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Barbie
Photo: Warner Bros.

Even with the first trailer out and all of those memes clogging up our collective timelines, we still don’t know much about Greta Gerwig’s Barbie movie. It’s obviously some big meta-thing, with Margot Robbie’s Barbie and Ryan Gosling’s Ken going from the Barbie-filled Barbie Land to the Real World (where Will Ferrell will be playing the head of Mattel), but anything beyond that has been kept suspiciously secret—which is particularly surprising based on the fact that it should be easy to predict where the story goes from there in a post-Lego Movie world (and that also featured Will Ferrell as the key character to the meta-thing about it).

But whatever’s up with the Barbie movie, it’s all apparently so cool that Robbie was convinced that it could never actually get made. In a video for BAFTA, Robbie said that her first reaction after reading Gerwig and Noah Baumbach’s screenplay was, “Ah! This is so good. What a shame it will never see the light of day because they are never going to let us make this movie.” But, as she notes, “they did.”

In that same video, she refuses to divulge any additional details about Barbie or why it’s so cool or why she didn’t think Hollywood could handle it, so… maybe we’ll never know. It will remain a mystery forever. We could wait until Barbie comes out on July 21, but who has time for that?

Whatever happens, we’re just hoping for a post-credits stinger where Will Ferrell’s character introduces Barbie to a Hot Wheels car and together they go try to beat up some Transformers and G.I. Joes (which are Hasbro properties and are therefore Mattel’s most hated enemies).

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BarbiePhoto: Warner Bros.Even with the first trailer

Leda has no dialogue in it. I don’t mean that in a silent movie way, with the dialogue showing up as interstitials. Screenwriters Wesley Pastorfield and Samuel Tressler IV have told their version of the ancient Greek myth with no spoken words or texting representing such. Instead, they turn the story into pure cinema, an experience that cannot be replicated in a different medium without severely altering the finished product. But does that mean it is interesting?

Directed by Tressler IV, the thriller is set in a nameless past. There are no horseless carriages to be found, but the costumes and art design seem to be a hodgepodge of the 16th-century through late 1800s styles. In this surreal, black-and-white land lives Leda (Adeline Thery), who is dealing with a tragedy. In her isolation, Leda replays the horrific events, which involve a scenic pond in soothing woods, a swan, sex, and pregnancy. As the days pass, Leda becomes unable to move past what happened, and it is driving her mad. A funeral procession, a hunting party, a baby, and nightmares all come into play as well.

“…a scenic pond in soothing woods, a swan, sex, and pregnancy.”

Recapping the narrative of Leda is beside the point, as this is not a film interested in a traditional arc or three-act story structure. Instead, Tressler IV wants to evoke feelings, good and bad, wow with the visuals and allow audiences to revel in Thery’s largely one-person show. On each of those fronts, the film delivers. Thery is compelling, her big, expressive eyes conveying much in just a glance. Andre Barros and Björn Magnusson’s haunting but melodic music also do their fair share. When the music is at its most striking, and Thery is on screen, the film is as gripping and engaging as any more conventionally told thriller.

But the real star is Nick Midwig’s cinematography. Floating eggs, quick flashes of swans, long-held shots of Leda staring in a mirror, and the hunting party on the move, are all captured. Each scene is captured majestically, crafting a tangible, fantastical world. The effects, all practical (I think), are also well-utilized, seamlessly integrating the more surreal elements without breaking the film’s spell. It’s all so magical and fascinating.

Leda is unlike anything else out there. It is a bold, dazzling cinematic experiment that is as heartbreaking as it is surreal. Thery is stunning, the music is brilliant, and the visuals are the best of the year (indie production or not). While Tressler IV’s approach might turn off more casual filmgoers, cinephiles have the chance to catch a film before its inevitable Criterion release.

For more information, visit the official Leda site.

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Leda has no dialogue in it. I




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Image Credit: Image Press Agency/NurPhoto/Shutterstock

It’s a girl! Bling Empire star Kelly Mi Li, 37, welcomed her first child with boyfriend, William Ma, on Apr. 9, and she took to Instagram two days later to reveal the exciting news. “Happy birthday to our little Easter bunny,” she captioned the carousel of baby photos. “After a little over 24 hours of labor, you’re finally here! There’s so much love and kindness you are surrounded by, and so many people for you to meet. Welcome to the world, we can’t wait to show you around!”

A rep for the TV personality also confirmed the birth details to PEOPLE on Tuesday. Their newborn daughter, Mili Ma, was born on Easter Sunday “shortly after midnight” and weighed 7 lbs., 5 oz. upon her arrival into the world. The little girl they noted is an “Easter baby born in the year of the rabbit.” Kelly also gave the outlet a separate birth announcement, different from the one she posted on Instagram.

“Welcome to the world Mili! She’s finally here after being fashionably late to her own due date!” the Hot Jiang founder gushed to PEOPLE. “William and I are incredibly grateful to have gone through this journey of pregnancy, with the love and support from all of our friends and family, and Dr. Meschter and her staff at Cedars Sinai.” In the comments section of the birth announcement, many of Kelly’s friends and co-stars reacted to the news. “Omggggg soooo beautiful congratulations babe,” Mimi Morris gushed, while Rebel Wilson‘s fiancé, Ramona Agruma, added, “Congratulations.”

kelly mi li birth
‘Bling Empire’s Kelly Mi Li welcomed her first child on Apr. 9. (Image Press Agency/NurPhoto/Shutterstock)

The new momma bear first announced her pregnancy via Instagram on Nov. 17, 2022. “Well, the mystery to why I’ve been craving sweets and not just spicy food is finally solved! We’re so beyond grateful and excited to be starting this new chapter in our lives,” she captioned the photo of her positive pregnancy test. “Thank you @Clearblue for making this process so clear and easy for us! PS: If you watch #BlingEmpire, then you know how much my mom wants to be a grandma! Swipe right to see her reaction with the news!”

Fans of the show were curious for a long time about the identity of Kelly’s boyfriend, which she did not reveal until her baby shower on Feb. 28. “I am still floating on a cloud and lost for words from this weekend! We were surrounded by so much love and support from our friends and family to celebrate our baby girl,” she captioned the carousel of photos from the event. The brunette beauty also confirmed she was expecting a baby girl with a sweet video on Dec. 19, 2022. Kelly cut open a cupcake with pink icing inside to reveal the sex of her baby, with her pup, Sophia, in the clip as well.

