend Ifeyinwa, the options seem limited.

ALMAMULA, directed by Juan Sebastian Torales (France, Argentina, Italy/Narrative)

After being gay bashed by local boys, Nino’s family moves to their country home. Nino is forced to attend confirmation class and is warned not to enter a nearby forest or risk being captured by the Almamula, a mythic creature that takes away those who commit carnal sins. But he is pulled to explore the forest and find out if the Almamula is real.

BIG BOYS, directed by Corey Sherman (USA/Narrative)

Jamie’s dream camping trip is ruined before it even begins when he finds out that his beloved cousin is bringing her new boyfriend. Jamie’s initial jealousy of the competent and confident Dan quickly turns into a friendship as the weekend progresses, and Jamie comes to terms with who he is.

MUTT, directed by Vuk Lungulov-Klotz (USA/Narrative

Over the course of a single hectic day in New York City, three people from Feña’s past are thrust back into his life after he lost since transitioning – his relationships with his father, his younger half-sister, and his ex-boyfriend – all while tackling the day-to-day challenges of living life in-between.

NARROW PATH TO HAPPINESS, directed by Kata Olah (Hungary, USA/Narrative)

A young Romani couple living in a remote village in Hungary have a very big dream: to make a musical based on their lives so they go to Budapest where they can live more openly. But, they must return to their village for one ﬁnal reckoning, hoping to finally find the inspiration to write their own happy ending.

NORWEGIAN DREAMS, directed by Levi Igor Devold (Norway, Poland, Germany/Narrative)

Robert travels from Poland to begin work in a salmon processing plant off the Trøndelag coast in Norway. He begins spending time with colleague, and aspiring drag queen, Ivar. When a strike breaks out, his loyalty to his fellow workers is tested.

QUEENDOM, directed by Agniia Galdanova (USA/Documentary)

Gena, an artist from a small town in Russia, dresses in otherworldly costumes and protests on the streets of Moscow. She stages radical performances in public, which becomes a new form of art and activism and puts her life in danger.

SPECIAL 20th ANNIVERSARY SCREENING: SCHOOL OF ROCK, directed by Richard Linklater (USA/Narrative)

Fired from his band, down and out rockstar Dewey Finn (Jack Black) is desperate for work and takes a job as a substitute music teacher at an uptight private school where his attitude and hijinks have a powerful effect on his students.

Special guest, Rivkah Reyes (Katie), will be in attendance to celebrate the 20^th anniversary of Mike White and Richard Linklater’s classic comedy.

THE VENUS EFFECT (VENUSEFFEKTEN), directed by Anna Emma Haudal (Denmark/Narrative)

Responsible and level-headed Liv believes she has her whole life figured out but cracks begin to show in her stable and simple life the arrival of eccentric artist Andrea. As the two women grow closer Liv’s life is thrown off course and she must contend with a breakup, a divorce, and an identity crisis that jeopardizes her shot at a happy life with the woman she loves.

WOLF AND DOG (LOBO E CAO), directed by Claudia Varejao (Portugal, France/Narrative)

Friends Ana and Luis were born on the island of São Miguel. Both have been expected to fit into the lives that have been laid out for them. But watching Luis push back against his father’s expectations, Ana begins to question the world around her.

SHORTS PROGRAM

The full shorts lineup can be found here.

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May 7, 2023

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The 33rd annual Inside Out Toronto 2SLGBTQ+

Film

Film Review: “The Whale” – MediaMikes

THE WHALE
Starring: Brendan Fraser and Hong Chau
Directed by Darren Aronofsky
Rating: R
Running time: 1 hr 27 mins
A24

A box office star in the 1990s and into the 2000s, Brendan Fraser seemingly disappeared in recent years even though he continued to find work. Of course, this thread was discussed ad nauseum during the months leading up to the recent Academy Awards where Fraser’s years of hard work paid off with his own golden statue. It was much deserved for Fraser’s memorable role in the depressing drama “The Whale” is not only the best performance of his career but one of the greatest ever captured in cinema.

Now available everywhere, “The Whale,” based upon a 2012 play of the same name, revolves around Charlie (Fraser), a morbidly obese English instructor who teaches online writing courses with the camera turned off. A complete recluse, his only friend and caregiver is a gruff nurse named Liz (Hong Chau, “The Menu”). She repeatedly tries to get Charlie to see a doctor for his congestive heart failure, but it’s clear early on that he wants to die. His reasoning, though, is a mystery until later in the story.

