SkyShowtime has set its first Polish original, a fictional drama series that follows the tragicomic adventures of a 40-year old playboy.
In Warszawianka, Franek Czułkowski aka Czuly, played by Borys Szyc, is a talented writer who has experienced success and failure and now finds himself trapped between his personal struggles and societal expectations. The show follows his adventures as he struggles to grasp the meaning of his own existence in the modern world.
Helmed by Jacek Borcuch and written by Jakub Żulczyk, Warszawianka is the first Polish-language series for Comcast/Paramount JV SkyShowtime, the new streamer which is available in numerous European territories in which Comcast’s Peacock or Paramount+ aren’t available.
Piotr Uznański serves as Director of Photography on Warszawianka. Additional cast includes Krystyna Janda, Jerzy Skolimowski, Ilona Ostrowska, Piotr Polak, Jadwiga Jankowska-Cieślak, Zofia Wichłacz, Paulina Gałązka, Jan Peszek, Marta Ścisłowicz, Marianna Zydek, Jakub Wieczorek, Tomasz Włosok, Maja Pankiewicz and Milena Goździela.
Other SkyShowtime shows include The Envoys from Oscar winnerJuan José Campanella. The streamer also picked up exclusive rights to 21 HBO Max Europe originals.
As part of the ongoing company-wide downsizing, executives at Disney+ and Walt Disney Studios marketing departments have been let go, TheWrap has learned.
The company aims to eliminate 7,000 jobs by this summer, with the total reaching 4,000 by the end of the week. Among those affected are Natalie Benson, director, digital marketing for Disney+; Chris Bettes, vice president, global marketing for Disney+; Angie Poston, vice president, marketing strategy for Disney+; and Erik Dane, vice president, digital marketing for Walt Disney Studios.
More meetings are being held throughout the afternoon at various Disney business units; one source said that layoffs have been happening every 30 minutes today. Disney Branded Television have also felt the effects of the layoffs today.
Today’s activity shows just how cross-sectional these layoffs really are. Bettes, Poston and Dane were all former 20th Century Fox employees who were imported to Disney following the massive, $71.3 billion sale of Fox that began in 2017 and was completed in 2019. (Dane has a giant poster of Bill Pullman’s character from “Independence Day” that takes up almost one entire wall in his office; it was a prop from the sequel “Independence Day: Resurgence.”) Ironically, that heavy debt load from the acquisition is partially to blame for the massive belt-tightening and pruning that is going on around the company, with the other major factor the expenses associated with the launch and continued programming of Disney+. For her part, Benson came over from FX, also now a part of the Disney family following the Fox acquisition.
The coming days will be filled with even more layoffs and we will keep reporting on this difficult time.
When Billie Eilish first stopped by The Late Late Show, she was an ascending alt-pop kid wonder. Things have moved on. The California native has conjured No. 1 singles and albums, set records, cut a James Bond theme, filled arenas and stadiums around the globe, and her name flapped from a Hollywood broadcast tower earlier in the day, courtesy of an oddball.
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Eilish is back from a spell on the sidelines, contributing vocals to Labrinth’s “Never Felt So Alone” and performing with the British artist at Coachella. A headline slot at 2023 Lollapalooza awaits. James Corden, however, is on the way out. The Brit is counting the hours until he completes his eight-year stint as host of the late-night show, this Thursday.
On Wednesday night (April 25), the “Bad Guy” singer joined Natalie Portman on the couch for a chat, and a stroll down memory lane. As he’s done with his guests all week, Corden pulled up the archives, a snap of a young Eilish about to hit the stage for her debut TV performance of “Ocean Eyes.”
“I remember that I was very nervous, and I was very sick. I was sick for like many years,” she recounts. “Everything I did I was sick.”
When Corden came to visit her backstage, he was the “first celebrity I’d ever been up close to.” Now they all want to meet her. True story.
In those half-dozen years, she’s also tried her hand at acting, including a stint in Donald Glover’s Swarm series. What would a dream role look like? “When Swarm was brought up to me, I was like, this is the thing. Donald Glover is my all-time hero. My lifelong hero.”
The 21-year-old digs a festival. Nothing unusual there. Only, when she attends one, she’s enjoying it from the stage, performing to enormous crowds. Expect more of that she headlines Lollapalooza this August. “I love playing festivals. It’s one of my favorite types of shows to do.”
Standing on stage before a ridiculous volume of people, as she did at the South American leg of Lollapalooza, “it’s just a sea… endless people. It’s like a feeling I don’t get in any other aspect of my life. It’s really incredible. It’s hard to be present sometimes, but I would say festivals…it might not be all your fans or your crowd and so I feel like I have to prove something.”
NOW ON HBO MAX! I went into Moonage Daydream with high expectations. I saw this documentary about David Bowie by Brett Morgen (director of the award-winning Jane), sanctioned by the late singer’s estate, in the original IMAX venue, the Ontario Place Cinesphere. Sadly, I was let down. It has its moments, but in the end, it is a mess. It’s long, repetitive, meandering, faux experimental, and, worst of all, boring.
First, the good parts: writer-director Morgen isn’t trying to make a straightforward documentary. Instead, he’s going for more of a “Bowie in his own words” / Bowie in concert vibe. The parts where Bowie is singing are, as you’d expect, a master entertainer presented as he intended to show himself throughout various phases of his career. Many of his thoughts on life or his work are insightful and engaging. He’s a monumental artist and public figure of the 20th and 21st centuries. Bowie was pioneering in crossing gender lines in a time when people were more hostile to it. He’s an elusive figure, nearly impossible to pin down because he was constantly in flux, continually reinventing himself. There is a certain sublime quality to seeing the extraordinarily weird contradiction of the look-at-me rock star presented in his terms as a shy introvert searching for himself.
“…the look-at-me rock star presented in his terms as a shy introvert searching for himself.”
The doc falls short when it comes to most other aspects, though. One reason Moonage Daydream is so tedious is that the core of Bowie is change. This mantra is repeated over and over again. Sure, you can document the Ziggy Stardust era, the time he lived in Southeast Asia, his 80s life, and his marriage. But all these are only a fragment of something ever-changing and elusive. There’s no real narrative; kudos to the filmmaker for not trying to force one. But the result is that all we get are glimpses stitched together by constant talk of change, which becomes repetitive.
Part of the problem is that the film is trying too hard. It seems like it wants to be “experimental,” like the subject. Mostly this amounts to splicing in rapid-paced weird-looking visuals to spice things up. But this never works because it is mostly images devoid of context, with an over-reliance on material in the public domain. It seems like it might be going for an acid feel but seems almost too frightening for a trip. Even Bowie himself went away from overtly trippy iconography, so this feels like a throwback, which is antithetical to the man’s ethos.
The March edition of the Macdonald-Laurier Institute magazine, Inside Policy, called Russia’s invasion of Ukraine criminal, unprovoked, unjustifiable, and aggressive.
An Ottawa-based think tank made up of academics, activists and former diplomats and politicians, the MLI has been a leading voice against the Russian war in Ukraine.
Two weeks ago, President Vladimir Putin’s government hit back: it blocked the MLI website in Russia and ordered the company that hosts it to shut it down.
A report obtained by Global News shows Putin’s censorship czar contacted the web host on April 11, claiming the MLI site was “in violation of the law.”
The legal threat was sent by Roskomnadzor, the Russian Federation’s mass media and internet regulator, the report prepared by the hosting platform shows.
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It referred to “a violation of the procedure for disseminating information” and said the request was from the Prosecutor General of the Russian Federation.
The company was given 24 hours to “delete” the website.
Fourteen months into his disastrous assault on Ukraine, Putin appears to be escalating his information war, targeting not only opponents at home but also those abroad.
NATO calls for immediate release of Wall Street Journal reporter arrested in Russia
According to the Russian website Roskomsvoboda, on the same day Moscow blocked the MLI, it took the same action against other Western think tanks critical of Putin, including Britain’s storied Chatham House and the Woodrow Wilson Center in the U.S.
A leading expert on digital repression, Andrei Soldatov, said that while the Kremlin was previously concerned about Russian-language sources, it now appeared to be going after those published in English as well.
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“It means the Russian censors are expanding their efforts to control the narrative about Russian government activities,” said Soldatov, a Russian journalist.
Russian president Vladimir Putin, left, meets with his censorship czar Andrei Lipov, Aug. 10, 2020.
Russian Government
Roskomnadzor, Russia’s Federal Service for Supervision of Communications, Information Technology and Mass Media, did not specify what about the MLI website it considered illegal.
But Putin has tightly controlled what Russians can see and hear about the war in Ukraine, allowing his state media to spread disinformation while jailing voices of dissent.
The information campaign has focused mostly on silencing domestic opposition, but Putin has also begun reaching beyond his borders to target international critics of his invasion.
“We denounce censorship and are disappointed that access to Chatham House analysis has been blocked, apparently by the Russian state, thus preventing people from reading and reaching their own conclusions,” the London-based organization said in a statement to Global News.
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The Director General of the Atomic Energy Agency, Rafael Marino Grossi speaking at Chatham House in London, Tuesday, Feb. 7, 2023. (AP Photo/Alastair Grant).
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Leading the effort is Roskomnadzor, which is headed by Andrei Lipov, a Putin bureaucrat who has been sanctioned by Canada for his role in the Ukraine war. Roskomnadzor is also on Canada’s sanctions list.
According to the European Union, which has similarly sanctioned Lipov, Roskomnadzor “is a central instrument in the execution of censorship and repression of free media in Russia.”
“As the head of Roskomnadzor, Mr Lipov is responsible for decisions that have led to the censorship and closure of independent Russian media. These actions create a censored information space that promotes, aids and condones the Russian armed aggression against Ukraine,” the EU wrote.
The U.S.-based web hosting company, WPMU Dev, did not comply with Roskomnadzor’s notice about the Macdonald-Laurier Institute website. Instead, it informed the MLI it was being targeted.
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The next day, however, the MLI site was blocked in Russia, along with those of policy think tanks in Britain, the United States and Europe that have written about Putin’s invasion of Ukraine.
“The complaint is an attempt to silence MLI through extraterritorial application of Russian law. Thankfully, Russian censorship has no legal authority in Canada whatsoever,” the Institute said in a statement.
Ukraine will become NATO member but must first ensure it ‘prevails as sovereign independent nation’: Stoltenberg
The Macdonald-Laurier Institute was blacklisted by Russia in 2022, along with senior fellows such as Marcus Kolga, Sarah Teich and Shuvaloy Majumdar.
But Kolga said Russia’s targeting of the hosting platforms of websites that challenge Putin’s official narrative marked an intensification. “I have not heard of this before, so this is completely new,” he said.
A leading critic of Russian disinformation, Kolga said web hosts might not be aware of the geopolitics of a Russian takedown notice and could be intimidated into action.
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“Thankfully, at least our hosting company got in touch with us,” he said. “But I think that’s the strategy on the part of the Russian government, is to target the sites that pose the greatest threats to their narratives, and this is a new tactic they have adopted.”
The Russian notice was sent after the MLI devoted the March issue of its magazine to what it described as a “criminal war” ordered by a “criminal president” and supported by “pariah states.”
Also in March, a report co-authored by Kolga about Russia’s “weaponization of both Canada’s far-right and far-left movements to undermine international support for Ukraine” was published on the MLI website.
Why Russia was ramping up its information war now is hard to say, Kolga said. Roskomnadzor did not respond to a request for comment. Nor did Global Affairs Canada.
“It could be the start of an escalation,” Kolga, who is also the director of DisinfoWatch, said in an interview. “Clearly, there’s something happening. I think it demonstrates that we’re doing a good job.”
Kremlin critic Vladimir Kara-Murza sentenced to 25 years in Russian prison
The Ukrainian Canadian Congress said the censorship, as well as the “politically-motivated” imprisonment of critics such as dissident Vladimir Kara-Murza, marked Russia’s “return to Stalinism.”
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“While censoring and crushing all dissent and opposition within Russia, the Russian government continues to exploit the freedoms of Canada and our allies to spread hatred and disinformation in our society,” said Orest Zakydalsky, the UCC’s senior policy adviser.
He said while the Congress has argued for the expulsion of the Russian ambassador in Ottawa, Canada was one of the few NATO countries that had not kicked out a single envoy since the start of the invasion.
No awkward moments here! Jana Kramer’s ex-husband Mike Caussin has met her new boyfriend, Allan Russell — and the two are getting along “great.”
“Everyone just gets along really well and that’s a really, it’s a really beautiful thing,” the “Whine Down With Jana Kramer” podcast host, 39, exclusively tells Us Weekly while promoting her collaboration with Volition Beauty. “Like, I sat back one time and just kind of watched … I’m like, OK, things can turn around and it can be beautiful.”
The country singer, who shares 7-year-old daughter Jolie and 4-year-old son Jace with her former spouse, 36 — explains that Russell, 42, who coaches professional soccer in the U.K., attends their kids’ soccer games alongside Caussin.
“I’m at soccer games and it’s like — it’s just so cool,” she gushes about how her blended family gels so well. “It’s just very full circle. Like … all the dust has settled and it’s just becoming whole again.”
Kramer and Caussin faced numerous ups and downs in their marriage. The former NFL player, who later sought help for sex addiction, cheated on the country singer multiple times, which ultimately led to the demise of their relationship. The two divorced in 2021 after nearly six years of marriage.
Jana Kramer, Allan Russel, Mike CaussinJohn Salangsang/Shutterstock (2); Image Press Agency/NurPhoto/Shutterstock
While the duo haven’t always been in sync when it comes to coparenting — the One Tree Hillalum exclusively told Us in February 2022 that it wasn’t a “fabulous” dynamic — they have since put aside the past to focus on their children.
“I think we’re doing a really great job and I’m really proud of us for the way that we’ve coparented and how we have just kinda let our own story lines go and just focus on the kids,” Kramer explains to Us. “And listen, I’m the kind of person where I believe that we all shouldn’t be defined by things that we did in our past. Doesn’t take away from things. But, you know, I want him to be so happy. I wanna be happy. I just, I want everyone to be happy and I don’t want like to harbor any bad feelings or anything. I truly wish him the best, hope for the best for him ‘cause that’s the best for the kids at the end of the day.”
Caussin even gave his ex a special treat when Russell was in town for Easter weekend. (Kramer lives in Nashville, while the former soccer pro lives in Scotland.)
The “Voices” singer “wasn’t supposed to have the kids” that weekend, she told listeners on an episode of her “Whine Down” podcast earlier this month. Caussin, however, “let me have them and it was, like, the best weekend ever.”
On a January episode of her podcast, Kramer revealed that she and Russell first connected via Instagram. Despite her hesitations — “I said, ‘No … this is silly. I’m a mom with two kids and I live in Nashville, like, how would this even work?’” she recalled telling her beau — there was something “different” about the former athlete.
“We’re trying not to go more than three weeks without seeing each other,” she explains of their long distance romance. “It just feels really nice, and I don’t want to put too much pressure on it and I just want to enjoy it.”
Allan Russell and Jana KramerAFF-USA/Shutterstock
In addition to her happiness in her personal life, Kramer’s professional life is also thriving — and she’s thrilled about her new collaboration with Volition Beauty.
The “Why Ya Wanna” artist worked with the beauty brand to create her own serum and eye cream — and tie it all together with her love of wine. (Kramer also has her own line of spirits, One Brick Wines.)
The retinol-based products both feature grapeseed oil, which was inspired by her favorite white wine. The Volition Sémillon Overnight Retinol Serum also contains niacinamide and hyaluronic acid, while the Grenache Eye Cream is also infused with hyaluronic acid and peptides.