Kelly most recently shared a sneak peak preview of Mili’s nursery on Mar. 16. “Less than 2 more weeks till she’s here! Putting together our baby girl’s nursery has been such a fun and memorable experience,” she captioned the clip of the adorable room. “We couldn’t have done it without @babyletto! We’re so excited to start this next chapter in our lives and know that this room will be a perfect space for our daughter to learn and grow up in.”

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View gallery Image Credit: Image Press Agency/NurPhoto/Shutterstock It’s a

Pinkfong, the South Korean entertainment studio behind the massively popular Baby Shark IP (and that earworm of a song), is making its first foray into podcasting with a slate of original shows exclusively available on Apple Podcasts.

Launching this Tuesday, the slate includes eight podcasts available in English and Korean on two different Apple Podcasts channels. The English-language channel caters toward a global audience and features three podcasts: The Best Pinkfong Baby Shark Kids Story, My Favorite Pinkfong Baby Shark Musical Story and Exclusive Pinkfong Baby Shark Book Adventure. The Korean-language channel has five podcasts.

The shows were created by early childhood education experts, according to Apple, and have episodes that explore subjects like dinosaurs and the constellations. New episodes release every Tuesday at 3 p.m. PST.

Pinkfong is also following other children’s audio programming studios like Wondery Kids in offering an audio subscription to its content. Subscribers to Pinkfong Baby Shark+, which costs $2.99 a month, will receive exclusive access to the fairy tale–focused Book Adventure show, as well as early access to episodes and weekly bonus content.

The slate of podcasts is the latest expansion of the Baby Shark IP, which first gained popularity when Pinkfong posted a song and music video featuring a family of cartoon sharks to YouTube in 2016. Thanks to its catchy beat and simplistic lyrics, the song was a popular hit among kids and gained more mainstream traction in the U.S. as dance challenges to the song picked up on social media and celebrities like James Corden, Sophie Turner and Josh Groban performed covers of the song on late night TV.

Paramount (then Viacom) soon got in on the Baby Shark IP through its Nickelodeon arm with a Baby Shark animated series for preschoolers; the first season premiered in 2020, while the second season is currently airing. A Baby Shark movie from Nickelodeon and Pinkfong is also set to premiere later this year with a stacked voice cast featuring Kimiko Glenn, Cardi B, Offset, Chloe Fineman, Ego Nwodim, Ashley Tisdale, Aparna Nancherla and Lance Bass, among others.

Along the way, the original YouTube video from Pinkfong has continued racking up views and is now the most-viewed YouTube video of all time with more than 12.6 billion views.

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Pinkfong, the South Korean entertainment studio behind

A24 has unveiled the first trailer for the supernatural horror-thriller Talk to Me, marking the feature directorial debut of Australian twin brothers Danny and Michael Philippou, which they acquired out of Sundance 2023 in a highly competitive situation and will release in theaters nationwide on July 28th.

The film bowing in Sundance’s Midnight section, which Danny Philippou and Bill Hinzman wrote, will contend in its opening weekend at the box office with the new Haunted Mansion film from Disney. It watches as a group of friends discover how to conjure spirits using an embalmed hand, becoming hooked on the new thrill.

Mia (Sophie Wilde) is determined to get a piece of the otherworldly action in order to be distracted on the eve of her mother’s death. But when her group of friends gathers for another unruly séance with the mysterious embalmed hand that promises a direct line to the spirits, they’re unprepared for the consequences of bending the rules through prolonged contact. As the boundary between worlds collapses and disturbing supernatural visions increasingly haunt Mia, she rushes to undo the horrific damage before it’s irreversible.

In his review of Talk to Me out of Sundance, Deadline’s Damon Wise called the film “unnerving and highly effective.” Causeway Films’ Samantha Jennings and Kristina Ceyton (The Babadook) produced the pic, with Miranda Otto, Alexandra Jensen, Joe Bird, Otis Dhanji, Zoe Terakes and Chris Alosio rounding out its cast.

A24 on April 7th released Kelly Reichardt’s film Showing Up, starring Michelle Williams and Hong Chau. The studio will next release the horror comedy Beau Is Afraid, from Hereditary and Midsommar filmmaker Ari Aster, with that pic hitting theaters in L.A. and New York this Friday, April 14th before expanding nationwide on the 21st. Other upcoming titles currently on the studio’s release schedule include Nicole Holofcener’s dramedy You Hurt My Feelings (May 26) with Julia Louis-Dreyfus and Celine Song’s acclaimed romantic drama, Past Lives (June 2).

View the Talk to Me trailer above.

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A24 has unveiled the first trailer for

Four months after his horrific snowplow accident in Nevada, Jeremy Renner walked the red carpet on Tuesday night in Los Angeles for the premiere of his new Disney+ show Rennervations.

Renner, who was joined at the event by show co-host Rory Millikin, showrunner Patrick Costello, executive producer Romilda de Luca and build crew member Roxy Molohon, walked the carpet with a cane in hand and posed for photos alongside his family.

“From the personal challenges — physical, emotional, health, all of that — it’s come hand-in-hand with the show because the show is also very, very, very personal to me, it’s my life,” Renner told The Hollywood Reporter on the carpet. “There’s no character, there’s no script. This is just cameras investigating what I do for a living in my life.”

“The show became a wonderful milestone for me to aim towards for my physical health, for me to be here to share the story, to share this journey, and it’s been quite an honor to do so,” he continued. Renner also touched on his future in acting following the accident, confirming he plans to return to the screen.

“Never leaving anything that I love to do, I’ll always be busy doing things I love to do,” he said. “I’ll be a little bit more focused on the things that really have value and matter to me, and a lot of times people and fans really like that, and I’ve got to appreciate my amazing fans because they end up loving the things that I do, even with this as well.”

In the four-part Disney+ series, the actor and his team of expert builders reimagine decommissioned vehicles and rebuild them into innovative creations that serve communities around the world. Renner also brings some of his famous friends on board his Rennervations projects, including Anthony Mackie, Vanessa Hudgens, Anil Kapoor and Sebastián Yatra.

Inside the premiere, Renner received a standing ovation as he used a scooter and wheeled through the theater to the stage for a panel discussion that took place after a screening of the first episode of the docuseries. He was joined by his producing team on the panel, moderated by Jimmy Kimmel, after having been a guest on the host’s late night show on Monday.