On one random day, he is visited by Thomas (Ty Simpkins, “Iron Man 3,” “Jurassic World”), a young Christian missionary who tries, unsuccessfully, to convince Charlie that his soul needs saving. What Charlie wants to save instead is his relationship with his estranged and moody teenage daughter, Ellie (Sadie Sink, “Stranger Things”). She wants nothing to do with him because Charlie had abandoned her and her mother (Samantha Morton) to be with another man.

Knowing that death is coming, something he seems to welcome, Charlie bribes Ellie to start visiting him by promising to help her with schoolwork and the prospect of $120,000 going into her bank account. For her part, Ellie is asked not to tell her mother about her visits. As his health deteriorates more rapidly, Charlie’s desire to salvage his relationship with Ellie intensifies.

Directed by Darren Aronofsky (“The Wrestler,” “Pi”), “The Whale” often feels too much like a stage play and it comes off disjointed at times as a result. Aronofsky gets the most out of his cast, yet the story is a little too blah, which matches the overall feel of the film. All quibbles aside, what must be looked upon with awe is Fraser’s unforgettable performance. Forget about his wearing a 300-pound suit to reflect his character’s obesity. What’s important is how tragically sad and depressed his self-loathing character is. Fraser makes his character’s despair and desires tangible to the viewer, allowing us to easily become emotionally invested into Charlie. Without his towering performance, “The Whale” would have been something long forgotten about by now.

Overall, “The Whale” is watchable because of Fraser’s one-for-the-ages performance.

“The Whale” receives three stars out of five.

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May 7, 2023

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THE WHALE Starring: Brendan Fraser and Hong Chau Directed

Michael J. Fox Doesn’t Remember Dating Susanna Hoffs Of The Bangles – Deadline

Michael J. Fox may be the only man on earth who doesn’t remember Susanna Hoffs.

Fox made the revelation Friday during an interview to promote his new Apple TV+ documentary, Still. The story focuses on his life and current battle with Parkinson’s disease.

“When I look at that period in the [documentary] it just seems crazy,” Fox told The Sunday Times. “Look at all the girls I dated. Some of them I can’t even remember. I mean, I dated Susanna Hoffs from the Bangles, and I can’t even remember it. But that’s just an example. Stuff like that happened all the time.”

The Back to the Future and Teen Wolf star briefly dated Hoffs in 1986. She went on to marry Austin Powers director Jay Roach and Fox married his “Family Ties” costar Tracy Pollan.

Recently, Fox allowed that too much partying may have played a role in his Parkinson’s disease.

“I mean, there’s so many ways that you can … that I could’ve hurt myself,” Fox said in a “CBS on Sunday” interview with Jane Pauley. “I could’ve hit my head. I could’ve drank too much at a certain developmental period.”

Parkinson’s is the second-most common neurodegenerative disease after Alzheimer’s, according to the CDC. Memory loss is considered to be a symptom.

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May 7, 2023

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Michael J. Fox may be the only

48 Hours TV Show on CBS: canceled or renewed?

What to Watch

Saturday TV Ratings: 48 Hours, Masters of Illusion, MLB Baseball, NBA Basketball, USFL Football – canceled + renewed TV shows

Saturday, May 6, 2023 ratings — New Episodes: 48 Hours, Masters of Illusion, and Totally Weird and Funny. Sports: NBA Countdown, NBA Basketball: Golden State Warriors at Los Angeles Lakers, USFL Football: Memphis Showboats vs. Michigan Panthers, and MLB Baseball. Reruns: Masters of Illusion, Totally Weird and Funny, 48 Hours, and NCIS.

Note: If you’re not seeing the updated charts, please try reloading the page or go here.
Raw data courtesy Nielsen via SpoilerTV.

These are the fast affiliate ratings. The percentages represent the change since the previous original episode. (Percentages aren’t given for reruns or specials.) To see past ratings for a particular show, click the show’s link. The show pages are updated with the daily final ratings when they become available. Those pages include season averages to date.

What were you watching last night? Original network programming, reruns, cable, or something else?

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May 7, 2023

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Saturday, May 6, 2023 ratings — New

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