“I use both of these products every single day. I love it,” she says about her collab with Volition. She also wanted to ensure that the skincare products were affordable. (The serum retails for $69, while the eye cream costs $59.)
“I want the high quality ingredients, but not at the insane price,” she tells Us. “It’s honestly not even about making the buck with this. I just want a good product that people can use and have.”
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YouTube’s advertising revenue dropped for the third quarter in a row, dragging down Google’s financial results as the video platform continues to navigate a soft ad market.
Ad sales at YouTube declined 2.6% year over year in the first quarter of 2023, to $6.69 billion. That slightly beat out analyst expectations of $6.6 billion, per FactSet. Parent company Alphabet doesn’t break out YouTube’s subscription revenue (from YouTube TV or YouTube’s other premium services). YouTube revenue was down 7.8% in the fourth quarter of 2022 following a 1.9% dip the quarter before that.
YouTube has been pushing Shorts, its short-form video feature similar to what TikTok’s app offers, in a bid to hold on to viewers and extend watch time. Google has said YouTube Shorts now generates more than 50 billion daily views on average. Starting in February, the platform opened up Shorts to let creators receive a cut of revenue generated by their videos.
The company saw “signs of stabilization” in YouTube’s ad business on a sequential basis, CFO Ruth Porat said on the earnings call Tuesday.
Alphabet and Google CEO Sundar Pichai said on the call that YouTube TV and YouTube Primetime Channels subscription services have “great momentum,” but he didn’t provide specifics. He called out YouTube’s announcement of pricing for the NFL Sunday Ticket out-of-market games package, which will start with the 2023 season, as poised to draw in new subscribers. On YouTube, Sunday Ticket won’t require a pay-TV subscription (as DirecTV did) but the package will cost $100 lower per season for YouTube TV subscribers.
Overall, Alphabet’s Q1 earnings beat Wall Street forecasts. It posted $69.8 billion in sales (up 3%) and net income of $15.05 billion (or $1.17 per share). Analysts on average expected the internet giant to report revenue of $68.9 billion and earnings of $1.07 per share, per financial data provider Refinitiv.
In January, Alphabet announced plans to cut 12,000 jobs across divisions — 6% of its workforce, marking its biggest layoffs to date — after the company, like others in the tech sector, had ramped up hiring during the pandemic. On Tuesday, the company announced that it recorded employee severance and related charges of $2.0 billion, representing the majority of expected costs associated with the layoffs. In addition, Alphabet recorded charges related to office space reductions of $564 million in the first quarter of 2023, and said it may incur additional charges in the future “as we further evaluate our real estate needs.”
“Over the past two years we’ve seen periods of dramatic growth,” Pichai wrote in a companywide memo in January announcing the layoffs. “To match and fuel that growth, we hired for a different economic reality than the one we face today.”
In releasing Q1 earnings, Alphabet announced that its board authorized an expanded stock-buyback program of up to an additional $70 billion of its shares.
Last week, Alphabet announced that it was bringing together part of Google Research (the Brain Team) and DeepMind to “significantly accelerate our progress in AI.” The change doesn’t affect its Q1 financial reporting. The group, called Google DeepMind, will be reported within Alphabet’s unallocated corporate costs beginning in the second quarter of 2023.
John Huston, Anjelica Huston, Danny Huston, Jack Huston
Talk about your acting dynasties: “The Maltese Falcon” helmer John Huston, who also acted in films including “Chinatown,” directed both his father, Walter Huston, and daughter, Anjelica Huston to Oscars for the roles in, respectively, “Treasure of the Sierra Madre” and “Prizzi’s Honor. Anjelica’s brother, Danny Huston, has appeared in “Yellowstone,” “Succession,” “The Constant Gardener” and “Wonder Woman.” Their brother, Tony, also acts, as does Tony’s son Jack Huston. Jack’s credits include “Boardwalk Empire,” “House of Gucci” and “American Hustle.” He currently stars as Lasher in “Mayfair Witches” on AMC.
The actress, 26, had all eyes on her as she rocked a sexy backless halter vest and billowing pinstripe trousers.
Zendaya was exuding confidence as she worked the red carpet in her sexy yet edgy look.
The Euphoria star rocked white heels, gold hoop earrings, and a flawless coat of makeup on her radiant complexion.
A-listers! Zendaya stole the spotlight as she attended CinemaCon 2023 with her Dune co-star Timothee Chalamet
As for her Dune co-star, he sported a funky leather look consisting of a sleeveless top, trousers, and boots.
They were joined on the red carpet by Denis Villeneuve, the director of Dune and Dune: Part Two.
Zendaya and Timothee have returned to the world of Dune after starring in the sci-fi flick back in 2021.
The sequel, Dune: Part Two, is set for release later this year.
The annual convention for The National Association of Theatre Owners (NATO) kicked off at The Colosseum at Caesars Palace on Monday.
CinemaCon is the official annual convention for the National Association of Theater Owners (NATO), held this year at Caesar’s Palace in Las Vegas from April 24-27.
Zendaya will be receiving even more attention later this week when she receives the convention’s Star of the Year Award on Thursday.
‘In just a few short years, Zendaya has captured audiences’ attention with her compassionate performance on the small screen as Rue in Euphoria and has drawn audiences in on the big screen with her performances in Spider-Man: Far From Home, The Greatest Showman and Dune,’ said Mitch Neuhauser, Managing Director of CinemaCon.
Stealing the show! All eyes were on Zendaya and her sexy top
Va va voom! The top left little to the imagination
‘We could not be more honored to present Zendaya with this year’s CinemaCon Star of the Year Award,’ Neuhauser added.
Zendaya will return as Chani in Dune: Part Two, slated for release November 3, which could be one of the biggest movies of the year.
The first Dune – released in October 2021 as COVID-19 lockdowns were starting to ease – debuted in both theaters and simultaneously on HBO Max and it still fared quite well.
The adaptation of Frank Herbert’s seminal 1965 novel took in $108.3 million domestic and $402 million worldwide from an estimated $165 million budget.
Villeneuve had long said that he planned on adapting the novel into two movies – with the original novel first published as two separate serials.
Zendaya’s character Chani was only briefly introduced in the first Dune movie but she’s expected to have a major role in Part Two.
Co-stars! The superstars will be joining forces once again for Dune: Part Two
Lights, camera, action! They were joined on the red carpet by Denis Villeneuve, the director of Dune and Dune: Part Two
Star power! The duo promoted their second Dune flick on stage
Good one! The superstars shared a laugh as their director chatted away
More prominent: Zendaya will return as Chani in Dune: Part Two, slated for release November 3, which could be one of the biggest movies of the year
Meanwhile: Timothee was also promoting his other film, Wonka, alongside co-star Calah Lane
Red carpet style! Lane wore a collared pink top and fancy footwear
Back for more: Zendaya and Timothee have returned to the world of Dune after starring in the sci-fi flick back in 2021; pictured in the original Dune film
“In Harry Potter, Dumbledore manipulated and used people, even literal children — especially poor Harry. He left him in an abusive home for the ‘greater good,’ and even after that, he didn’t tell the kid what the hell was happening in his life.”
Вавада зеркало доступ к играм и азартным развлечениям
Вавада зеркало доступ к играм и азартным развлечениям
Если вы ищете надежную платформу для удовольствия от ставок и увлекательного досуга, рекомендую обратить внимание на возможности, которые предлагает vavada casino официальный сайт. Это место собрало все самые актуальные азартные предложения на сегодняшний день, включая множество интересных автоматов и карточных игр.
Здесь можно найти как классические слоты, так и новые, разработанные с учетом последних трендов. Не стесняйтесь изучить разные варианты: среди предложений обязательно найдется что-то подходящее именно для вас. Также учитывайте, что актуальность и доступность контента играют важную роль в выборе платформы для развлечений.
Постоянные обновления и акции делают этот ресурс привлекательным для игроков, которые ценят не только разнообразие, но и выгодные условия. Особенное внимание стоит уделить тому, что зарегистрированные пользователи получают массу преимуществ, включая бонусы и специальные предложения.
Как найти актуальное зеркало Вавада для входа на сайт
Для быстрого поиска рабочей альтернативы сайта воспользуйтесь официальными источниками, такими как администраторы платформы или их социальные сети. Там часто публикуются ссылки на актуальные версии, что позволяет избежать фишинга и недобросовестных ресурсов.
Другой способ – поиск через специализированные форумы, посвященные азартным играм. Участники обсуждают последние изменения и делятся актуальными ссылками. Обязательно проверяйте дату публикации, чтобы не попасть на устаревшую информацию.
Использование VPN
Для повышения безопасности можно воспользоваться программами для изменения IP-адреса. Это поможет получить доступ даже в случае блокировки основного сайта и защитит данные от возможных утечек. Некоторые VPN предлагают специальные режимы для безопасного серфинга в игровых клубах.
Некоторые браузеры имеют встроенные функции обхода блокировок. Убедитесь, что ваш браузер обновлён до последней версии, чтобы пользоваться всеми доступными функциями. Это сэкономит время и усилия при поиске альтернативных ресурсов.
Подписка на уведомления
Зарегистрируйтесь на сайте и включите уведомления, чтобы получать информацию о новых ссылках. Это поможет всегда оставаться в курсе событий и оперативно реагировать на изменения. Не забывайте проверять настройки аккаунта на предмет актуальности вашей электронной почты.
Внимательно следите за информацией о безопасных сайтах и делитесь опытом с другими пользователями. Совместные усилия помогут создать надежное сообщество, в котором обмен знаниями будет приносить пользу всем участникам.
Подробности о доступных играх в Вавада: слоты и настольные игры
В платформе представлено множество слотов, которые впечатляют разнообразием тем и механик. Среди популярных разработчиков: NetEnt, Microgaming и Play’n GO. Каждый найдет что-то на свой вкус – от классических автоматов до современных видео-слотов с интерактивными бонусами. Например, рекомендую обратить внимание на “Book of Dead” и “Starburst”, которые выделяются высокой отдачей и захватывающей графикой.
Интуитивно понятный интерфейс позволяет быстро находить любимые развлечения.
Регулярные турниры и акции придают азарту, мотивируя играть больше.
Мобильная версия платформы обеспечивает комфортный доступ к играм из любой точки.
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Viaplay’s first U.K. drama commission, “Rebus,” has gone into production in Scotland. The show has also added some new cast members including “Line of Duty’s” Lucie Shorthouse, Brian Ferguson (“The Ipcress File”) and Stuart Bowman (“The Serpent”).
They will join Richard Rankin (“Outlander”) as John Rebus, the much-loved character John Rebus from Ian Rankin’s bestselling novels.
“Rebus” tells the story of a Scottish police detective who “finds himself at a psychological crossroads,” according to the logline. “At odds with a job increasingly driven by corporate technocrats, involved in a toxic affair he knows he needs to end, and all but supplanted in his daughter’s life by his ex-wife’s wealthy new husband, Rebus begins to wonder if he still has a role to play – either as a family man or a police officer. In a world of divisive politics and national discord, does the law still have meaning, or is everyone reverting to an older set of rules? And if so, why shouldn’t Rebus do so too?”
The series also stars Neshla Caplan (“The Rig”), Amy Manson (“Spencer”), Thoren Ferguson (“The Midwich Cuckoos”) and Mia McKenzie as Rebus’s child Sammy.
The six-part show, which is planned as a returning series, is produced by Eleventh Hour Films, written by Gregory Burke (“Entebbe”) and directed by Niall MacCormick (“Complicit”). Des Hamilton is the casting director.
It is set to stream on Viaplay in 2024.
Filippa Wallestam, Viaplay Group’s chief content officer, said: “It’s an exciting day that filming of ‘Rebus’ is now underway. We are proud to bring such a highly regarded character to audiences as our first U.K. commission, which will put Viaplay even more firmly on the drama map in the U.K. We found our Rebus in Richard Rankin and now have an equally stellar cast around him. It’s a privilege to work alongside the creative team at Eleventh Hour Films, Gregory Burke and Sir Ian Rankin to create this unique and compelling show.”
Jill Green, Paula Cuddy and Eve Gutierrez are executive producers for Eleventh Hour while Isabelle Hultén and Tomas Axelsson exec produce for Viaplay Group.
Ian Rankin and Gregory Burke are also executive producers.
Viaplay Content Distribution is handling global sales.
Previously, it was rumored that Ritter’s hero would be a part of Cox’s big return. However, since then, whispers hit the web indicating her character had been replaced with another: The Punisher.
As reported on by ScreenRant, Krysten Ritter appeared on Inside of You with Michael Rosenbaum, where she was asked about the chances of her return to the MCU.
The actress bluntly saidshe has “no idea” but that “[she’d] be there in a second” if the opportunity presented itself:
“I have no idea; I hope so! I think that people love Jessica; I know because I live it. Marvel is so secretive – I am just putting that out there that, of course, I would be there in a second. I would have my boots and jacket ready to rock.”
Cape Time podcast host Tom Smith formerly shared to his audience that “Born Again is re-introducing the Netflix characters,” but that while “they planned to bring in Ritter,” and scheduling problem caused them to choose another character to fill the role:
“Basically, ‘Born Again’ is re-introducing the Netflix characters to the mainstream, and they planned to bring in Ritter, but there’s a scheduling problem for ‘Born Again’. So they needed another Netflix star to fill the role. It’s Jon Bernthal. Wouldn’t be shocked if Ritter cameos tho.”
Industry insider KC Walsh noted that “due to a scheduling conflict,” Bernthal’s Punisher would “take the rumored role Jessica Jones had.”
Ritter hasn’t yet given up hope.
When Will Ritter Return?
Back when Jessica Jones was rumored to make her MCU return, The Hollywood Reporter shared that Matt Murdock would have sought her out for help—but it’s unclear why.
With Bernthal now a part of Daredevil: Born Again and seemingly taking over for a spot that once belonged to Ritter, Daredevil looks to be getting a more brutal helping hand.
As for Ritter, it seems to be only a matter of time before she joins the party once again. Both her a Mike Colter’s Luke Cage are towards the top of the list of Netflix actors Marvel should look to bring back.
The second trailer for the upcoming DC Studios film The Flash was dropped during this year’s CinemaCon, just a few hours before the film’s early screening. This new trailer takes a more serious tone, compared to the previous one, and focuses much more heavily on Michael Keaton’s Batman.
Check out the trailer below:
They also released two brand new posters, seen below:
Here is the official synopsis for the film:
Worlds collide in The Flash when Barry uses his superpowers to travel back in time in order to change the events of the past. But when his attempt to save his family inadvertently alters the future, Barry becomes trapped in a reality in which General Zod has returned, threatening annihilation, and there are no Super Heroes to turn to. That is, unless Barry can coax a very different Batman out of retirement and rescue an imprisoned Kryptonian… albeit not the one he’s looking for. Ultimately, to save the world that he is in and return to the future that he knows, Barry’s only hope is to race for his life. But will making the ultimate sacrifice be enough to reset the universe?
The Flash is directed by Andy Muschietti, and stars Ezra Miller, who reprises their role as Barry Allen, as well as Sasha Calle as Supergirl, Michael Shannon as Zod, Ron Livingston as Henry Allen, Maribel Verdú as Nora Allen, Kiersey Clemons as Iris West, and both Ben Affleck and Michael Keaton as Batman.
Let us know what you thought of the new trailer and be sure to check out The Flashin theaters in North America on June 16th and internationally beginning June 14th.