Millikin revealed during the conversation that Renner didn’t originally like the name of the show, wanting to go with “Good Machines” as the title instead, as Kimmel joked that they vetoed Renner and dropped the logo while he was in the hospital and unable to weigh in.

On a more serious note, Kimmel noted the serendipity of debuting the charitable show while going through one of the hardest times of his own life, as Renner noted, “A big part of my recovery was the show, it set a big milestone for me to get better to make sure that all of our hard work was not for naught, for me running my damn self over. There’s no alternative. For me, it was easy because I had somewhere to go, somewhere to point, and I had a lot of love, man.”

On Jan. 1, the Avengers star was in a severe snowplow accident while trying to save his nephew, which resulted in the actor breaking more than 30 bones, his eye popping out of its socket and a pierced liver. The actor’s injuries were so extensive, he was convinced he was going to die. In an interview with Diane Sawyer, Renner admitted that he briefly considered end-of-life decisions. “Don’t let me live on tubes on a machine,” he said of a conversation with his family. “If my existence is going to be on drugs and painkillers, let me go now.” In just four short months, he’s quickly turned around that diagnosis.

Rennervations starts streaming on Disney+ on Wednesday.

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Four months after his horrific snowplow accident

“Renfield” is not Nicolas Cage’s first blush with a vampire.

In 1988’s “Vampire’s Kiss,” he played a New York literary agent who thought he was an immortal bloodsucker. His bug-eyed performance was essentially the birth of the over-the-top, kabuki-inflected mythology of Cage. Years later, it would launch a thousand memes — a kind of digital version of becoming undead.

Thirty-five years later with “Renfield,” Cage is finally playing the genuine article, complete with bloodthirsty fangs and a dapper velvet smoking jacket. Casting Cage, our grandest of ghouls, as Dracula is so predestined that it almost risks being too on the nose. The good news is that, no, he’s perfect as Dracula. The bad news is that Cage’s Dracula is only a supporting role here, making “Renfield” more of a tasty morsel than a satisfying feast.

That’s no discredit to Nicholas Hoult, who plays Bram Stoker’s devoted henchman to Dracula in Chris McKay’s “Renfield,” which opens in theaters Friday. The film, penned by Ryan Ridley, fashions Robert Montague Renfield less as Dracula’s doting, “yes Master” lackey than a distinctive and sensitive person — or kinda person; his supernatural powers are sustained, for some reason, by eating bugs — in his own right. “Renfield,” a fast and loose horror-comedy splattered top to bottom with blood, is about Renfield trying to break free of Dracula’s fearsome sway — “a destructive relationship” as Renfield describes in a self-help group.

It’s a nifty enough idea (Robert Kirkman gets a story by credit) that the filmmakers have wisely chosen not to over complicate. Even though “Renfield” features a monster with growing desires for world domination and an alarming number of exploding human heads, the stakes are low in this Dracula spinoff. The tone is antic and blood-splattery, slotting in closer to a gory, middle-of-the-road “Buffy the Vampire Slayer” episode than, say, the wittier “What We Do in the Shadows.“

Vampires have been in vogue for some time, but usually in more extrapolated interpretations with greater sympathies for vampires — elegant, sexy or childlike — as worldly outsiders. Edging closer to Dracula, himself, has been rarer, and it’s probably a sign of the lesser, shlocky ambitions of “Renfield” that he still remains off to the side. But whenever Cage’s Prince of Darkness is around, the movie has a bite.

Cage, returning to major studio territory after an often thrilling, sometimes befuddling decade in indie pastures, is, as always, fully prepared for the moment. The actor, long a devoted fan of F.W. Murnau’s “Nosferatu,” channels some of the classic interpretations of Dracula — including Bela Lugosi, over whom Cage is superimposed in an early flashback taken from 1931’s “Dracula” — while animating the character with his own comic, campy rhythm. It may be worth the price of admission to see Cage’s Dracula let out a brief “Woo!” while awakening to a new sense of himself as a god.

Yet “Renfield” oddly gravitates away from tapping this rich vein to instead consume the New Orleans-set film with not just R.M.’s bid for personal freedom but a busy plot involving a local crime family and police corruption. Awkwafina co-stars as Rebecca Quincy, an honest traffic cop who wants to avenge her father’s death and bring justice to the Lobo family, a drug-dealing gang led by the matriarch Ella (Shohreh Aghdashloo), with her less sharp son, Teddy (Ben Schwartz), among the lieutenants.

It’s easy to see the purpose in some of this: Bring in some funny people to populate the backdrop for Renfield’s attempted succession from Dracula duties (which consist mostly of bringing him fresh corpses, preferably of more innocent blood). Awkwafina is a welcome presence with her own comedy chops. But by trying to amp things up, McKay, the director of “The Tomorrow War” and “The Lego Batman Movie,” loses what ought to have been the film’s focus.

Still, “Renfield” is enjoyable enough in a disposable sort of way. A lack of self-seriousness is a quality to be appreciated in any movie like this. And Hoult manages to be remarkably sweet while at the same time using human limbs to decapitate other victims. Some of the best scenes are of him sitting in on a support group meeting to talk through toxic relationships. (Brandon Scott Jones, who plays the group’s leader, is quite good.) But “Renfield” never lets Cage really sink his teeth into the movie, leaving us still hungry for more.

“Renfield,“ a Universal Pictures release, is rated R by the Motion Picture Association for bloody violence, some gore, language throughout and some drug use. Running time: 93 minutes. Two and a half stars out of four.

___

Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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“Renfield” is not Nicolas Cage’s first blush

The next Disney+ project from Marvel Studios is Secret Invasion and the red brand’s first “crossover event series” releases on June 21.

The Samuel L. Jackson-led show will be the first streaming project of Phase 5 in the Marvel Cinematic Universe and the second project overall behind Ant-Man and The Wasp Quantumania. 

This is also the first streaming series since the return of Bob Iger as the CEO of Disney back in November of 2022 (The Guardians of the Galaxy Holiday Special was released just five days after Iger’s announced return). 

Fans have been waiting patiently not just for this show inspired by the legendary comic book run of the same name, but they have also been left in the dark until the release date was announced on March 27th, just 86 days before the series release. 

So, how long have the MCU faithful been waiting for the next Disney+ series? Longer than they have ever waited before!