TikTok may soon let you create AI stylized avatars not unlike what you can with deep learning apps like Midjourney or Lensa, according to a Twitter thread from social media guru Matt Navarra seen by The Verge. Called AI Avatars, the tool lets you upload three to 10 photos of yourself and choose from five art styles. It will then generate up to 30 separate avatars in a couple of minutes. You can then download one, several or all of the images to use as a profile picture or in stories.
Though the styles are more limited than what you can get on Lensa, the results look pretty good — so the feature is bound to be popular. Likely for that reason, TikTok will only let you use it once a day to presumably avoid overloading servers.
Matt Navara
Though generative AI images seem like harmless fun, they’re not without some controversy. For both Lensa and Midjourney, artists have complained that the AI has sampled their work and borrowed from it a bit too liberally at times. And earlier this year, Getty launched a lawsuit against Stable Diffusion claiming it was scraping its data to generate art.
In 2018, I worked at a company called Defy Media, where I was the Head of Post Production. When the company suddenly shut down in November of that same year, I had already been contemplating a career change to freelance sound design, which I pursued. Fast forward through the pandemic to April of 2022, I had just returned to Los Angeles from an international trip to Ireland. That’s when my friend and frequent collaborator, Anthony Vanchure, called me.
“We’re up for the Weird Al movie, I’m gonna interview for it next week.”
Anthony is a seasoned supervising sound editor. If he got the job he would hire me as his sound designer. We’ve always been fans of Weird Al and we were excited about Weird: The Al Yankovic Story even before the possibility that we could be involved. Daniel Radcliffe had been announced as being cast as Weird Al, a hilarious choice given their radically different physicalities. At that time, there had only been a single striking photo released of Evan Rachel Wood playing Madonna, but no trailer yet. We were thrilled that we might be working on the film, but we remained cautiously optimistic.
As it turned out, Anthony, myself, and the director, Eric Appel, all had connections to a monthly comedy screening in L.A. called Channel 101. That connection, along with a photo Anthony shared of himself dressed as Weird Al for Halloween, complete with a working accordion prop, likely contributed to him landing the gig.
Weird is a delicious mix of genres for a sound designer like me. Comedy, musical, drama, action, it had it all. The schedule was fast-paced but, fortunately, our amazing and collaborative team kept our spirits high.
The cherry on top was getting to work with Weird Al himself, albeit remotely. He was on tour, so he joined us over a live stream while we mixed the film, giving us detailed notes from different hotel room backdrops each day. To him, we were disembodied voices and vague pixels on his laptop screen. To us, an icon was in the room. Occasionally, I imagine if we had collaborated in person, we would have undoubtedly become the best of friends.
One memorable moment on the mix stage was in my designing the film’s most surprisingly challenging sound effect. It happens near the end of the movie when Rainn Wilson as Dr. Demento slowly and sadly squeezes his bicycle horn. The director and Weird Al rejected my initial attempts at using a slide whistle, trombone, and a vuvuzela. Ultimately, a dog’s chew toy provided the perfect sound and when Weird Al approved it, my colleagues in the room erupted in unironic applause.
The film premiered at the 2022 TIFF Film Festival in Toronto as the opening midnight movie. The experience was unforgettable. A flash mob of Weird Al impersonators all danced outside the theater, and I got to finally meet Weird Al.
The film’s first real audience was electric and I watched the film simply as a fan, laughing uproariously at all the same goofs and gaffs I had seen so many times before. My eyes occasionally shifted from the big screen to Weird Al’s iconic curly hair, seated just in front of me. Anthony and I, still relatively early in our careers, jokingly questioned if we had already peaked. Hopefully not, but I’ll now measure each career milestone against that wonderfully weird experience.
American director Daniel McCabe and his team have opened up to Variety about the making of “Grasshopper Republic” at Swiss international documentary film fest Visions du Réel, where the pic is nominated in the main competition.
Based on a book of photographs by Michele Sibiloni, a photographer and long-time friend of McCabe, who co-shot the film with him and his brother Michael, “Grasshopper Republic” takes viewers on an immersive vérité style journey alongside Uganda’s grasshopper trappers as they set out to make the catch they hope will make them rich: prices and demand for grasshoppers are high in Uganda, where they are considered a delicacy.
The director was keen to emphasize the collaborative nature of the film, which was shot over three seasons in Uganda. Access to the trappers was made possible thanks to Sibiloni’s well established contacts with them.
“We really wanted to make something that was observational, experiential, and for that reason we didn’t want to explain anything. We were able to do that thanks to Michele’s time on the ground, his dedication to making his book over several years, and the relationships he had created living in Uganda,” said the film’s editor Alyse Ardell Spiegel, also a long-time collaborator of McCabe who worked with him on his previous film “This Is Congo.”
The film shows how the traps are built using high pressure sodium light bulbs stripped of their protective UV-B outer layer to attract the insects, which leave the men working in the vicinity suffering from burns from the naked bulbs.
As the grasshoppers swarm toward the lights, they land on corrugated metal sheets placed beneath the bulbs and slide down into metal drums. But that is the ideal scenario, explains McCabe.
“Grasshopper Republic”
Courtesy of Taskovski Films
“It feels a lot like gold rush prospectors, but most people aren’t making their riches from it. If that swarm comes, you can literally make a year’s pay in a night if you’re lucky, but in the full three seasons we filmed, we only saw that twice,” he says.
Obtaining the footage required perseverance from McCabe and his team, who made Uganda their home from October to December, between 2018 and 2021.
“Patience and time: that was the serum we were using. We sit there and wait with them, suffer with them, wait all night with them, eat meals with them, eat grasshoppers with them, to create that trust. By the end, the guys are like, ‘You’re with us,’ and the camera disappears, and that’s when the magic starts happening: people just letting life happen around them,” he says.
Weaving in and out of the trappers’ quest are macro images of the insects, including some remarkable footage of the grasshoppers hatching, obtained thanks to a local entomologist and to Michael McCabe’s expertise behind the camera.
“There was such a fascination when we were able to get up close and personal with these bugs: it became essential as part of this evocative balancing act between the human world and the insect world. What we’re trying to do is to present a sort of poetry: we want the audience to decide,” says Spiegel.
Underlining the ethereal images of the grasshoppers, composer Robert Aiki Aubrey Lowe (“Candyman,” “Sicario,” “It Comes at Night”) brings in his unique sonic signature, which includes the use of synthesizers, struck metal, sound sculptures and voice.
“[The idea of chance] is something I leaned into with the score, because as an artist I have a very aleatoric approach that I’ve leaned into for many years: being able to understand how these moments were captured, I was using these elements of chance and randomness to create the larger sound-work,” he explains.
Questioned about the risk of cultural appropriation, McCabe tells Variety: “This is where Michele’s years of work was the big payload. Regardless of skin color, someone from the outside coming into a place has to earn trust. That requires a specific skill trust. Michele did that for nine years, we did another three years – three seasons, waiting for the swarm.”
“Grasshopper Republic” is produced by Daniel McCabe, Michele Sibiloni, Alyse Ardell Spiegel and Otto Bell, and is executive produced by Ian Hague, with whom McCabe already worked with on his debut feature, “This Is Congo.”
The film has been boarded by London-based world film sales company Taskovski Films. It had its world premiere in the International Competition at Visions du Réel on April 25. The festival runs in Nyon, Switzerland, until April 30.
“Love & Death” feels familiar, as it should. The Max drama is the second series in less than a year to take on the same story: the case of Candy Montgomery, a Texas housewife who killed her friend and neighbor Betty Gore with an ax in 1980.
This version follows closely on the heels of “Candy,” which aired on Hulu last year. The proximity practically demands comparison, and it’s tempting to draw up a laundry list of differences and call it a review. “Love & Death” casts Elizabeth Olsen as Montgomery, while “Candy” stars Jessica Biel. (The more jarring contrast is between the former’s Jesse Plemons and the latter’s Pablo Schreiber, two physically opposite actors who both assume the role of Allan Gore, Betty’s husband and Candy’s ex-lover.) “Candy” is inflected with horror, while “Love & Death” is more naturalist. “Candy” flashes back from the day of the murder, which saw Montgomery toggle from brutal homicide to eerily banal errands, while “Love & Death” is more linear in structure. The effect is not unlike that of 2019’s competing documentaries about the viral quagmire known as Fyre Festival, with the same details refracted through distinct sensibilities. But instead of racing to cover a recent event, these shows converge on a tragedy more than four decades old.
The existence of two Candy Montgomery miniseries speaks less to their relative merits than to the exhaustive, exhausting reach of the ongoing true-crime boom. “Love & Death” is only the latest limited series to translate the genre into the language of prestige television, joining peers like “The Staircase,” “Under the Banner of Heaven,” “The Act” and “The Girl From Plainville.” Timing and subject matter have conspired to make “Love & Death” an emblem of how thoroughly Hollywood has picked over headlines and history in search of IP. Ultimately, “Love & Death” has the credentials, performances and production values to elevate the story above the leering exploitation that marks the worst of the field. But by the time its seventh and final episode concludes with a slideshow of its characters’ real-life photographs and eventual fates, now a modern cliché, we can sense the trend’s shared, perfunctory ethos: If you reenact it — “it” being some grisly, sensational trauma — they will come.
Screenwriter David E. Kelley adapted “Love & Death” from the work of journalists Jim Atkinson and John Bloom, who co-authored a series of 1984 articles for Texas Monthly as well as the 2018 book “Evidence of Love.” Kelley is prolific and versatile, but the most important predecessor to “Love & Death” in his CV is likely “Big Little Lies.” A Dallas suburb may be a far cry from coastal California, yet Kelley finds a similar story in both: appearance-obsessed women driven by repressed rage to acts of violence. In “Lies,” the ensemble begins at odds, then unites in solidarity. Here, it’s the opposite: Candy and Betty (Lily Rabe) are members of the same close-knit community until their choices tear them apart.
After Olsen brought unexpected depth to a grieving witch in “WandaVision,” it’s a thrill to see her shed the Avengers gear and inhabit an ordinary person. Her Candy is a wife, a mother, a creative writing student and a member of her Methodist church choir, council and volleyball team, but she still feels compelled to add “adulterer” to her plate. “You always want more,” observes her husband, Pat (Patrick Fugit). Here, the “more” in question is emotional fulfillment. So she propositions Allan, as in literally makes a proposal. Before the two consummate the affair, they meticulously outline a set of rules and protocols, a process closer to negotiating a business deal than giving into one’s passions.
Candy explains her motivations in dialogue that can be clumsy. “Men, they get to go to their jobs and live in their careers,” she sighs. “We just stay home, and that’s supposed to be enough.” It’s Olsen who enlivens her with a sense of guileless brio. In Kelley’s telling, Candy is the cat who curiosity got, convinced she can have what she wants through charm and sheer force of will, with no collateral damage. As the episodes go by, Olsen hardens and seems to age in real time. There’s an innocence to Candy and Allan’s fumbling meet-ups at a local motel, but once their entanglement turns deadly and the media descends on her murder trial, Candy’s insistence on powering through and putting on a brave face acquires a sinister edge. In one scene, she feeds her family dinner before chiding her daughter that a potential conviction isn’t proper table talk.
Director Lesli Linka Glatter makes the Montgomerys’ world feel lived in before the firestorm blows it out of proportion. (Glatter helms five episodes, with Clark Johnson taking the rest.) With wide-striped wallpaper and ample hairspray, the aesthetic couldn’t be more late ’70s if it took Quaaludes on the way to a key party. But the choices never feel kitschy or costume-like — a notable difference from “Candy,” which saddled Biel with a distracting wig. The attention to detail and ample resources, most obvious in a soundtrack of the era’s greatest hits, work to offset the sensationalism that turns real people into flat caricatures.
But at the end of the day, “Love & Death” does turn real people into exaggerated, if empathetically rendered, versions of themselves. There’s something obligatory in how the series proceeds from the start of Candy’s affair to the verdict in her trial, neatly bracketing the lowest time in her life, and something unsavory in how it spares the gory details of what happened between her and Betty Gore until the finale, for maximum impact. “Love & Death” is a well-made work of true crime. It’s also the product of a system so ravenous for material it’s now circled back to the same source, inspiring an uncanny kind of déjà vu.
“Love & Death” will premiere with three episodes on Thursday, April 27, with new episodes dropping weekly on Thursdays.
A Tourist’s Guide To Love, which hit Netflix last week, is a Josie and the Pussycats reunion — Rachael Leigh Cook and Missi Pyle share the screen for the first time since the 2001 movie — and with all the talk about it, of course I had to revisit the cult classic. Based on the Archie Comics series (and not unlike Riverdale), the movie follows a small-town band, Josie (Cook) and the Pussycats (Tara Reid and Rosario Dawson), as they’re given a big break under suspicious circumstances and slowly realize they’re pawns in a much larger game to use subliminal messaging and influence the youth of America (led with panache by Alan Cumming and Parker Posey). This theme is reinforced through a frankly bizarre amount of product placement that never actually gets old. Josie and the Pussycats is full of great music, and though it’s not exactly critically acclaimed, it is a load of fun — and sometimes, that’s all you need.
Nominations for the 50th Daytime Emmy Awards have begun trickling in, including those vying in four marquee categories: Outstanding Daytime Drama, Lead Actor and Actress in a Daytime Drama and Daytime Talk Series Host. See the list below.
The golden anniversary ceremony is set for Friday, June 16. CBS will air the show and Paramount+ will stream it live at 9 p.m. ET and delayed in the West at 9 p.m. PT. The Daytime Creative Arts & Lifestyle Emmys will be presented the next day.
Here are the nominees announced so far, with more coming late tonight and the full list due Wednesday:
Outstanding Daytime Drama Series
The Bay (Popstar! TV) The Bold and the Beautiful (CBS) Days of Our Lives (NBC | Peacock) General Hospital (ABC) The Young and the Restless (CBS)
Outstanding Lead Performance in a Daytime Drama Series: Actor
Maurice Benard as Sonny Corinthos | General Hospital (ABC) Peter Bergman as Jack Abbott | The Young and the Restless (CBS) Billy Flynn as Chad DiMera | Days of Our Lives (NBC | Peacock) Thorsten Kaye as Ridge Forrester | The Bold and the Beautiful (CBS) Jason Thompson as Billy Abbott | The Young and the Restless (CBS)
Outstanding Daytime Talk Series Host
Drew Barrymore | The Drew Barrymore Show (Syndicated) Kelly Clarkson | The Kelly Clarkson Show (Syndicated) Tamron Hall | Tamron Hall (Syndicated) Kelly Ripa, Ryan Seacrest | Live with Kelly and Ryan (Syndicated) Sherri Shepherd | Sherri! (Syndicated)
Outstanding Lead Performance in a Daytime Drama Series: Actress
Sharon Case as Sharon Newman | The Young and the Restless (CBS) Melissa Claire Egan as Chelsea Lawson | The Young and the Restless (CBS) Finola Hughes as Anna Devane | General Hospital (ABC) Michelle Stafford as Phyllis Summers | The Young and the Restless (CBS) Jacqueline MacInnes Wood as Steffy Forrester | The Bold and the Beautiful (CBS)
In movies, the characters’ status plays an essential role in defining their personality, behavior, and overall character arc. The portrayal of status in movies is a visual language that is used by filmmakers to convey the social hierarchy, wealth, power, and influence of the characters without explicitly stating it through dialogue. This technique is commonly used in cinema because it is an effective way to communicate information about the characters without being too explicit or on-the-nose.
Moreover, the status of a character in a movie can also serve as a way for the audience to relate to them. We often perceive people based on their status in society, and movies tend to reflect this reality by portraying characters with different social status. For instance, a character from a wealthy background might be portrayed differently from a character who comes from a less privileged background, and these differences can serve as a way for the audience to connect with the characters.
Therefore, understanding how movies portray status in their characters without saying a word can be beneficial for filmmakers, movie enthusiasts, and the general audience. By analyzing the visual cues and subtle hints in movies, one can gain a deeper insight into the characters’ personality and motivations, as well as the overall themes and messages of the film.
Visual cues
Clothing and accessories are one of the most noticeable visual cues used to depict a character’s status in movies. The type of clothing and accessories a character wears can convey their wealth, occupation, and social status. For instance, a character wearing expensive designer clothes, watches, and jewelry is usually portrayed as being wealthy and prestigious, while a character wearing more casual or modest clothing might be depicted as more down-to-earth or relatable.
The location and setting of a scene can also provide visual cues that convey a character’s status. For example, a character in a luxurious penthouse apartment or a mansion with sweeping views might be portrayed as being wealthy and powerful, while a character living in a modest apartment or a rundown neighborhood might be portrayed as less privileged or struggling financially.
Body language and posture can also provide subtle visual cues that convey a character’s status in movies. Characters who are confident and assertive tend to stand upright, while characters who are shy or submissive tend to slouch or have closed-off body language. Additionally, the way a character interacts with others, such as shaking hands or giving a firm hug, can also convey their social status and confidence level.
Personal grooming and hygiene can also provide visual cues that convey a character’s status in movies. Characters who are wealthy and high-status are often depicted as being well-groomed, with manicured nails, styled hair, and clean, pressed clothing. On the other hand, characters who are struggling or lower-status might be portrayed with unkempt hair, unshaven faces, and wrinkled or stained clothing.
Gambling and status
Gambling is a common theme in movies, often used to depict characters with a high social status. Gambling scenes in movies can be used to create tension and suspense, and can also serve as a way to reveal a character’s motivations and personality traits. From the glamorous casino sites to the gritty underground poker dens, gambling is often portrayed as a way for characters to demonstrate their wealth, power, and influence.
In movies, gambling can be used as a visual cue to convey a character’s status. For example, a character playing in a high-stakes poker game at a casino site can be seen as wealthy, powerful, and confident. On the other hand, a character playing in a seedy, underground gambling den might be seen as less privileged or lower-status. Additionally, the way a character plays the game can also provide visual cues about their personality and motivations. A character who plays recklessly and without concern for the money they are risking might be seen as impulsive or thrill-seeking, while a character who plays carefully and methodically might be seen as calculating or strategic.
Several popular films use gambling as a way to depict status and power dynamics between characters. In the movie “Casino Royale,” the character James Bond plays in a high-stakes poker game at a VIP casino site, which serves as a way to demonstrate his skill, intelligence, and confidence. Similarly, in “The Great Gatsby,” the character Jay Gatsby hosts extravagant parties with gambling tables as a way to display his wealth and social status. The movie “Rounders” portrays the underground world of high-stakes poker as a way for characters to earn respect and status within their community.
Overall, gambling is a powerful visual cue that can be used to convey a character’s status and personality traits in movies. While the depiction of gambling in movies is often exaggerated or glamorized, it remains a popular theme that can add depth and complexity to a character’s portrayal.
Social status
In movies, characters who associate with high-status individuals are often depicted as having a higher social status themselves. For example, a character who is seen socializing with politicians, business leaders, or celebrities is often portrayed as having influence and power within their community.
Inclusion in exclusive clubs and organizations is another way that characters can demonstrate their social status in movies. For example, a character who is a member of a private country club or a prestigious social club is often depicted as having wealth and social connections. In some cases, the club or organization itself might be seen as a status symbol, with characters vying for membership as a way to enhance their own social standing.
Public recognition and awards are another way that characters can demonstrate their social status in movies. For example, a character who wins a prestigious award, such as an Oscar or a Nobel Prize, is often portrayed as having achieved the highest level of success in their field. In some cases, characters might also be shown receiving public recognition for their charitable work or philanthropic contributions, which can further enhance their social status and reputation.
Overall
In conclusion, movies are a powerful medium for conveying social status without ever having to say a word. Through a variety of visual cues, including clothing, location and setting, body language, and personal grooming, characters can be portrayed as having a high or low social status, conveying important information about their personality and motivations to the audience.
Furthermore, the depiction of gambling in movies is another powerful tool for conveying social status, with characters often using high-stakes gambling as a way to demonstrate their wealth, power, and influence. From the glamorous casino sites to the gritty underground poker dens, gambling scenes in movies can create tension and suspense, while also revealing important information about a character’s personality and motivations.
WASHINGTON — In the four years since President Donald J. Trump’s leader-to-leader diplomacy with Kim Jong-un of North Korea collapsed after a failed meeting in Hanoi, the North’s arsenal of nuclear weapons has expanded so fast that American and South Korean officials admit they have stopped trying to keep a precise count.
North Korea’s missile tests are so frequent that they prompt more shrugs than big headlines in Seoul.
So when President Biden welcomes President Yoon Suk Yeol of South Korea to the White House on Wednesday, only the second state visit of Mr. Biden’s presidency, there will be few pretenses that disarming North Korea remains a plausible goal.
Instead, American officials say, Mr. Biden’s most vivid commitment to Mr. Yoon will focus on what arms control experts call “extended deterrence,” renewing a vow that America’s nuclear arsenal will be used, if necessary, to dissuade or respond to a North Korean nuclear attack on the South.
The emphasis on deterrence is a striking admission that all other efforts over the past three decades to rein in the Pyongyang’s nuclear program, including diplomatic persuasion, crushing sanctions and episodic promises of development aid, have all failed. It is also intended to tamp down a growing call in South Korea for its own independent arsenal, on the very remote chance that North Korea would make the suicidal decision to use a nuclear weapon.
The North’s arsenal will hardly be the only topic under discussion during Mr. Yoon’s visit. He and Mr. Biden will also celebrate the 70th anniversary of the alliance between their countries, commitments for more South Korean investment in manufacturing semiconductors and plans to bolster Seoul’s always-fraught relationship with Japan.
But the rapid expansion of North Korea’s capabilities is a subject of perpetual mutual concern for both countries. At a recent security conference held by the Harvard Korea Project, several experts said they believed Mr. Kim’s goal was to approach the size of Britain’s and France’s arsenals, which hold 200 to 300 weapons each.
Mr. Biden and Mr. Yoon are expected to hold out the possibility of pursuing a diplomatic solution toward what a succession of administrations have called the “complete, verifiable, irreversible denuclearization of the Korean Peninsula.” But the North, administration officials say, has declined to respond to a series of public and private messages from Mr. Biden and his aides.
And what seems irreversible now is North Korea’s entrenched and advanced program.
With China expanding its arsenal to 1,500 weapons by around 2035, according to Pentagon estimates, and Russia threatening to use tactical weapons in Ukraine, “this is not an external environment in which it’s easy to have a conversation with North Korea,” said Victor Cha, a professor at Georgetown University who directed policy toward the North during the George W. Bush administration. “They look around their neighborhood and they say, ‘I don’t think so.’”
Mr. Trump vowed “fire and fury like the world has never seen” when North Korea greeted his presidency with missile launches; he ultimately tried the innovative approach of direct diplomacy with Mr. Kim. He emerged at one point predicting that Mr. Kim would begin disarming within six months and declaring at another that the North was “no longer a nuclear threat.” The arsenal just kept growing.
On Friday, North Korea’s foreign minister, Choe Son-hui, repeating a line that has been uttered by her government frequently in recent months, said the North’s status “as a world-class nuclear power is final and irreversible.”
Few experts believe the shift in rhetoric or the threats about first strikes indicate a greater willingness by the North to employ nuclear weapons. The response would be devastating. But gone are the days when American officials thought that the arsenal was a bargaining chip, something to be bartered away for trade deals, or for the string of hotels that Mr. Trump said America would help build on the North Korean beaches.
There was a mistaken belief, said Joseph S. Nye, who oversaw one of the first intelligence estimates of North Korea for the U.S. government, “that they would try to cash in their chips and get something” for the nuclear weapons. But rather than developing the country, he said at the Harvard conference, the North’s highest goal was “to preserve the dynasty,” and that meant holding on to the arsenal, and expanding it.
North Korea’s new confidence in expanding the arsenal, American officials said in interviews, is partly explained by a change in the relationship with China. Previously, the United States worked with Beijing — the supplier of critical energy and trade to the North — to rein in the country. In the mid-2000s, the Chinese even hosted the so-called six-party talks — North Korea, along with Japan, Russia, the United States and South Korea — to resolve the nuclear issue. When Pyongyang conducted nuclear tests, Beijing often voted for sanctions, and imposed a few.
Now, rather than view North Korea as an unruly, angry neighbor, China has welcomed it, along with Russia and Iran, as part of what White House officials call a coalition of the aggrieved. While Chinese officials presumably fear North Korea’s nuclear tests could go awry, creating a radioactive cloud, it appears perfectly happy to have the North unsettling the United States and its allies with regular missile tests.
Pyongyang’s most recent tests of intercontinental ballistic missiles — including one powered by solid fuel, which makes it quick to roll out of hiding and launch — suggest that North Korea can now almost certainly reach American territory, even if its ability to hit specific targets is imprecise. And over the past year, the North has enshrined its nuclear capability in its laws and started talking about its first-strike capabilities, rather than casting its arsenal as purely defensive.
On March 27, North Korea also released photos of Mr. Kim inspecting Hwasan-31, a small standardized nuclear warhead kit that can be mounted on its various nuclear-capable missiles and drones.
If the module was a real thing, the photos mean that the North is showing off an ability to mass-produce standardized nuclear warheads, said Hong Min, an expert on North Korean weapons at the Korea Institute for National Unification in Seoul. Mr. Kim has also called for mass-producing nuclear warheads for an “exponential” increase in the country’s nuclear arsenal. Last month, he ordered his government to step up the production of weapons-grade nuclear materials.
South Korean officials said that some of the North’s claims, like the purported capabilities of its underwater drones and supersonic missiles, were exaggerated. The reaction in Washington and Seoul has been to vow to strengthen their alliance — made easier by the fact that Mr. Yoon takes a far more hawkish view of how to deal with the North than did his predecessor, Moon Jae-in, who visited Mr. Biden in May 2021.
So the two leaders are expected to speak at length, publicly, about “extended deterrence,” with Mr. Biden offering more regular, visible visits of nuclear-armed submarines and aircraft to South Korea, bolstering the recently reinstated and expanded joint military exercises. (The exercises were variously suspended and scaled down under Mr. Trump.)
Kim Tae-hyo, a deputy national security adviser for Mr. Yoon, said that a top agenda item at the summit was how to boost South Korean confidence in Washington’s commitment to protect its ally with its nuclear umbrella. But Korean officials say that is more dependent on their confidence in the sitting American president — and whether, in the midst of a North Korean attack on the South that employed tactical nuclear weapons, Washington would be willing to take the risk to enter nuclear combat.
Mr. Biden’s words at a news conference on Wednesday will be picked apart for what they may, or may not, say about his determination to take the risks of nuclear engagement.
A new cyberinitiative will also be announced: The North funds the nuclear program with thefts of cryptocurrency and attacks on central bank reserves, and the South, though it rarely discusses it, has developed a skilled offensive cybercorps loosely based on the U.S. Cyber Command.
Outsiders will also be looking for signs of temporary or permanent damage from the leaks of Pentagon and C.I.A. documents in recent weeks that made clear the United States was listening in on top South Korean national security officials as they debated whether to send artillery rounds to Ukraine. The revelation was highly embarrassing for Mr. Yoon, because it suggested an absence of trust by his biggest ally.
But officials say they believe Mr. Yoon will move past it, celebrating cultural ties with the United States and booming investment by South Korean companies in semiconductor plants.
There is one thing South Korean officials say they will not ask for: a return of American tactical nuclear weapons to their country. They were withdrawn in 1991.
Mr. Yoon’s aides say they do not want them back.
David E. Sanger reported from Seoul and Washington. Choe Sang-Hun reported from Seoul.
YouTube brought in $6.69 billion in advertising revenue to start the year, continuing a downward trend for the video giant after past quarters of explosive growth during the earlier years of the pandemic.
The first-quarter revenue figure, reported as part of parent company Alphabet’s quarterly earnings on Tuesday, is roughly a 2.6 percent decline compared to the $6.87 billion in revenue reported during the first quarter of 2022. The video platform previously reported $7.96 billion in ad revenue during the holiday season, falling short of Wall Street expectations and representing an 8 percent year-over-year decline.
In a call with investors, Alphabet CFO Ruth Porat said the company was “encouraged by progress” in monetization for YouTube Shorts, which rolled out its revenue-sharing program with creators in February. The executive also said there was “significant ongoing subscriber growth” in YouTube Music Premium and YouTube TV, though the company has not disclosed subscriber numbers.
YouTube is now led by Neal Mohan, the former chief product officer who assumed the CEO role in February after longtime executive Susan Wojcicki said she was stepping down to focus on her family and “personal projects.”
In his first public message released on March 1, Mohan said his top priorities included supporting YouTube’s creators by improving monetization tools, increasing accessibility on the platform and focusing on growth in areas like gaming and podcasting. Included in those areas were YouTube’s short-form offering, Shorts, and its streaming products like YouTube TV and Primetime Channels.
The executive also noted YouTube will continue to contend with an advertising downturn that notably impacted the company’s revenue growth last year. “This is a pivotal moment for our industry. We face challenging economic headwinds and uncertain geopolitical conditions. AI presents incredible creative opportunities, but must be balanced by responsible stewardship. Creators, viewers, and advertisers have more choices about where to spend their time than ever before and platforms like YouTube need to deliver across a range of formats while investing in the policies that protect platforms from real-world harm,” Mohan said in his letter at the time. “As I look ahead to what’s next for YouTube, I’m confident we’ll put our full energy into what matters most for creators and viewers.”
Parent company Alphabet saw modest growth during the first quarter, with total revenue increasing 3 percent year over year to hit $69.79 billion. The company said it took $2.6 billion in charges related to the January layoffs that resulted in 12,000 employees — or around 6 percent of Alphabet’s workforce — losing their jobs.
For more than 35 years, Cantor Nathan Lam has blurred the lines between rock and religion, coaching artists like Rod Stewart, Ringo Starr and countless others from rock to folk and from punk to heavy metal. Hailing from North Hollywood, California, it’s not a reach to see why.
The fabled Laurel Canyon Blvd. winds through this part of Los Angeles County – born in the flats of the North San Fernando Valley, Laurel Canyon winds through the Hollywood Hills, and spills out at Sunset Blvd. These were the proving grounds where rock married folk – literally in some instances – and was home to everyone from Frank Zappa to Joni Mitchell.
Cantor Lam was firmly rooted in the burgeoning explosion of music that marked the ’60s. And as they say, “If you remember the ’60s, you weren’t there.” Cantor Lam not only remembers that era, he was fueled by the artistry that echoes and is still worshipped today.
“My best friend in high schools father was David Frisina, longtime virtuoso violinist and concertmaster for the Los Angeles Philharmonic,” Cantor Lam said. “He had a huge influence on me. He would practice constantly. I learned that if you wanted to be great, you had to work hard.”
Armed with this work ethic, Cantor Lam explored his options in the music business. After being heard singing at a wedding, someone came up to him and asked him to give her voice lessons.