Secret Invasion Breaks Record on Disney+

Marvel Studios

Since the beginning of Marvel Studios content coming to Disney+, the gap between the nine MCU series and special presentations has been an average of 55 days. The longest wait was between Hawkeye and Moon Knight at 98 days in 2021, and the shortest turnaround was between 14 days between the WandaVision and The Falcon and The Winter Soldier. 

And Werewolf By Night was a Special Presentation that was released in the middle of the She-Hulk: Attorney at Law run in October of 2022. 

Secret Invasion is set to release on June 21, 2023, which puts it 208 days after Marvel Studios’ most recent Disney+ outing, The Guardians of the Galaxy Holiday Special on November 25, 2022. 

  • WandaVision – The Falcon and the Winter Soldier: 14 days
  • The Falcon and the Winter Soldier – Loki: 47 days
  • Loki – What If…?: 28 days
  • What If…? – Hawkeye: 49 days
  • Hawkeye – Moon Knight: 98 days
  • Moon Knight – Ms. Marvel: 35 days
  • Ms. Marvel – She-Hulk: Attorney at law: 36 days
  • She-Hulk: Attorney at Law – Guardians of the Galaxy Holiday Special: 43 days
  • Guardians of the Galaxy Holiday Special – Secret Invasion: 208 days

This means that the wait between Phase 4’s final Disney+ project and Phase 5’s first Disney+ project is nearly double the second-longest gap in MCU/Disney+ history. 

For context, this wait would rank 10th on the list of longest gaps between Marvel Studios projects overall (movies included). 

Change of Pace for Marvel Studios

Nick Fury, Avengers, Disney Plus
Marvel Studios

It is no secret to anyone paying attention that one of the biggest criticisms of the post-Infinity Saga era of the Marvel Cinematic Universe is its rapid-fire approach when it comes to content. 

Phase 4 saw seven movies, eight streaming series, and two Disney+ Special Presentations over 21 months. Meaning that fans were being presented with at least one new MCU project every 37.5 days. 

A big part of Bob Iger’s message since returning to Disney has been “quality over quantity” which might be the biggest contributing factor to this record-breaking wait. 

The Marvel Cinematic Universe is at a crossroads. Fans are reeling from back-to-back projects (She-Hulk: Attorney at Law and Ant-Man and The Wasp: Quantumania) that were not received well by general audiences. Even more so now that the most redeeming quality of Quantumania is Kang The Conqueror, a character that has a rocky future in the MCU. 

Marvel Studios is in need of not just one, but two consecutive hits with audiences as Phase 5 really begins. Thankfully, the next project on the board is Guardians of the Galaxy Vol. 3 which is one of the most beloved franchises in comic book movie history. Right behind it is Secret Invasion, which has the makings of a top-tier Disney+ series along the lines of WandaVision and Loki. 

The wait has been the longest one yet but all the factors involved seem to point toward the wait being worth it.

Secret Invasion hits Disney+ on June 21, 2023. 

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James Gunn‘s DC Studios got its first rejection from a pair of directors being pursued for the new DCU.

Following Gunn’s initial announcement confirming the first 10 projects that will help make up his Chapter 1: Gods and Monsters slate, the new DC Studios co-CEO is hard at work bringing his first round of creatives on board to make that slate happen.

James Mangold became the franchise’s first announced director in February when he was confirmed to be the top man behind-the-scenes for Swamp Thing.

Two months later, actor Frank Grillo confirmed his own transition from the MCU to the DCU, revealing that he’d play an undisclosed role in the DC story soon.

But while those two have been positives in terms of DC hires, every attempt that DC Studios has made to add new talent hasn’t succeeded…

Potential DCU Directors Turn Down James Gunn

Directing duo Danny and Michael Philippou revealed on an Instagram live stream that they turned down an offer to direct an upcoming project in the DC Universe.

When asked how their meeting with DC Studios went, Danny confirmed that the duo was offered a project but that they “decided not to go for it at the moment,” staying with their own work but keeping their options open:

“‘How did the DC meeting go?’ Amazing. DC meeting went amazing. They offered us a project, but we decided not to go for it at the moment. We wanted to, yeah, just stick with our original material for the time being. But yeah, we’ll see. In the future, you never know. You never know. I’m keen to see what James Gunn does with the universe. I’m excited to see it.”

In early February, the pair revealed that they had taken a meeting with DC about directing a potential movie or show, asking their fans if they should take the job:

“Epic meeting. Superhero movies!!! Should we?????”

Instagram

Danny and Michael Philippou run an Australian YouTube channel called RackaRacka, and the pair recently made their theatrical debut as directors with this year’s Talk to Me. This movie was produced by A24 Films and premiered at the 2023 Sundance Film Festival, earning an incredible 97% rating on Rotten Tomatoes.

Thus far, this is the duo’s only movie that has been released, although they have over a billion views on their YouTube channel.

Will the Philippou Bros. Direct a DC Movie Someday?

With the new DC Universe not set to officially get underway until sometime in 2025, James Gunn and his crew still have plenty of work to do in order to get these newly-introduced projects in motion.

And while these two aren’t the only ones to turn down a DC project, following reports of former Batman star Ben Affleck doing the same thing, all hope may not be lost for this duo eventually joining Team Gunn.

At the moment, there are only two DCU titles that have directors lined up for jobs, with James Mangold taking Swamp Thing and Gunn himself serving as the writer and director for 2025’s Superman: Legacy.

But with so much time before Chapter 1 begins, and numerous Chapter 1 entries still under wraps right now, there is more than enough time for the Philippou brothers to take their place on the right project from the new DCU.

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   Interview with English Actor Divian Ladwa

Divian Ladwa is a British actor who gained notable international attention for playing the psychologically troubled character in the Oscar nominated film LION (2016). He is popularly known for playing Hugh in the BAFTA winning comedy series DETECTORISTS (2014-2022). Further work in film includes playing a timorous Dev King in the British feature film 8 MINUTES IDLE (2012) and a vengefully hot-tempered Rahim Begum in the EIFF best drama winner SAXON (2007). He has an extensive theatre background working with a wide range of companies including Tamasha Theatre Company and Fluxx Improvised Theatre, early in his career.

 

Divian and I had an in depth interview about his experience being a working actor in England. Here is what he had to say:

How long have you been an actor and how did you get into it?

DIVIAN: Within a year or two after I left secondary (High) school, I did my first professional gig. I was trying to get into drama school but couldn’t manage to get into one. I did however start working with an improv group called Fluxx and a new writing theatre company called Tamasha. This was during a time when I was finding as many places as I could for acting lessons and classes, including at The City Lit, The Precinct, Impulse, workshops with various theatre companies and Fluxx Improv. We ran classes at Fluxx as well as doing shows.