“This girl had a phenomenal voice, and because of her I started teaching voice.” Cantor Lam soon began giving voice lessons to actors, who sought him out in order to conserve their vocal chords as much as enabling them to deliver performances.
“This is when I got a call to work with Rod Stewart,” Cantor Lam explained. “I was working with Alana Stewart, Rod’s wife, and one afternoon I pick up the phone, and it was Rod: ‘I need to work on me voice.’”
Stewart was in trouble. What was reported as a “benign vocal nodule” that was removed was actually a slow growing thyroid cancer. In Stewart’s autobiography he writes, “I contacted a guy called Nate Lamb. He was a cantor at a nearby synagogue, and I had been told that he knew everything about voices and making then stronger. Nate came round and he showed me some vocal exercises: him at the piano, me sat beside him, feeling self-conscious and worried. It was like a daily workout for the voice – one that I still use today. He got me doing scales, runs, arpeggios. He forced me to make raspberry noises and humming sounds.”
Stewart referred to Cantor Lam as “determined, patient and confident” and remarked that Cantor Lam was “exactly what I needed. Day after day, Nate came back, and day after day we did the same thing. I owe the guy one hell of a lot.”
What followed were post-op career-saving gigs with Lionel Ritchie, Linda Ronstadt and Kenny Rogers. Cantor Lam’s work influenced the voices of a generation, and soon he became known as the “Voice Teacher to the Stars,” working with the likes of Metallica, White Snake and Steve Jones of the Sex Pistols, who told me Cantor Lam “had a great vibe.”
Cantor Lam even worked with a Beatle.
“I was on the road with Ringo Starr. At that time he had 15 years of sobriety under his belt. What a sweetheart. Ringo made sure that I knew he was married to a Jew. He had never had a voice lesson and made sure that I knew he was the first Beatle to have a solo hit,” Cantor Lam remembered, referring to 1971’s “It Don’t Come Easy.”
“He was very diligent and insistent that everyone on the tour remained sober. I had to remember that this was Ringo Starr – one of the Fab Four, and I was his voice coach.”
I asked Cantor Lam what was the stand-out moment of that tour for him.
“I remember standing off-stage with some of the greatest musicians of the world, all supporting this icon of rock and roll. Joe Walsh was playing the opening lead to ‘Life in the Fast Lane’, and being a huge Eagles fan, I was transfixed. I remember thinking, ‘Here I am, a kid from North Hollywood,’ and the realization that God gave me the ability to help these artists hit home.”
Cantor Lam’s epiphany on that stage has served him well attending to his new flock at Temple of the Arts in Beverly Hills. It’s a short drive from Stephen Wise Temple, where the Sex Pistol’s guitarist, Steve Jones, would ride his Harley to for voice lessons.
“I enjoyed riding my Harley up to Stephen Wise, and I liked the Cantor,” Steve told me. “He had a nice vibe, but it was too early for me to grasp how to control a voice, so I don’t think I got much out of it. I think I would benefit a lot more if I went and saw him today, especially with breathing.”
In an industry where religion is usually not part of the equation that produces hits, Cantor Lam injects a sense of spirituality among the many music industry icons whose voices he has saved.
But what of his duty as a Cantor to sing the praises of piety? Cantor Lam summed it up simply: “These people came to me with their vocal problems, and maybe got a little closer to God.”
Richard Stellar was the winner of the Los Angeles Press Club’s best blog award and a Southern California Journalism Award for his HollyBlogs at TheWrap, as well as an award for the Facebook group that helped to muscle the salvation of long-term care for the motion picture and television industry. Stellar lives in Woodland Hills, California, with his wife of more than 30 years, Nuala, and much too much Beatles memorabilia.
Few things can stop you in your tracks quite like the feeling of raw skin during hot weather, getting fierer with every passing minute. That’s where chafing creams and sticks come in. Chafing, sometimes endearingly referred to as chub rub, doesn’t just happen to runners—or those without the supermodel-like thigh gap. Chafing can happen pretty much anywhere skin rubs together—like where the arm meets the torso, or underneath the breasts.
Best Anti-Chafing Creams and Sticks 2023:
Chafing is caused by the repeated rubbing of the skin, either by other sites of skin or by ill-fitting clothing, says Dustin Portela, MD, a board-certified dermatologist in Idaho. Excess moisture—especially sweat—is the big culprit too. “The chronic rubbing breaks down and irritates the skin leading to pain, blisters, and sometimes bleeding.” Ouch!
So what can you do to ease the burning and itchy feeling? Though your first thought may be to reach for cornstarch or some kind of powder—you know, to dry the skin—lotions, creams, salves, and ointments (sometimes called chamois cream by those in the know) are superior, since they allow the skin to glide rather than stick, says Claire Wolinsky, MD, a board-certified dermatologist in New York City. Look for chafing creams and sticks that include ingredients like petroleum jelly (petrolatum), glycerin, dimethicone, and zinc oxide—they act as skin protectants and reduce friction, she says. (Likewise, products that contain emollients and skin-soothing natural ingredients such as shea butter, coconut oil, aloe vera, and vitamin E can help ease discomfort.)
Types of chafing creams
There are a variety of products on the market and they come in many forms. So what’s the difference, and how do you use them? Elizabeth Kaplanis, founder and head coach of RTA Triathlon in New Jersey, breaks it all down:
Cream: Chafing cream, or chamois cream, is a thick white cream applied either directly onto the body—in the uppermost area of inner thighs to prevent irritated skin—or to the inside of your chamois pad (basically the padded crotch section of cycling shorts) or the seams of your running shorts. The key here is to be liberal, applying a thick layer to the front and the back of your clothing or skin to prevent thigh chafing. Don’t rub it in, either—you want it to serve as a protective barrier between your skin and whatever might rub against it.
Sticks: A chafing stick looks like a stick of deodorant and goes on somewhat clear. You can use them in all of the same places as cream, but they’re a bit less conspicuous—perfect for applying underneath breasts or to spots around your armpit if you’re wearing a tank top. They’re easy to apply and nice and portable too. “My sports bra line tends to accumulate a lot of sweat—especially under my chest,” says Kaplanis. “Sticks are great here, but when the sweat burn gets really bad, I prefer to use cream as the ultimate defender.”
Aerosols: Aerosol lubricants are super easy to apply—you simply spray where you need. Aerosol lube is also “friend-friendly,” says Kaplanis. “No one wants to share their body glide, but spray lube can be tossed around between teammates since your body doesn’t actually touch the nozzle.”
How do you prevent chafing?
Depending on where chafing occurs, you may also be able to ease the pain—and prevent future skin irritation—through the use of technical sports undergarments, says Portela. Sometimes other physical barriers, like bandages, can help too—that’s why runners sometimes use Band-Aids as nipple covers.
A few other tips, especially for athletes? “Don’t sit in sweaty clothes,” says Kaplanis. Wet, sweaty skin is more prone to chafing. Post-workout, shower as soon as you can. And don’t forget to hydrate. “The more hydrated you are, the more diluted your sweat will be,” says Kaplanis. “Up your water intake and be sure to replace those electrolytes that you’re losing.”
To save you time shopping and help you narrow in on anti-chafing cream that really works, we asked dermatologists, professional triathletes, and our expert editorial team to weigh in. Shop 7 tested and reviewed options—scented, unscented, and fragrance-free—that actually work for all skin types, below.
Ponniyin Selvan I marked Aishwarya Lekshmi’s first collaboration with Mani Ratnam.
Ponniyin Selvan II star Aishwarya Lekshmi exclusively tells News18 Showsha that she was ‘scared’ to play Poonguzhali after she made it through the auditions.
In a career spanning six years, actor Aishwarya Lekshmi has already proved her mettle with some nuanced performances. She marked her debut with the Malayalam film Njandukalude Nattil Oridavela (2017) co-starring Nivin Pauly and ever since, there has been no looking back for her. In 2022, she grabbed attention from all across the country for her stunning portrayal of Poonguzhali in filmmaker Mani Ratnam’s historical action adventure film, Ponniyin Selvan I (2022). Despite limited screen time, she impressed the critics and the audience alike with her performance as a fisherwoman in love with Arunmozhi Varman, the prince of the Chola Empire.
As she gears up for the release of Ponniyin Selvan II, News18 exclusively catches up with Aishwarya, who reveals that she was ‘scared’ to play Poonguzhali after she made it through the auditions. “I didn’t think I could pull off Poonguzhali. The one thing Mani sir told me to give me confidence was, ‘Don’t worry, you can pull it off. And this character is sexy,’” she recalls.
For the 31-year-old, Poonguzhali was a trailblazer as she epitomised feminism when it was unheard of. “At a time when you wouldn’t expect a woman to do a job that requires so much physical strength, she was somebody who transported people by rowing a boat from one part of the town to another over a one-night journey across the ocean. That requires a lot of physical and mental strength as you don’t know what can happen in the ocean,” she elaborates.
Aishwarya further states that it was Poonguzhali’s ‘fearlessness’ that spoke to her. “She’s a boatwoman from the fishing community but she’s in love with the king even though she isn’t supposed to desire what she can’t get. She’s not expecting anything from him. Her love is pure,” she adds.
Ponniyin Selvan I marked her first collaboration with the O Kadhal Kanmani (2015) and Alaipayuthey (2000) filmmaker. Talking about the memorable experience she had being directed by him, Aishwarya remarks, “The actor in me didn’t know of a time before [working with] Mani sir. I unlearned everything. I’ve very, very little in the film. But that didn’t concern me. It was about the experience of working with Mani sir and seeing him work.”
Collaborating with him brought her discipline and helped her fall in love with acting more than ever. “We usually preach and not practice but with him, I saw how he approaches cinema, how he tells a story and how emotions are conveyed in every single frame. I think I’ve become a better person and a better actor after working with him. I’m much more disciplined now. My passion toward my craft is manifold. When I think of doing my next films, I don’t think as a selfish actor,” says the Varathan (2019) actor.
Over the years, she has been hailed for her choices and has received immense appreciation for headlining women-centric narratives like Ammu, Archana 31 Not Out and Kumari (all released in 2022). While she agrees that good roles written for female actors are far and few, she considers herself fortunate to have headlined a bunch of such stories. “I’ve always been lucky to have received good roles. My second film in Malayalam (Mayaanadhi; 2017) was a love story and it gave me a very well-written, author-backed, female centric role. So, I can’t complain. But I know that it’s a rarity to get roles like this,” she points out.
The super success of Ponniyin Selvan I gave rise to a plethora of conversations and threads on social media. Fan theories, needless to say, continue pouring in. Quiz her about it and Aishwarya beams, “Fans have come up with too many theories. Poonguzhali is celebrated by all the readers of Kalki’s Ponniyin Selvan. Every time we go for tours in different cities while promoting the movie, I get such kind words from people! I find that very encouraging. They love the character but they have also transferred that love to me.”
Ponniyin Selvan II is presented by Subaskaran’s Lyca Productions. Jointly produced by Madras Talkies and Lyca Productions, it has its music composed by AR Rahman with lyrics penned by Gulzar. The magnum opus is slated for a worldwide release on April 28 in Tamil, Hindi, Telugu, Kannada and Malayalam. Ponniyin Selvan II also stars Chiyaan Vikram, Aishwarya Rai Bachchan, Trisha Krishnan, Karthi, Jayam Ravi and Sobhita Dhulipala.
Titas Chowdhury, senior sub-editor at News18, lives for and writes about cinema and 90s music. Interviewing celebrities, writing about latest trends i…Read More
Previously, Deadline revealed that the studio expects to work with Jon Watts again, as well as both Holland and Zendaya.
While some thought the events of No Way Home indicated that MJ will be taking a back seat in Peter’s world for a while going forward, some new information seemingly hints at the exact opposite.
An Update on Zendaya in Spider-Man 4
Marvel
Big Screen Leaks (BSL) commented on the status of Spider-Man 4 and where the studio is at with its main stars.
When asked why the movie was a no-show at CinemaCon, BSL noted that the project is “not far enough in development to warrant [being showcased]:”
The insider reiterated that “Tom, Zendaya and Jon Watts are all returning.”
BSL also revealed that the movie’s script is still being written, and the studios are “figuring out how to work around Tom and Zendaya’s busy schedules.”
Of course, it’s clear Sony and Marvel would need to put priority on working around Holland’s schedule, seeing as he’s the main star. But, if that same attention is being given to Zendaya, then that would indicate MJ will be given a major role in whatever events unfold across the fourth movie.
So what’s next for MJ? Well, the script for Spider-Man: No Way Home offered a hint when it tells readers that Zendaya’s character experiences a “flicker of deja vu” when Peter echoes one of her favorite quotes.
DC has officially announced a brand new Blue Beetle comic book series coming this Fall as part of their upcoming “Dawn of DC” event. This new series will launch out of the final issue of Blue Beetle: Graduation Day.
You can get all of the info about this new series in the official press release below.
DC Announces New Blue Beetle Comic Book Series, Launching in September 2023!
¡DC anuncia la nueva serie de cómics Blue Beetle, que se lanzará en Septiembre de 2023!
Just in time for the DC Super Hero’s big screen feature film debut, a new “Dawn of DC” Blue Beetleongoing comic book series will launch out of the final issue of writer Josh Trujillo and artists Adrian Gutiérrez, Wil Quintana and Lucas Gattoni’s Blue Beetle: Graduation Day six-issue mini-series, on sale today! The first story arc of DC’s new Blue Beetlecomic book series, due to hit comic shops in September, will be titled “Scarab War” and will team Trujillo back up with artists Gutiérrez, Quintana and Gattoni. Jaime Reyes’ graduation is over, but his new life in Palmera City and as the Blue Beetle has only just begun! With two new beetles to train in Dynastes and Nitida, Jaime has his hands full navigating being a leader. Thankfully, he has Paco and Brenda by his side as they settle in at Palmera State University. But what lurks in the shadows of Blue Beetle’s new home and what does it mean for the Blue Beetle legacy? Blue Beetle: Graduation Day (ISBN 9781779523242), collecting issues #1-6 of this action-packed DC comic book mini-series, is available for pre-order now and will hit shelves wherever books are sold on August 1. A Spanish-language edition, Blue Beetle: Día de Graduación (ISBN 9781779524256), will publish simultaneously with the English-language edition. A first look into DC’s upcoming, ongoing, new Blue Beetlecomic book series will be previewed in the back of both editions.
PRAISE FOR BLUE BEETLE: GRADUATION DAY
“If you’re looking for a series that brilliantly encapsulates the hero at its core, look no further than Blue Beetle: Graduation Day.” —ComicBook
“The perfect jumping-on point for fans who’ve been anxiously awaiting Jaime Reyes’ new adventure.” —AiPT
“This is the kind of Blue Beetle comic I’ve been waiting for.” —Mutiversity Comics
ABOUT BLUE BEETLE: GRADUATION DAY
Jaime Reyes has a lot to juggle. Whether it’s his finals for senior year or a new villain tearing up El Paso, Jaime is always torn between two worlds. But when those worlds come crashing together at his high school graduation, nothing will ever be the same.
Jaime Reyes is the hero Blue Beetle, bonded to a sentient alien artifact called a scarab that gives him high-tech armor. He’s also a high school senior about to graduate! When a message from alien civilization the Reach bombards Jaime’s scarab on graduation day, he’s literally grounded by the Justice League. And as if that weren’t enough to worry about, Jaime’s parents and friends are pressuring him about his next steps in life.
Jaime arrives in Palmera City to spend a gap year working in his tias’ restaurant, but he’s got other things on his mind—like who is the mysterious new Yellow Beetle he saw on the news? How are they connected to the Reach message that bombarded his scarab? And what’s hidden here on Earth that’s drawing the Reach back?
Can Jaime find balance in his life and rise to become a true hero, or will this super-heroing bring the full might of the Justice League down on him?
DC, part of Warner Bros. Discovery, creates iconic characters and enduring stories and is one of the world’s largest publishers of comics and graphic novels. Its creative work entertains audiences of every generation around the world with DC’s stories and characters integrated across Warner Bros. Discovery’s film, television, animation, consumer products, home entertainment, games, and themed experiences divisions and on the DC Universe Infinite digital comics subscription service. Learn more at DC.com.
The feature film Blue Beetle, directed by Angel Manuel Soto, stars Xolo Maridueña in the title role as well as his alter ego, Jaime Reyes, and marks the DC Super Hero’s first time on the big screen.
In the film, recent college grad Jaime Reyes returns home full of aspirations for his future, only to find that home is not quite as he left it. As he searches to find his purpose in the world, fate intervenes when Jaime unexpectedly finds himself in possession of an ancient relic of alien biotechnology: the Scarab. When the Scarab suddenly chooses Jaime to be its symbiotic host, he is bestowed with an incredible suit of armor capable of extraordinary and unpredictable powers, forever changing his destiny as he becomes the Super Hero Blue Beetle.
The film also stars Xolo Maridueña, Adriana Barraza, Damían Alcázar, Elpidia Carrillo, Bruna Marquezine, Raoul Max Trujillo, Belissa Escobedo, Harvey Guillén, with Susan Sarandon, and George Lopez. Soto directed from a screenplay by Gareth Dunnet-Alcocer, based on characters from DC.
A Warner Bros. Pictures Presentation, a Safran Company Production, Blue Beetle soars only into theaters internationally beginning August 2023 and in North America August 18, 2023.
Microsoft’s gaming business enjoyed a relatively strong third quarter in terms of revenue generated, according to figures released today.
On Tuesday the company announced its results for the third fiscal quarter ended on March 31, 2023.
Microsoft said revenue from Xbox content and services, which is by far the division’s biggest money generator, was up 3% year-over-year, driven by growth in Xbox Game Pass.
Update
Microsoft CEO Satya Nadella provided some additional comments on the Xbox business during the company’s earnings call.
“We set third quarter records for monthly active users and monthly active devices,” he said.
“Across our content and services business, we’re delivering on our commitment to offer gamers more ways to experience the games they love, while revenue from subscriptions reached nearly $1 billion this quarter.
“Great content remains the flywheel behind our growth,” he continued. “We have now surpassed 500 million lifetime unique users across our first-party titles, and have never been more excited about our pipeline of games, including the fourth quarter launches of Minecraft Legends and Redfall.”
Starfield release date announcement trailer
Contrastingly, Xbox hardware revenue was down 30% “on a prior year comparable that benefitted from increased console supply”, according to the company.
Overall, third quarter gaming revenue declined 4% year-over-year to around $3.59 billion.
However, as noted by independent analyst @DomsPlaying, that figure marks the second best third quarter ever for the Xbox business.
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Unlike fellow platform holders Sony and Nintendo, Microsoft doesn’t announce console sales figures as part of its quarterly results.
However, Microsoft CEO Satya Nadella and chief financial officer Amy Hood may provide additional insight into the Xbox division’s performance during an earnings call at 2:30pm PT / 5.30pm ET / 10.30pm GMT.
The “Cat and Mouse” genre is a classic theme in movies and TV that has been used in many different ways to create suspense, thrills, and drama. Whether it’s a detective chasing a criminal, a protagonist trying to clear their name, or a high-stakes heist that’s gone wrong, the Cat and Mouse genre is characterized by its use of tension, psychological games, and a constant sense of pursuit and evasion.
In this article, we’ll explore the origins of the Cat and Mouse genre, its defining tropes and characteristics, and provide examples of some of the most iconic movies and TV shows that use this theme to great effect.
Whether you’re a fan of suspenseful thrillers or looking to incorporate this genre into your own writing or directing, this article will provide you with a comprehensive guide to the Cat and Mouse genre.
Let’s get started.
‘Killing Eve’Credit: BBC
Define the Cat and Mouse Genre in Movies and TV Shows
What makes the Cat and Mouse genre so special is its ability to create tension, suspense, and psychological games that keep audiences engaged and on the edge of their seat.
This genre typically features a pursuit between a pursuer and a pursued character, with high stakes and complex motivations driving the action. The dynamic between the two characters creates a sense of anticipation and uncertainty, making this genre a popular choice for crime, thriller, and action movies and TV shows.
The Cat and Mouse genre has a long history in popular culture, and its enduring appeal continues to captivate audiences around the world.
So how would you define it?
The Cat and Mouse Genre Definition
The Cat and Mouse genre in movies and TV shows typically involves a game of wits and strategy between two characters, where one character (the “cat”) is relentlessly pursuing the other (the “mouse”) with the intention of catching or defeating them. The genre typically features tense and suspenseful scenes, with the mouse character constantly trying to stay one step ahead of the cat.
This genre can be found in a wide range of settings and contexts, including crime thrillers, espionage movies, and even horror films.
In many cases, the Cat and Mouse genre explores larger themes such as power, control, and the human psyche. The genre can also feature complex and nuanced characters, with the audience often torn between rooting for the cat or the mouse.
‘Breaking Bad’Credit: AMC
The Cat and Mouse Genre Origins
The origins of the Cat and Mouse genre can be traced back to ancient myths and fables that depict animals engaging in similar games of pursuit and evasion. For example, in Aesop’s fable The Cat and the Mouse, the cat attempts to catch the mouse but ultimately fails.
In literature, the Cat and Mouse trope can be found in the works of Shakespeare, such as in Macbeth, where Macbeth hunts down his enemies while they try to elude him.
In film, the Cat and Mouse genre emerged in the early days of Hollywood, with films such as The Cat and the Canary (1927) and The Bat (1926) featuring similar themes of suspense and pursuit.
However, it wasn’t until the 1940s and 1950s that the Cat and Mouse genre really took off, with film noirs like The Maltese Falcon (1941) and The Big Sleep (1946) setting the tone for the genre. These films often featured hard-boiled detectives pursuing elusive criminals, and the genre continued to evolve and expand over the years, encompassing a wide range of settings and characters.
‘The Maltese Falcon’Credit: Warner Bros.
The Cat and Mouse Genre Tropes
The ‘Cat and Mouse’ genre is characterized by several common tropes that help to create the tension and suspense that define the genre. Here are some of the most common tropes found in this genre:
Pursuit and Evasion: This is the fundamental trope of the genre, where one character (the cat) pursues another character (the mouse) who is trying to evade capture. The tension arises from the constant threat of capture and the uncertainty of whether the mouse will be able to escape.
The Chase Scene: This is a staple of the genre and often involves a high-speed pursuit through a crowded urban environment or a winding, treacherous road. The chase scene is usually accompanied by tense music and fast-paced editing, heightening the sense of danger and excitement.
Mind Games: In the ‘Cat and Mouse’ genre, the mouse often tries to outsmart the cat by using their wits and cunning to stay one step ahead. This can involve elaborate traps, misdirection, or psychological manipulation.
The Double-Cross: Betrayal and deception are common themes in the ‘Cat and Mouse’ genre, with characters often double-crossing each other in order to gain an advantage. This can lead to surprising plot twists and turns and can keep the audience on the edge of their seats.
The Showdown: The ‘Cat and Mouse’ genre often builds to a climactic showdown between the cat and the mouse, where their fates are finally decided. This can take the form of a physical confrontation or a battle of wits and can provide a satisfying conclusion to the story.
‘Face/Off’Credit: Paramount Pictures
The Cat and Mouse Genre Examples in TV
The Cat and Mouse genre is a popular theme in television, with many TV shows using this trope to create tension and excitement. Here are a few examples of TV shows that use the ‘Cat and Mouse’ genre:
Breaking Bad: This critically acclaimed series follows Walter White (Bryan Cranston), a high school chemistry teacher who becomes a drug lord, and his constant battle with the DEA agent, Hank Schrader (Dean Norris), who is hot on his trial. The show features many classic Cat and Mouse genre tropes, including pursuit and evasion, mind games, and double-crosses.
Sherlock: This modern adaptation of Sir Arthur Conan Doyle’s famous detective stories features the iconic duo of Sherlock Holmes (Benedict Cumberbatch) and Dr. John Watson (Martin Freeman) as they solve complex cases and track down dangerous criminals. The show often features intense Cat and Mouse chases and mind games between Holmes and his adversaries.
TheBlacklist: This crime drama follows a former government agent, Raymond Reddington (James Spader), who turns himself in and offers to help the FBI track down a list of dangerous criminals. The show features a number of classic Cat and Mouse genre elements, including pursuit and evasion, mind games, and double-crosses.
Hannibal: This psychological horror-thriller follows FBI profiler Will Graham (Hugh Dancy) and his complicated relationship with the notorious cannibalistic serial killer, Dr. Hannibal Lecter (Mads Mikkelsen). The show features many classic Cat and Mouse genre elements, including intense chase scenes, mind games, and psychological manipulation.
Dexter: This series follows Dexter Morgan (Michael C. Hall), a forensic blood spatter analyst who also leads a secret life as a vigilante serial killer, as he tries to stay one step ahead of his coworkers and law enforcement. The show features many classic Cat and Mouse genre elements, including pursuit and evasion, mind games, and double-crosses.
‘Dexter’Credit: Showtime
The Cat and Mouse Genre Examples in Movies
The ‘Cat and Mouse’ genre is a popular theme in movies, with many films using this trope to create suspense and thrill. Here are some examples of movies that use the ‘Cat and Mouse’ genre:
The Fugitive (1993): This classic thriller stars Harrison Ford as Dr. Richard Kimble, a man on the run from the law after being wrongfully convicted of his wife’s murder. The film features many classic ‘Cat and Mouse’ genre elements, including pursuit and evasion, mind games, and a climactic showdown.
No Country for Old Men (2007): This Coen Brothers film follows a man who finds a bag of money and becomes the target of a relentless hitman played by Javier Bardem. The movie features many classic Cat and Mouse genre elements, including pursuit and evasion, mind games, and a climactic showdown.
The Silence of the Lambs (1991): This psychological horror-thriller stars Jodie Foster as an FBI trainee who seeks the help of cannibalistic serial killer Dr. Hannibal Lecter, played by Anthony Hopkins, to catch another serial killer. The movie features many classic Cat and Mouse genre elements, including mind games, psychological manipulation, and a climactic showdown.
Catch Me If You Can (2002): This Steven Spielberg film tells the true story of Frank Abagnale Jr., a master con artist who successfully impersonated a pilot, a doctor, and a lawyer, all while being pursued by an FBI agent played by Tom Hanks. The movie features many classic Cat and Mouse genre elements, including pursuit and evasion, mind games, and double-crosses.
Heat (1995): This crime drama directed by Michael Mann stars Al Pacino and Robert De Niro as a police detectives and a master thief, respectively, who engage in a tense Cat and Mouse game as the detective tries to catch the thief. The movie features many classic Cat and Mouse genre elements, including pursuit and evasion, mind games, and a climactic showdown.
‘Catch Me If You Can’Credit: DreamWorks Pictures
Tips for Writing and Directing The Cat and Mouse Genre
If you’re interested in writing and directing a story in the Cat and Mouse genre, here are some tips to help you create a thrilling and engaging story:
Establish the stakes: In order for the Cat and Mouse dynamic to work, the stakes need to be high. Whether it’s a dangerous criminal on the loose, a high-stakes heist, or a wrongfully accused protagonist, the audience needs to feel invested in the outcome of the chase.
Create compelling characters: The characters in a Cat and Mouse story are often what make it memorable. Consider giving both the pursuer and the pursued complex motivations, vulnerabilities, and backstories to make them more interesting and relatable.
Use tension and suspense: The key to a successful Cat and Mouse story is building tension and suspense. Use tight pacing, cliffhangers, and twists to keep the audience on the edge of their seat.
Play with power dynamics: One of the most interesting aspects of the Cat and Mouse genre is the power dynamic between the pursuer and the pursued. Consider ways to subvert this dynamic, with the pursued gaining the upper hand or the pursuer revealing vulnerabilities or secrets.
Create a satisfying conclusion: A Cat and Mouse story needs to have a satisfying conclusion that ties up loose ends and delivers on the promises made throughout the story. Consider a climactic showdown, a clever twist, or a resolution that surprises the audience in a satisfying way.
Be innovative: While the Cat and Mouse genre has its tropes, don’t be afraid to put a new spin on them. Consider incorporating different genres, exploring unconventional characters, or playing with the structure to keep your story fresh and engaging.
‘Heat’Credit: Warner Bros. Pictures
Summing Up The Cat and Mouse Genre in Movies and TV
The Cat and Mouse genre is a popular theme in movies and TV that typically involves a pursuit between a pursuer and a pursued character. This genre is characterized by its use of tension, suspense, and psychological games, with the goal of keeping the audience on the edge of their seat.
The genre is often used in crime, thriller, and action movies, and can feature a range of different characters and scenarios.
To successfully create a Cat and Mouse story, it’s important to establish high stakes, create compelling characters, use tension and suspense, play with power dynamics, and create a satisfying conclusion.
20 years ago, for the 20th anniversary rerelease of E.T. The Extra-Terrestrial, director Steven Spielberg famously edited the scene where Elliott and E.T. are running from the police to replace the guns in the officers’ hands with radios. The decision makes sense on paper, since it’s weird to have cops waving their guns at a kid and his alien friend, but it always felt like a weird move for Spielberg—since it seems more like something his buddy George Lucas would do anyway.
Ride in the Sky – E.T.: The Extra-Terrestrial (9/10) Movie CLIP (1982) HD
Speaking at the Time 100 Summit (via Variety), Spielberg says it was “a mistake” to edit out the guns, adding, “I never should have done that.” Spielberg says that E.T. “is a product of its era” and “no films should be revised based on the lenses we now are, either voluntarily or being forced, to peer through.” And while Steven Spielberg regrets messing with his own movie, he also went on to add that he doesn’t think anyone should ever be doing that to their movies (cough cough, George): “All our movies are a kind of a signpost of where we were when we made them, what the world was like, and what the world was receiving when we got those stories out there.”
Best thing about The Oscars? The Indiana Jones reunion
Spielberg’s comments come as the hot new trend in publishing has become reprinting old works with all of the prickly, poorly aged bits removed, like the books of Roald Dahl, Ian Fleming, and Agatha Christie. (It’s tough to argue with it for the Fleming books if we’re being totally honest, since he had a habit of making James Bond comment on everyone’s race for some reason).
What this really means, though, is that we’ll probably have to wait a long time for some brave soul to make a Special Edition of Jawswhere the crummy animatronic shark is replaced with a slick CG model. The soulless, dead-eyed nature of CG creations will actually work this time, because the shark is supposed to have lifeless eyes. Black eyes. Like a doll’s eyes. When he comes at ya, he doesn’t even seem to be livin’… till he bites ya, and those black eyes roll over white and then you hear that terrible high-pitched screamin’.
It was 2014 when Ezra Miller was first announced to be portraying the The Flash, and now, nearly a decade later – after appearances in Suicide Squad, Batman v Superman: Dawn Of Justice and Justice League – fans will finally get to see them lead their own movie. The Flash held its world premiere at CinemaCon tonight ahead of its June 16 release, and the first reactions are here to help expand what we know about The Flash. Is the upcoming DC Extended Universe movie worth all the delays, director drop-outs and rewritten scripts?