What were some of the roles you have seen that inspired you to be an actor?

DIVIAN: As a kid, I loved watching films so much. I watched everything. It was a different time so you could watch the type of movies that parents now won’t let their kids watch. Even though they were the ones watching them when they were kids. I loved watching ALIEN, TERMINATOR, THE GOONIES, BACK TO THE FUTURE, mostly films from the 80s. During school holidays or when I pretended to be sick, I’d watch black and white films during the day and sometimes my Dad’s Spaghetti Westerns. It would take about four years for a movie to go from cinema to terrestrial TV, so as kids, we’d anticipate movies eagerly and it always felt like a big event when a film premiered on TV. We would all be speaking about the movie at school the following day. Now everything is a screen tap away.

To be a working actor, it is one of the hardest jobs in the film business. How hard is it to get acting roles today?

DIVIAN: You go from wishing you had an agent, to wishing you can be seen for projects, to wishing you’ll land one of those projects, to wishing one of those projects will bear fruit and you’ll work more regularly. Sometimes you can get close to that last stage and within a few months, feel like you’ve ended up back at the beginning. It’s like Sisyphus. You get this self-tape request which is like his boulder but first it’s square shaped. You spend time crafting it into the sphere you need it to be and push it up a hill, at which point its gone, disappeared into the abyss. You’ve sent in your self-tape and now you are at the bottom of the hill again, waiting for the next opportunity for another boulder to arrive. That would be a very generalized view for most actors, I think. That boulder can represent tapes, invites, agent submissions, your own writing, funding applications, etc. It can feel tedious and like an ouroboros cycle of no escape but as covered by Camus, if you enjoy crafting the sphere and view the hill as an opportunity to exercise those acting muscles, you are in a better place than when you were not seen at all.

DIVIAN CONT’D: More personally, when I started acting in theatre, there were not many companies that would see me or employ me or respond to my invites to shows so my work was very limited. I would often take jobs where we would tour plays to schools or prisons. Once I did a play in an old home. I did have a good run of commercials for a couple of years but when I did Detectorists, it felt like I was being taken a bit more seriously and I was being seen for more TV and film. It’s not a fairy tale with a big payoff for everyone. It’s more like a game of snakes and ladders with peaks and troughs. A journey through choppy waters. Some people you see out there, seem to start that journey on a cruise ship and sail by quite smoothly. Then, there are dopey dreamers like me who jump into the ocean with nothing but a homemade rubber ducky and hand-me-down speedos, flapping around with loads of energy but not really going anywhere until you tire out and just float. The waves seem to take you forward yet backward. You can’t stop. It’s not a train. You can’t get off. You’ve been in it too long. You still love it when you get it. It’s sink or swim. Sink or swim.

For you, what have been your biggest challenges in your career thus far?

DIVIAN: Apart from the up and downs adventure I mentioned above, I’d say working on stories that are based on real people. I did a headphone verbatim theatre play for Theatre Royal Stratford East called Mad Blud. The technique for verbatim theatre requires the actor to listen to an interview and perform the person they are listening to. This play dealt with issues of knife crime in London. One of the interviews we performed was of a family who had lost their son. That already made it difficult but one night, the family came to see the show and they were sat in the front row. I could feel them there whilst we spoke their words of loss. They were very nice to us after the show, but I recall being quite silent in the post show Q&A. I also remember crying when trying to answer a question when I was being interviewed for a book about devised plays. A researcher on behalf of an author and I were discussing a solo performance I did for an old home and this emotion just flooded out when I tried to answer one of her questions. I don’t think we realize what we carry with us, subconsciously, and sometimes it comes out and you’re like, “oh wow… I didn’t know that time was so challenging for me.” Also, dealing with loss when you are working is a hard one. Not being present to support your family can make you feel like you are making selfish choices. It’s my worst fear.

You played Mantosh, Dev Patel’s brother in LION. Can you tell us about that experience?

DIVIAN: It was quite possibly the most amazing experience of my life. You may gauge an idea of where I was at in life and my career from what you’ve read so far to then get a job with Nicole Kidman was out of this world. On top of that, she was going to play my Mum. HAHAHA!!! Sometimes it feels like it didn’t happen. I had done some small budget films in the UK, but I never thought I’d actually end up in a film that would go on to be nominated for Best Picture at the Oscars. The story was incredible, the cast was sensational, and the director’s vision was superb. We also had Greig Fraser, quite possibly one of the best DoPs out there. Normally, an actor like me is kept a little separate from the big actors but on this job, I was treated the same as everyone else. The director really embraced me. I met his family, and he took me and Dev Patel out a few times, even cooked for the cast and the Brielery family, whose story we tell. Being in Australia was an amazing experience as well. Melbourne is a great place for food and Tasmania is wild. I’d go back in a heartbeat. Everyone I met out there was awesome.

You are also in the series DETECTORISTS. And you are quite funny in it. Do you prefer comedy to drama?

DIVIAN: I love both and I’d like to continue doing both. I think comedy can feel quite rewarding on the day and in the moment. The cast and crew all seem to be in good spirits when working on comedies. Drama is also rewarding but in a different way. The rewarding feeling is not instant but comes gradually. You feel like you’ve done something more cinematic regardless of the scale.

Having worked on big budget films like ANT-MAN AND THE WASP and DAVID COPPERFIELD, as well as multiple indie films, do you like working on indie or commercial films more?

DIVIAN: They are both fun to work on. I think indie films are a little harder because the turn-around is so quick. With more money backing the project, you can play more and try different things. With ANT-MAN AND THE WASP for example, we could continue ad-libbing after the scene had ended. My last line in the film was made up on the day. I asked Payton Reed, the director, if I could say it, and he was like, “yeah, why not”. We don’t really get that luxury on an indie unless you can work it into a setup early enough. When I did MR MALCOLM’S LIST, I’d ask director Emma Holly Jones in advance if I could try stuff and she would find my suggestions funny. She was working on the script anyway so she would add any of my silly bits that she liked into the script so when we came to film, those beats were already there on the day’s set ups. That’s quite a specific example though, as Emma was already planning to get my character more involved than what was originally scripted. That said, there is a discipline that comes with indies. Coming in, knowing you only have a few takes to get it right, before they need to move on can be something to relish as you utilize more of your craft and approach, coming in prepared with the openness to play and the ability to adapt to direction.