I didn’t know what to make of the hype before The Flash, but WOW. The movie is an absolute blast from end to end. It’s hilarious, thrilling, emotional, and surprising. What an incredible way to launch the next chapter of DC movies. Get excited! pic.twitter.com/4kvf1hWeihApril 26, 2023
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CinemaBlend Managing Editor Sean O’Connell has a similar sentiment post-screening, praising Ezra Miller’s performances (plural!) and writing that his viewings of the blockbuster will hit triple digits:
Nostalgic. HILARIOUS. With tons of heart and two outstanding performances by Ezra Miller. I honestly can’t believe #TheFlash actually exists. It’s magical. It presses every button. I’ll see it 1,000 times. pic.twitter.com/hhT6dXz6POApril 26, 2023
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Nicola Austin calls The Flash a love letter to DC, and this writer is one of many making note of just how funny this film is:
#TheFlash is a compelling, character-driven flick with a real emotional core & game changing stakes. With heart & humour aplenty – along with some shocks & surprises – there’s so much to be excited for. Keaton steals the show with a terrific performance. A real love letter to DC! pic.twitter.com/TkhTjcciszApril 26, 2023
DC’s #TheFlash is TREMENDOUS! Forget DC, it is without a doubt among the best superhero films ever made. An all-timer. Inventive storytelling, FANTASTIC action sequences, great cast. SO MANY nerdy details. I’m in tears at the end. Everything you want from a superhero film & more pic.twitter.com/xYSn0zuXMmApril 26, 2023
The Flash is hands down one of the best superhero films of all time. No joke, The Flash is the ultimate movie going experience as it has a little bit of everything! Action, emotion, heart, humor and plenty of nostalgia. Ezra Miller is phenomenal as dual Barry Allens. Michael… pic.twitter.com/F7SHA30vZMApril 26, 2023
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Brandon Davis of ComicBook.com Tweets that the movie is inventive both in its storytelling an style. He also joins pretty much all of the other CinemaCon audience members in saying he can’t wait to see a repeat viewing:
Damn, #TheFlash is good! It’s super inventive both visually and in concept. The dynamic of two Barry Allen’s is crazy well done.Emotions hit me intensely hard, solid surprises, and it got me wanting to watch again and really eager to see how they follow it. Well done. pic.twitter.com/7QqiHVNAJyApril 26, 2023
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Ezra Miller is, as expected, garnering a lot of praise, but Michael Keaton is the center of a lot of the reactions as well, including that of film critic Scott Mantz, who says The Flash is the perfect blend of action, heart and humor:
THE FLASH is awesome! One of the very best DC movies, a perfect blend of action, heart & humor! So many WOW & chill-inducing moments that longtime DC fans will love! EZRA MILLER is superb (twice, actually!) & MICHAEL KEATON’s still got it! #TheFLASH #BATMAN #CinemaCon pic.twitter.com/mYJrz7YUZGApril 26, 2023
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Daniel Howat of Next Best Picture raves about what he calls “one of the better multiverse movies out there.” The moviegoer also notes how well the movie balances some great humor with intense emotional stakes, Tweeting:
#TheFlash is massively entertaining! Extraordinarily funny, but still has solid emotional stakes. It’s one of the better multiverse movies out there.Tons of fun surprises. A genuinely superb superhero movie – one of the best in a long time! Very, very satisfying. #CinemaCon pic.twitter.com/zRa1Xzl79lApril 26, 2023
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Of all the upcoming superhero movies, this one so far sounds like a can’t-miss option. The CinemaCon crowds seem to be really fired up, so now we’ll just be counting the days until The Flash hits theaters on Friday, June 16. In the meantime, you can see what else is coming to theaters soon with our 2023 Movie Release Schedule.
The National Academy of Television Arts & Sciences is starting to reveal nominees for its landmark 50th annual Daytime Emmy Awards, starting with multiple categories announced on Tuesday night via entertainment shows “Extra,” “Access Hollywood” and “Entertainment Tonight.” Via the categories announced so far, CBS’ “The Young and the Restless” — also in the middle of its 50th anniversary celebration — has taken an early lead in nominations, with six total (including drama series). The rest of this year’s nominations will be announced on Wednesday morning.
This year’s main Daytime Emmys telecast will air live June 16 on CBS and Paramount+. It’s part of a new two-year telecast deal that the academy has set with CBS. (The Daytime Emmys Lifestyle & Creative Arts Ceremony will take place the next day, on June 17.)
Last year, “General Hospital” was the big winner with five awards — including daytime drama — as the telecast returned to a live, in-person event. The Daytime Emmys continue to evolve, following the most recent agreement between the two major TV academies in which several categories have been realigned to focus on genre, rather than dayparts, as a way to divide eligibility between the Primetime (administered by the L.A.-based TV Academy) and Daytime Emmys (handled by the NY-based NATAS).
This means that game shows have now migrated to the Primetime Emmys; meanwhile, children’s and family programming categories have already been removed from both shows and relocated to a new Children’s & Family Emmy Award competition and ceremony, the first of which took place this past December. Also, instructional/how-to programming is now considered strictly the purview of the Daytime Emmys, regardless of daypart. Among other changes this year, informative and entertainment talk show categories have merged into “daytime talk series,” while informative and entertainment talk show host fields are now “daytime talk series host.”
Here are this year’s Daytime Emmy nominees:
Outstanding Daytime Drama Series
“The Bay” (Popstar! TV)
“The Bold and the Beautiful” (CBS)
“Days of Our Lives (NBC/Peacock)
“General Hospital” (ABC)
“The Young and the Restless” (CBS)
Outstanding Daytime Talk Series Host
Drew Barrymore, “The Drew Barrymore Show” (SYNDICATED)
Kelly Clarkson, “The Kelly Clarkson Show” (SYNDICATED)
Tamron Hall, “Tamron Hall” (SYNDICATED)
Kelly Ripa, Ryan Seacrest, “Live with Kelly and Ryan” (SYNDICATED)
Sherri Shepherd, “Sherri” (SYNDICATED)
Outstanding Lead Performance in a Daytime Drama Series: Actress
Sharon Case as Sharon Newman, “The Young and the Restless” (CBS)
Melissa Claire Egan as Chelsea Lawson, “The Young and the Restless” (CBS)
Finola Hughes as Anna Devane, “General Hospital” (ABC)
Michelle Stafford as Phyllis Summers, “The Young and the Restless” (CBS)
Jacqueline MacInnes Wood as Steffy Forrester, “The Bold and the Beautiful” (CBS)
Outstanding Lead Performance in a Daytime Drama Series: Actor
Maurice Benard as Sonny Corinthos, “General Hospital” (ABC)
Peter Bergman as Jack Abbott, “The Young and the Restless” (CBS)
Billy Flynn as Chad DiMera, “Days of Our Lives” (NBC/Peacock)
Thorsten Kaye as Ridge Forrester, “The Bold and the Beautiful” (CBS)
Jason Thompson as Billy Abbott, “The Young and the Restless” (CBS)
For a movie about the world’s fastest superhero, The Flash sure did take a long time to make. At this point, anticipation around the film seems more focused on what the hell this movie is and how it fits into the ever-changing DC picture rather than its quality. As such, the movie loomed large over CinemaCon, the first audience to see an unfinished (though mostly finished) version. The rush of the 3,000 CinemaCon goers to get into the packed screening beat any of the industry panels thus far. Hard to believe, people would rather see a movie than talk about them. Thankfully, the movie is pretty great.
Why Benedict Cumberbatch Plans To Take A Break
Now, we can’t get into specifics regarding the plot, for that would ruin the fun and surprises (of which there are many, including some that caused nearby audience members to yell “What the fuck!” more than once). However, we can say that the movie cleans up the last decade of DC output, packaging the films in a way that treats those movies with respect while allowing the new DC crew to phase away from them. It’s a very clever film that attacks the genre with confidence and enthusiasm.
Slotting into the same convention slot that Top Gun Maverick used last year to launch its remarkable run, The Flash hopes to leave Las Vegas with the same buzz. The crowd of theater owners, publicists, executives, and the press in attendance is all keenly aware of how well this movie has to do to turn a profit. The Flash can’t be another Black Adam or Shazam: Fury Of The Gods-sized blemish on the balance sheet James Gunn and Peter Safran inherited. We can’t predict the future, but it still doesn’t seem likely The Flash will be as beloved as Top Gun, if only because there are some people you simply cannot get in the theater for superhero movies anymore.
But the Flash is a much more important character than Black Adam or Shazam. For one thing, people know who the Flash is—even the exclusively adult audience of CinemaCon. Walking near any slot machine outside the theater, one can hear people in expensive suits and purple badges talking about interlocking multiverses. It’s staggering how many bizarre and obtuse plot mechanics Marvel has pushed into the public discourse in the past decade.
Nevertheless, there was a smattering of applause, laughter, and the aforementioned swearing during the screening. Afterward, the words “fantastic,” “great,” and “I was iffy on the trailer, but this was really surprising” pinged around the tight escalator tunnels. While there was some inevitable explanation of lore that has nothing to do with comic books, the movie seemed to please skeptical fans and theater owners alike.
Early reactions are even more effusive than we are, which comes with the territory of these preview screenings. All that electricity in the air comes out on Twitter shortly after the credits roll (though there were no credits on this early cut—so we, truthfully, do not know if there will be a post-credit scene).
Unleashed from bondage after five long years, the rest of the planet finally has access to director Gakuryu Ishii’s Japanese cult flick Punk Samurai. Kankuro Kudo adapted the screenplay from Kou Machida’s reportedly unfilmable novel Punk Samurai Slash Back. Rogue Ronin Junoshin Kake (Go Ayano) shows his prowess as a warrior by slaying an old man out begging with this blind daughter. He claims to the ruling Black Wave Clan that the slain man was a member of the forbidden Belly Shaker cult, a banned religion whose followers believe the world is lodged inside the bowels of a giant intergalactic worm. It is soon proved that the old man wasn’t part of anything and that the cult has been out of commission for some time.
Instead of being hired, Kake finds he has been sentenced to death. In order to save his hide, he agrees to participate in a secret plot to revive the Belly Shaker cult in order to allow a rival law and order faction to gain political power. He recruits Chayama Hanro (Tadanobu Asano), a heavily tattooed Belly Shaker fanatic, along with true believer Ron (Keiko Kitagawa) to start recruiting for a revived version of the cult. However, the pop-up cult turns out to be incredibly popular, and soon the Black Wave Clan finds themselves overwhelmed with Belly Shakers. What the hell is Kake going to do now?
So the burning question on the tips of everyone’s steel-toed boots is just how punk is Punk Samurai? It is set in the Edo period of Ancient Japan, which is even back before The Lurkers released Fulham Fallout. So the samurai cannot literally be punk as all sorts of s**t hadn’t been invented yet. Punk isn’t even mentioned until the very final scene, where Ayano declares he is the “punk samurai” and giant stone letters spelling that in Japanese fall from the sky. Then Sex Pistols “Anarchy in the U.K.” is played in its entirety over the end credits over footage of puppets at a cult rally. It is simple, blunt, and works beautifully.
“…to save his hide, he agrees to participate in a secret plot to revive the Belly Shaker cult…”
I was confounded at first, but those puppets wiggling over Johnny Rotten’s howling is hypnotic. It will lay recollection eggs in your brain that will hatch repeatedly. While cerebral puppetry infestation may sound unusual, my mornings have never been brighter. Some more of the punk to be found in Punk Samurai in the attitude of Ayano’s surly ronin. In a world filled with rituals and protocol, the hero’s curled upper lip at commands might as well have a safety pin in it. His matter-of-fact attitude toward the rapidly escalating cult craze is unshockable, with an existentialist acceptance of encroaching doom, which is punk as f**k.
Also, punk as f**k is all the movie sections devoted to the Belly Shaker cult. You will find wonders previously unimagined onscreen, laced with hallucinogenic animation and savage puppetry. You can feel the air shimmering around the fun that sparkles up when it gets down and culty. The artistic decision to use an old-time wooden puppet to represent the cult founder is brilliant in its insanity. The cosmic worm intestinal tract animation explaining the cult’s philosophy is delicious past the point of reason. The Zaniness of the Belly Shakers is the driving reason Punk Samurai is finally being seen outside of Japan since its original release in 2018. However, hold on to your hollandaise because the sequences between the fun ones are borderline excruciating.
The interactions outside of cult business employ broad physical comedic exaggerations similar to 60s beach party movies. Any humor evaporates in the air during these scenes before making it to the screen. These parts of the movie are painful, and whatever over-the-counter painkillers are available should be smoked during these stretches. But is it f*****g worth it? Yes, it is! There are enough hardcore diamonds in all that spiral-sliced ham rough to satisfy the adventurous viewers of weird cinema. Also, how fun is it that a cult movie is also about a cult? Punk Samurai is the kind of international oddity whose unearthing keeps the horizon gleaming with weird promise.
Police in a northwestern Alberta town are investigating after a youth brought a gun to a middle school on Tuesday, and the school division is also launching its own look into what happened.
Whitecourt RCMP were called around 12:30 p.m. to Percy Baxter School, where a student was reportedly seen holding a loaded magazine.
Police said school staff searched the boy’s backpack and found a handgun. RCMP said it was not loaded and the magazine was not on the boy at the time.
No one was injured and RCMP said no threats were made to the school or any students. The school board alerted parents to the incident, police said.
Northern Gateway Public Schools said a shelter in place order was in effect at Percy Baxter. A notice posted on the school division’s website said all students were safe and communication would be shared with parents.
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Superintendent Kevin Bird told Global News the gun was confiscated and staff quickly determined there was no risk to students or staff.
He said he feels feel fortunate there was no tragedy.
“In our world this is about as big as it gets,” Bird said, adding a gun being brought to school is serious no matter what.
He said a shelter in place was active from when the gun was discovered until the end of the school day, when class was let out and students were allowed to go home as they normally would with no extra precautions.
Bird said there was no need for a more serious hold and secure or lockdown response. Why the student brought a gun to school is still under investigation, Bird said.
Some parents came to pick up their kids once a notice was sent out, but he said for the most part, classes carried on as normal.
Bird said there are several lessons to come from the situation: parents should make sure their kid’s school has their most current contact information, so they can be easily reached.
Bird, who said he is also a gun owner, said Tuesday’s incident is a good reminder for parents to make sure their firearms are properly stored and their kids don’t know the code to the safe or where the key is. He would also advice parents to go a step further and make sure their guns have trigger locks.
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The youth was arrested and the investigation is ongoing, RCMP said. As of Tuesday afternoon, no charges had been laid.
Bird said the student will not return to school Wednesday — or anytime soon — but it’s too early to say if they will be expelled.
A Violence Threat Risk Assessment will now be carried out, he said, adding it is one of the best systems in the world for dealing with situations this.
“The goal of the Violence/Threat Risk Assessment (VTRA) process is to ensure that every incident of youth violence in our communities is addressed. VTRA is early intervention, which is quite possibly prevention,” the Northern Gateway Public Schools website says.
“As a Division, and in cooperation with other local school divisions, government, RCMP and community partners, NGPS administrators and leadership staff have completed intensive safety training through the North American Center for Threat Assessment and Trauma Response.”
The division said it has developed a prevention and intervention protocol to respond to situations in which students may be posing a threat to themselves or others.
“As always, our goal is to keep our students and schools safe and respond to threats in a proactive and coordinated manner that provides for a healthy and caring learning environment.”
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Bird said they are gathering information and it will take about two weeks before a decision on any long-term disciplinary action is made, adding they always try to make decisions that are in the best interest of the student’s success.
Because the suspect is underage and protected by the Youth Criminal Justice Act, no other details are being released by RCMP.
Whitecourt is about 160 kilometres northwest of Edmonton.
Microsoft’s cloud computing business drove a surprisingly strong quarter despite pressure from the slowing U.S. economy, the company said on Tuesday.
Revenue in the first three months of the year was up 7 percent from a year earlier to $52.9 billion, and profit was up 9 percent to $18.3 billion. Both exceeded Wall Street expectations.
Microsoft’s cloud business — which includes Azure, its cloud computing product, and its Microsoft 365 platform — had $28.5 billion in revenue, up 22 percent from a year earlier.
Sales of Azure, a key result watched by investors, grew 27 percent, which was in line with investors’ expectations. Still, that was a drop from a 46 percent increase the year before. Overall, the segment that the company calls Intelligent Cloud was up 16 percent from a year earlier, which was better than had been expected.
Microsoft’s cloud products are “certainly a very important engine for us going forward,” said James Ambrose, Microsoft’s director of investor relations.
Shares of Microsoft stock jumped more than 8 percent in after-hours trading.
Microsoft, like many other technology companies, has been hindered by the sluggish economy after substantial growth during the pandemic. The company said in January that it would lay off 10,000 employees.
The company’s Windows business has slumped as the global market for personal computer sales has slowed. Revenue from Microsoft’s personal computing segment in its most recent quarter was $13.3 billion, a 9 percent decrease from a year earlier. Within that category, revenue from Windows OEM — original installations of Windows software on new computers — sank 28 percent, and devices revenue was down 30 percent.
Revenue from Microsoft’s video game segment, its most important consumer business, was down 4 percent from a year earlier, as Xbox hardware sales fell 30 percent.
Still, Microsoft’s stock has remained strong, buoyed in part by the company’s foray into the booming field of artificial intelligence.
Mr. Ambrose cautioned that the strong numbers did not necessarily suggest an improving macroeconomic environment. “I don’t know that it signals a major change in our view” of the economy, he said.
Amy Hood, Microsoft’s chief financial officer, said on a call with investors that sales growth in the current quarter could be flat compared with unusually strong quarter a year ago.
Microsoft is also poised to benefit from the boom in A.I. through its investment in OpenAI, the start-up behind the ChatGPT chatbot. It has already integrated ChatGPT into its Bing search engine, and the company has said it will incorporate A.I. into other Microsoft products as well.
Though the company said it was too early for the futuristic technology to affect its quarterly financial figures, Satya Nadella, its chief executive, said “A.I.” or “OpenAI” at least 24 times in his 15-minute introduction on the call with investors.
“We have the most powerful A.I. infrastructure,” Mr. Nadella said at one point, mentioning a variety of companies already using Microsoft’s A.I. tools in their businesses. To support high demand for its A.I. products, the company said, it will spend to scale up that infrastructure.
The upcoming dramedy “In Fidelity” takes viewers through a surprising, difficult-to-answer question: Can you get a hall pass from your spouse if you’re dying?
Starring “Saturday Night Live” alum Chris Parnell and Cara Buono (“Mad Men,” “Stranger Things”), “In Fidelity” tells the story of Lyle and Holly, a happily married New York couple whose world is rocked when Holly becomes terminally ill — and asks to sleep with their well-known rock star neighbor (Dennis Haysbert) before she dies young.
It’s not an easy ask, even after Lyle says yes, and you can see for yourself in the humorously bittersweet trailer, right now at the top of the page.
Alongside Parnell, Buono and Hasbert, the film also features Willow Shields (‘’The Hunger Games’’) as their risk-taking Gen-Z daughter, and Illeana Douglas (“Grace of My Heart”) as Lyle and Holly’s eccentric confidante Ethel.
From Different Duck Films, “In Fidelity” is written and directed by Different Duck founder Rob Margolies, who also produces alongside Joe Grano. Tim Realbuto (“Bobcat Moretti”) and Eve Austin (“All You Can Eat”), who also appear in the film, serve as executive producers.
“The film “In Fidelity” is slated for release later this year. See the official poster below.
Rapper-producer Jim Legxacy opens “miley’s riddim,” the third song from his latest project HNPM (homeless nigga pop music), with two blasts of early 2010s nostalgia. The first is the drop from Iroking.com, a Nigerian digital streaming service that catered to all kinds of African music in the 2010s; the second is a sped-up sample of Miley Cyrus’ “Ordinary Girl,” a single from her Hannah Montana days. The source material couldn’t be more disparate, but with little more than a story of crumbling love and a shuffling Afrobeats drum break, Legxacy manages to join them as links in the same chain. The track is just one example of the amorphous, generation-spanning pool of references familiar to anyone molded by the internet: the kind where American Football demos share space with Drake freestyles and songs from Disney Channel Original Movies in the same iTunes library. homeless nigga pop music encapsulates this deep referentiality, creating a solar system that orbits around the triplet suns of Afrobeats, emo, and rap.
This brand of fusion isn’t the only thing that sets Legxacy apart. Rappers like Rico Nasty, Kenny Mason, and Polo Perks have consistently reminded us that rap and emo are capable of meeting in the middle. But it’s the way that the London rapper-singer’s gossamer, self-produced arrangements clash with his melancholy stories of love and innocence lost that add weight to his ballads and raps. Take “dj” and “old place,” which pair tales of rekindled relationships with shimmering takes on drill and Jersey club rap. On “Eye Tell (!),” Legxacy tries and fails to get over an ex by confiding in friends; its bouncy, stringy beat sounds as fit for Fireboy DML as it is for Dave or J Hus.
Most of homeless nigga pop music’s early singles leaned aggressively on a formula that paired guitar licks and recognizable samples, so it’s a relief to hear Legxacy pull other tricks (both old and new) out of his bag. Several songs shift on a dime, revealing darker cores underneath their sparkling shells. Early highlight “block hug” begins with a meditation on heartbreak and Black masculinity (“She told me hood niggas don’t cry/So when she broke my heart, I had the straight face”), which morphs into a moody drill beat that Legxacy proceeds to rip through like he’s Central Cee. The title track sheds the singing and guitars entirely, trading them for pointed storytelling over a smooth chunk of soul. He’s not the first rapper to sound as comfortable crooning as he does doling out bars, but there’s an urgency and freshness to his approach that gives it a golden shine.
The art of Mexican horse dancing becomes the backdrop for a formulaic family melodrama in “Centurion: The Dancing Stallion,” which stars a stable of equine and human performers gamely mounting a Nicholas Sparks-like story line complete with romance across social classes, a conniving antagonist and grave health crises.
The movie begins as the breezy Ellissia (Amber Midthunder), the daughter of a ranch owner (Billy Zane), is training to compete in a local horse dancing competition. The event may sound like fun and games — the animals are clomping crowd-pleasers — but there are also stakes: Ellissia’s family insists a top prize will put their ranch “on the map.” She finds a staunch supporter in Danny (Aramis Knight), a hunky stable hand tasked with caring for Ellissia’s newest mount: the finicky white beauty Centurion.
The director, Dana Gonzales, seems at times to embrace an atmosphere of camp. A near-constant stream of slow-motion montages amplifies bouts of action or histrionics, and establishing shots of the homestead, the barn or the outlying fields seem to appear every few scenes, even if the characters have barely moved locations.
During its climax, “Centurion: The Dancing Stallion” rather ambitiously aligns the fates of Ellissia and Centurion, intercutting their struggles as they confront parallel medical emergencies. The sequence briefly gestures at the intriguing idea of a psychic alliance between the pair, similar to the one in “E.T. the Extra-Terrestrial.” But then the moment passes, and any challenging questions are pushed aside in favor of third-act mechanics.
Melissa McCarthy is gracing covers and redefining beauty — “it’s allowing other people to be who they are.”
When the “Little Mermaid” star was chosen as People magazine’s 2023 “Beautiful Issue” cover girl, she thought, “Did my mom and my dad have the two main votes?”
Clearly not, and the comedy star’s definition of beauty proves she’s a cover girl who knows a thing or two about what it really means to be beautiful.
To McCarthy, beauty is “allowing other people to be who they are.”
“There’s nothing more attractive and inspiring to me than when I see someone being okay with exactly who they are,” she told People. “Also looking at somebody else who’s even their polar opposite and being like, that’s great too.
“How boring would the world be if we were all the same? As long as you lead with kindness … be exactly who and what you are.”
The “Life of the Party” star said she was flattered when People asked her to grace the cover, telling the magazine, “I felt like it was saying something really lovely to my younger self, to my 20-year-old self. And maybe to other people, too.”
Along with a photo shoot that features McCarthy in various regal and decadent looks — a gold sequined dress billowing with layers of tulle, and a purple mesh gown adorned with magenta and violet floral accouterments — People produced a video interviewing the “Saturday Night Live” alum.
McCarthy revealed that in high school, she got the itch to mix things up, “then came the Mohawks and the blue hair. On the outside, I was a really good punk and gothic kid, but then I was terrible because I was really chatty. So I looked like I was going to maybe get into a fistfight. And then I was like, ‘Hi! What’s your name?’”
In 2018, McCarthy sat down with The Times for an “Actresses Roundtable” and talked about the beauty in imperfection.
“For so many films you start to see these perfect — especially women — these perfect women, that I don’t know, I don’t know any. I don’t know the pleasant, perfect, always quaff, perfect job, never says the wrong thing,” she said. “I don’t know her, I don’t want to know her, I don’t think she exists.”
The “Identity Thief” star described the perfect-woman phenomenon as a disease, because it left audiences wondering, “Is that what my life should be? Should I be perfect? Should I have to loom my own clothes and make organic baby food?”
She then said that the imperfections in characters is what makes people relate, it’s what makes them fall in love.
“You play somebody who’s aggressive and not great with their kids and someone’s like ‘oh, she’s unlikable’ and I’m like, that’s why you fall in love with people, you fall in love with their rudeness.”
“The Little Mermaid” splashes onto the big screen May 26.
Guardians 3 has a heavy focus on Cooper’s fan-favorite hero in its plot, with the team’s smallest member finally getting a deep look into his backstory for the first time during his nine-year run in the MCU.
Although Cooper is back with Marvel Studios for the eighth time voicing the character, it appears that he won’t have to do the job alone this time around.
Bradley Cooper Not Alone for Guardians 3’s Rocket
Marvel Studios
Guardians of the Galaxy Vol. 3 director James Gunn revealed on Twitter that Rocket Raccoon will be played by multiple actors in the new movie.
Responding to an article highlighting the actors playing the new animal creations in Guardians 3, Gunn confirmed that Bradley Cooper will only play the adolescent/adult versions of Rocket.
Guardians 3 will dive further into Rocket’s backstory than any prior MCU movie, which was just teased in a newly-released clip that shows Rocket alongside Lylla the Otter, Teefs the Walrus, and Floor the Rabbit.
Marvel Studios
Gunn also shared an image of himself with the four actors playing these characters, including Linda Cardellini in her second role in the MCU, looking back to the first day shooting the movie and commenting on how “intense” the process was:
“This is the very first day of shooting ‘Guardians of the Galaxy Vol. 3.’ The VFX process was so intense we had to shoot all of the motion capture & camera capture first because it would take so long to finish. It was a painstaking process, but this cast was extraordinary & the editors & I knew we had something magical before we ever animated a frame.”
Although Sean Gunn is famous for his dual-role as Rocket’s on-set reference and Kraglin in the Guardians franchise, this marks a big shift for voice roles in the MCU as he brings a younger Rocket to life.
While this will only be his first of a few voiceover roles – a trend that will continue with his casting as Weasel in the DCU’sCreature Commandos – this will make for an interesting audible change for Rocket as he’s previously only been voiced by Bradley Cooper in his various MCU appearances.
And with James Gunn’s work already being praised as one of the MCU’s best movies in recent memory, seeing Sean Gunn take on this new responsibility will add a new level of excitement to the story being told.
Guardians of the Galaxy Vol. 3 will debut in theaters on Friday, May 5.
Superhero Barry Allen unleashes the DC multiverse in the latest look at The Flash. Coming courtesy of Warner Bros. Pictures, a new trailer for The Flash has been unveiled as part of CinemaCon and teases more of the epic DC outing. Check out the newly released trailer for The Flash below.
The synopsis reads as follows:
“Worlds collide in The Flash when Barry uses his superpowers to travel back in time in order to change the events of the past. But when his attempt to save his family inadvertently alters the future, Barry becomes trapped in a reality in which General Zod has returned, threatening annihilation, and there are no Super Heroes to turn to. That is, unless Barry can coax a very different Batman out of retirement and rescue an imprisoned Kryptonian… albeit not the one he’s looking for. Ultimately, to save the world that he is in and return to the future that he knows, Barry’s only hope is to race for his life. But will making the ultimate sacrifice be enough to reset the universe?”
Directed by Andy Muschietti from a screenplay by Christina Hodson, The Flash sees Justice League star Ezra Miller return to the role of Barry Allen aka The Flash. The rest of the cast includes Sasha Calle as Kara Zor-El aka Supergirl, Michael Shannon as General Zod, Antje Traue as Faora-Ul, Kiersey Clemons as Iris West, Ron Livingston as Henry Allen, and Maribel Verdú as Nora Allen.
Of course, that’s not all, with The Flash set to feature not one, but two Caped Crusaders…
The Flash Will Feature Both Ben Affleck & Michael Keaton as Batman
Warner Bros.
One of the most exciting elements of The Flash is the inclusion of two versions of The Dark Knight. Batman and Batman Returns star Michael Keaton will reprise the role of Bruce Wayne, aka Batman, after all these decades in The Flash, portraying an older, long-retired take on Gotham City’s protector. Somehow even more hardened than the billionaire superhero usually is, Keaton’s Bruce Wayne must decide whether he can become Batman again after this time in order to once again help save the world.
As for Affleck, he will return as the Snyder-Verse version of the character, and while his role in The Flash is expected to be small, the actor recently declared that he feels he finally “nailed” playing the comic book icon.
“The Justice League experience, the fact that those stories became somewhat repetitive to me and less interesting,” Affleck began. “Yeah, I did finally figure out how to play that character [Batman], and I nailed it in The Flash. For the five minutes I’m there, it’s really great. A lot of it’s just tone. You’ve got to figure out, what’s your version of the person? Who is the guy that fits what you can do? I tried to fit myself into a Batman. And by the way, I like a lot of the stuff we did, especially the first one [Batman v Superman].”
The Flash is scheduled to be released in theaters on June 16, 2023.
In Fortnite’s Postcard Tour questline this week, you’ll need to unravel a confusing quest that only says something about how “three boats bring cargo.” That’s all the quest tells you, and without quest markers, it would maybe take a while to figure out. With our guide, it’ll be much quicker.
Fortnite: “Three boats bring cargo” – quest guide
If you’re just finishing the masked warrior made of light quest, you’re in luck. Locating the three boats that bring cargo won’t take you far. In the water south of Mega City there is an assortment of boats with containers on them and a launch pad. Swim, sword-dash, or glide over to there where you’ll complete the first part of this quest.
Three boats bring cargo
Remember that for the second part, you must emote while standing on the cargo boats. If you leave without emoting, you’ll still have to go back and finish this quest, so don’t forget!
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