Do you have a project you have worked on that you are most proud of?

DIVIAN: I guess LION would be the most obvious one, but I think I’ll go with a short I did with Film4 called NAPTHA (dir. Moin Hussain). It’s available on their website. It’s a drama about a father and son with a sci-fi undertone. I’ve always wanted to work on projects that require that sort of naturalistic performance where it doesn’t look like the actors are acting like SO LONG MY SON or a Hirokazu Kore-eda film, but that class of film rarely presents itself. Especially in the UK where the variety feels limited to comedy or procedural TV with scenes full of exposition. NAPTHA allowed me to play a lead role and to work on a tone for a film that I would like to do more of. If I’m being honest, I don’t think I was particularly good at it but it was the first time I got to do the type of acting that I’ve always longed for.

Do you have a funny anecdote you can share with us from one of the sets you have worked on?

DIVIAN: Ha. I can’t think of one. I must not be any fun to work with if I don’t have any. Being on set is a genuinely fun place to be. You are with likeminded individuals and can quickly bond and banter with people from different departments like the make-up team or the unit drivers. The only thing that comes to mind now was when I was doing ANT-MAN AND THE WASP, where people kept telling me you’re paid to wait. One day, I was on second unit and this phrase really rang true. I was sitting on those wooden chairs but alas, I still haven’t had one with my name on it, and the lovely PAs (runners) would check I’m ok and offer to get me anything like coffee. Filming in a big studio, it was tricky to just walk over to a table like we do in the UK, where a tea and coffee set up is present. In the States, first and foremost, you can’t even get a cappuccino at the hotel you’re staying in as a barmaid explained to me on my first day in Georgia, “They don’t do that here.” “But this is America!!!” was my response. “They drink it in the movies all the time.” I did not get my cappuccino that day. Or any day during my time at that hotel. Back on set, I did have a small window to get one before crafty decided to send the coffee machine into the abyss along with my self-tapes. I also didn’t know what ‘crafty’ was. I kept being told that “crafty can’t do that for you” and I thought whoever it is who can’t do it, certainly sounds crafty to me.

DIVIAN CONT’D: BUT…. There was a coffee machine somewhere cos the amazing Dante Spinotti of HEAT was getting espressos whenever he wanted. I just needed the right people on the inside to sort me out. One day, on second unit, when one of the PAs asked if I wanted anything, I said that I’d love an espresso, but they don’t have that machine. She said she knows of one and she’d be happy to get me one and that she’d like one too but isn’t allowed. So I said, “Cool. Can I have TWO espressos?” When she came back, I took one and told her I didn’t want the other one so she could have it. She left happily. A little while past. I was still being paid to wait and another PA came. This is another big difference between big budget and indie. Big budget in the States has like a hundred PAs whilst an indie in the UK just has one runner. If you’re lucky. Anyway, she’s like “Can I get you coffee?” and I’m about to say no as I have one in my hands until something twigs in my brain so I ask, “What sort of coffee should I get?” She recommends a latte. “Ok. I’ll have a latte.” She returns with the latte, but I just so happened to change my mind, so I tell her to have it if she wants. She’s very grateful. I was sorting out coffees for these kids all day. I’m essentially making people happy by listening to what they want and then letting them do the work they need to do to get it. This is what it must be like to be God. All is going well until the Big Boss PA arrives on our sound stage. A devilish, 4’10” veteran of the game. Now the PAs can’t get themselves, I mean, can’t get me a coffee as I now have to ask the Big Boss PA, but I can’t let my new pals down especially as the PAs in main unit, my buddies for weeks have found out that I’m getting orders in and have been visiting from the neighboring sound stage just to check in on me. So, I find out what people want and order them one at a time one. I can hear the Big Boss PA over the radio as she goes to get my latest order of frappa-dappa-dingleberry mocho-choca-la-la-da-da say, “if he asks me to make him a coffee one more time…” and when she comes back, I have one more request for an Americano… with cream. I never did any work that day. Just sat in my nameless chair. Caffeinated as fuck.

What’s next in the pipeline for you?

DIVIAN: I did do another sci-fi short that should hopefully come out this year. ARTIFICIAL INTELLIGENCE & YOU! is written and directed by Charlie Brafman and Magnus McCullagh. They made an exceptional short western called RABBIT’S FOOT, which is available on Omeletto. In this AI based sci-fi, I play another lead and my character has a break-down about 30 seconds into the film and then we go on one hell of an adventure. It required me to play comedy, drama and romance and should be quirky and fun for audiences that get to see it, which I hope will be lots and lots of people. I’m sure it will hit the festival circuit later this year so keep an eye out for it.

Interview with English Actor Divian Ladwa                     

 

Interview by Vanessa McMahon                        

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Netflix has had some pretty big hits over the years, but measuring its biggest hits has always been a struggle for observers. Until late 2021, we got the number of accounts starting a show/movie, but they’ve since switched to hours watched. Using those hours watched, here’s a look at the biggest hits Netflix has ever released as of April 2023.

If you want to look back at those old viewership numbers (number of accounts watching at least 2-minutes of any title) that Netflix released, our guide is still live now, and some of the titles that featured on the top lists there still feature in Netflix’s top charts to this day.

Since mid-2021, Netflix has now transitioned to hours watched data. Every Tuesday, they provide us with stats on 40 titles in four separate categories, and when a title breaks into the all-time top 10, they provide an updated guide to those.

Per Netflix’s top 10 site, here’s how their “all-time list” works:

“… we provide a list of the Top 10 most popular Netflix films and TV overall (branded Netflix in any country) in each of the four categories based on the hours that each title was viewed during its first 28 days. Since some titles have multiple premiere dates, whether weekly or in parts, we count the 28 days from each episode premiere date in each country.”

Below, we’ve put together a full list of all titles that have been in the top 10 since mid-2021, giving us a full list of 28-day hourly stats that Netflix has released, and we’ve split it into each category.


Most Watched English Language Series of All Time

stranger things cast in other netflix originals

Stranger Things – Picture: Netflix

  1. Stranger Things (Season 4) – 1,352,090,000 hours watched
  2. Wednesday (Season 1) – 1,237,150,000 hours watched
  3. DAHMER (Limited Series) – 856,220,000 hours watched
  4. Bridgerton (Season 2) – 656,260,000 hours watched
  5. Bridgerton (Season 1) – 625,490,000 hours watched
  6. Stranger Things (Season 3) – 582,100,000 hours watched
  7. Lucifer (Season 5) – 569,480,000 hours watched
  8. The Witcher (Season 1) – 541,010,000 hours watched
  9. The Night Agent (Season 1) – 515,570,000 hours watched
  10. Inventing Anna (Limited Series) – 511,920,000 hours watched

Previously featured in all-time top 10:

  • Ginny & Georgia (Season 2) – 504,780,000 hours watched
  • 13 Reasons Why (Season 2) – 496,120,000 hours watched
  • Ozark (Season 4) – 491,090,000 hours watched
  • 13 Reasons Why (Season 1) – 475,570,000 hours watched
  • Maid (Limited Series) – 469,090,000 hours watched
  • You (Season 3) – 467,820,000 hours watched
  • You (Season 2) – 457,370,000 hours watched
  • Stranger Things (Season 2) – 427,440,000 hours watched
  • Sex Education (Season 3) – 418,760,000 hours watched
  • Ginny & Georgia (Season 1) – 381,000,000 hours watched

Most Watched English Language Movies of All Time

red notice most watched movie

Red Notice – Picture: Netflix

  1. Red Notice – 364,020,000 hours watched
  2. Don’t Look Up – 359,790,000 hours watched
  3. Bird Box – 282,020,000 hours watched
  4. Glass Onion: A Knives Out Mystery – 279,740,000 hours watched
  5. The Gray Man – 253,870,000 hours watched
  6. The Adam Project – 233,160,000 hours watched
  7. Extraction – 231,340,000 hours watched
  8. Purple Hearts – 228,690,000 hours watched
  9. The Unforgivable – 214,700,000 hours watched
  10. The Irishman – 214,570,000 hours watched

Previously featured in all-time top 10:

  • The Kissing Booth 2 – 209,250,000 hours watched
  • 6 Underground – 205,470,000 hours watched
  • Spenser Confidential – 197,320,000 hours watched
  • Enola Holmes – 189,900,000 hours watched
  • Army of the Dead – 186,540,000 hours watched
  • The Old Guard – 185,710,000 hours watched
  • Murder Mystery – 169,590,000 hours watched

Most Watched Non-English Language Series of All Time

squid game netflix series biggest of all time

Squid Game – Picture: Netflix

  1. Squid Game (Season 1) – 1,650,450,000 hours watched
  2. Money Heist (Part 5) – 792,230,000 hours watched
  3. Money Heist (Part 4) – 619,010,000 hours watched
  4. All of Us Are Dead (Season 1) – 560,780,000 hours watched
  5. Money Heist (Part 3) – 426,400,000 hours watched
  6. The Glory (Season 1) – 413,050,000 hours watched
  7. Extraordinary Attorney Woo (Season 1) – 402,470,000 hours watched
  8. Café con aroma de mujer (Season 1) – 326,910,000 hours watched
  9. Lupin (Part 1) – 316,830,000 hours watched
  10. Elite (Season 3) – 275,300,000 hours watched

Previously featured in all-time top 10:

  • Who Killed Sara? (Season 1) – 266,430,000 hours watched
  • Money Heist (Part 5) – 395,130,000 hours watched
  • Elite (Season 4) – 257,090,000 hours watched
  • Lupin (Part 2) – 214,070,000 hours watched
  • Dark Desire (Season 1) – 213,790,000 hours watched

Most Watched Non-English Language Movies of All Time

troll monster in netflix movie

Troll – Picture: Netflix

  1. Troll (Norwegian) – 155,560,000 hours watched
  2. Blood Red Sky (German) – 110,520,000 hours watched
  3. The Platform (Spanish) – 108,090,000 hours watched
  4. All Quiet on the Western Front (German) – 101,360,000 hours watched
  5. Black Crab (Swedish) – 94,130,000 hours watched
  6. Through My Window (Spanish) – 92,440,000 hours watched
  7. The Takedown (French) – 78,630,000 hours watched
  8. Below Zero (Spanish) – 78,300,000 hours watched
  9. My Name Is Vendetta (Italian) – 68,730,000 hours watched
  10. Loving Adults (Danish) – 67,340,000 hours watched

Previously featured in all-time top 10:

  • Rogue City (French) – 66,600,000 hours watched
  • Carter (Korean) – 65,390,000 hours watched
  • The Forgotten Battle (Dutch) – 60,930,000 hours watched
  • Restless (French) – 59,060,000 hours watched
  • Lost Bullet (French) – 58,320,000 hours watched
  • Spoiled Brats (French) – 56,900,000 hours watched
  • #Alive (Korean) – 54,620,000 hours watched
  • Space Sweepers (Korean) – 53,340,000 hours watched
  • The Last Mercenary (French) – 52,110,000 hours watched
  • Just Another Christmas (Brazillian) – 48,430,000 hours watched

For more on the Netflix top 10s and to search all the titles with hourly data stats released, check out our search tool here.

This post will be updated over time to reflect additions to the top 10s. What’s been your favorite movie or series listed above? Let us know in the comments down below.

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Sabrina Carpenter fans in Portland were asked to go home before she hit the stage at the Keller Auditorium Monday due to a “credible security threat,” the promoter and police confirm to Rolling Stone.

AEG Presents, the show’s promoter, tells Rolling Stone that Carpenter’s scheduled show at Keller Auditorium was canceled “out of an abundance of caution” after a “credible threat” was made to a different venue in Portland, where Carpenter had originally been scheduled to perform.

“Employees with the Crystal Ballroom called after they received a phone call from an anonymous person claiming they were going to blow up the venue,” Lieutenant Nathan Sheppard of the Portland Police Bureau tells Rolling Stone.

Carpenter had previously announced a change in venue to make room for more attendees, police said. But despite the venue change, AEG Presents and Carpenter’s team decided to not move forward with the show for the safety of concertgoers.

“While the threat was not directed at Keller Auditorium specifically, Sabrina and event organizers agreed that out of an abundance of caution, the show be called off,” a rep from from AEG Presents tells Rolling Stone. “Steps were taken to ensure that the audience exited the venue calmly, quickly, and safely.”

Portland police said it conducted extra patrols around both venues due to the threat Monday night. “Nothing blew up,” Sheppard adds.

At the scheduled show, fans were able to attend Carpenter’s VIP soundcheck and watch Carpenter’s opener Spill Tab perform earlier in the night but were asked by a venue official to exit about an hour after Carpenter was scheduled to hit the stage.

After the venue official’s announcement, Carpenter shared a message to fans, saying the cancelation was “due to unforeseen circumstances,” apologized for the incident, and asked concertgoers to “return home safely.”

“I can’t tell you how much it breaks my heart,” she wrote. “This is the last thing I want to do.”

Fans who were asked to go home in Portland are being offered refunds, and Carpenter plans to perform in Portland on a rescheduled date, AEG Presents confirms to Rolling Stone.

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Carpenter’s fans began to speculate about the reasoning for Monday’s show’s cancelation after the Paramount Theatre in Seattle, where she’s set to perform Tuesday, changed its security measures by implementing a clear bag policy.

Carpenter is currently on the road in support of her 2022 album Emails I Can’t Send. “Her tour will continue as scheduled,” AEG adds.

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Sabrina Carpenter fans in Portland were

Any real friendship is a two-way street, but the unpleasant truth is that not all friendships are built to last. In Chrissy Judy, writer-director-star Todd Flaherty observes the collapse of a queer friendship and the frightening, isolating path one must take to discover who they truly are.

Judy (Flaherty) and Chrissy (Wyatt Fenner) are gay best friends living in New York City. They enjoy performing in local drag queen shows, hoping one day to make it big. Judy is more animated and carefree, first seen conspicuously stealing a makeup stick to get the attention of Chrissy, who works at the cosmetics store. It’s a perfect introduction to the characters and their playful dynamic. What follows is an upbeat montage of them leaving the store and making their way to a ferry. Sitting patiently as the world moves around them, Judy lays his head on Chrissy’s shoulder. Their bond is strong, at least for now, but not everything stays the same, nor should it.

Chrissy no longer has the drive to perform. He wants financial stability and wants to see the world. So, Chrissy informs Judy that he’s moving to Philadelphia with his boyfriend. Judy, however, is unable to respect his friend’s wishes. His inability to accept Chrissy’s decision harms their friendship. Judy is a hotheaded and loquacious drag queen. He regularly lashes out and stifles his feelings with alcohol and meaningless hookups. After Chrissy’s departure, Judy begins performing as a solo act and has trouble paying rent.

Flaherty and Fenner both give sublime performances throughout Chrissy Judy. Fenner plays it calmer than his fiery other half and sensibly communicates to Judy and audiences alike the reasoning behind his decision. However, Judy just can’t or won’t accept it. Whilst Judy is occasionally cruel and self-obsessed, Flaherty excellently plays and writes the character with a sympathetic edge. Judy must learn the hard way to balance his priorities, and while observing him do so is not always pleasant, his arc is emotionally satisfying because Flaherty really commits to the roles of actor, editor, writer, and director.

“…Chrissy informs Judy that he’s moving to Philadelphia…”

Despite being closed off, Flaherty devises it so Judy, when dressed in drag and performing for an audience, his emotions are momentarily unmasked for all to see. Whenever he sings, it’s as though the audience isn’t in the room; the camera lingers as he sings classic tunes like “After You’ve Gone,” the 1918 song composed by Turner Layton with lyrics by Henry Creamer. With that said, during one pivotal performance, Flaherty regularly cuts to Fenner’s reaction. It is one of many examples of Flaherty knowing how to develop the pair’s platonic relationship with telling glances and slight grimaces.

Aesthetically, Chrissy Judy employs black-and-white photography. Shooting in B&W is always risky because such a decision can come across as a gimmick. In this instance, the monochrome aesthetic signifies the shifting dynamics at work. It goes with the characterization of Judy as a reticent, self-destructive protagonist who’s hesitant to show any vulnerability.

The film never feels mishandled in the hands of Flaherty. Sure, the script could have used a once-over, particularly when it comes to a few altercations that feel stagy. But, for the most part, the conflict between Judy and Chrissy is not far-fetched. Flaherty validates their connection through the exchange of glances and how they completely submerge themselves into the serenity of the moment. But priorities shift, and people change.

In a role reversal of one of the first shots, the final one features Chrissy laying his head on Judy’s shoulder, and every emotion hits you like a ton of bricks. Chrissy Judy is a heartfelt, visually pleasing, and bittersweet take on friendship and drag. It will surely stir feelings within you regarding the friends you had to let go of for one reason or another.

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Any real friendship is a two-way street,

Spring may have sprung but a whiteout is coming soon to Winnipeg.

The Jets ensured at least two more home games this season by taking down the Wild 3-1 in Minnesota Tuesday night, clinching a playoff spot for the sixth time since relocating from Atlanta.*

Needing just one point to secure the second wild card spot in the West, the Jets got on the board early in a place where they have not won since 2019.

Nino Niederreiter collected the puck in the slot, fired it on goal and the puck bounced to Adam Lowry at the side of the crease to put the Jets in front just 3:53 into the period.

Minnesota carried the edge in shots on goal but Winnipeg doubled their lead with just under seven minutes left in the first with a goal that resembled the opening tally.

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This time it was Nate Schmidt sending it towards Marc-Andre Fleury. The puck ricocheted to Mark Scheifele at the side of the net just below the goal line and the Jets leading goal scorer knocked it from behind the net and batted it out of the air to make it 2-0.

The Wild got an excellent chance to get on the board when Winnipeg took two penalties late in the period but they could not make it happen on the 5-on-3.

Minnesota held a 12-4 edge in shots on goal after 20 minutes but Winnipeg turned that around in a fairly tight second period, outshooting the home side 11-4 in the middle frame.

In the period, the Jets whiffed on a pair of power play opportunities while Connor Hellebuyck had to make some great saves to keep Winnipeg in front 2-0 after 40 minutes.

With a playoff spot squarely in sight, the Jets just needed to get to the end of regulation without allowing more than two goals.

But the Wild made clear early in the third that it wasn’t going to be easy.

Adam Lowry was called for hooking Connor Dewar just 24 seconds into the third as Dewar rang the puck off the crossbar, and on the ensuing power play the Wild poured pressure on goal.

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Hellebuyck made several great saves and Minnesota hit another post before Kirill Kaprizov scored his 40th of the season off a juicy rebound.

As the Wild continued to put pressure on the Jets, the game began to devolve into chaos. Ryan Reaves hit Dylan DeMelo from behind, sending the blueliner dangerously into the end boards but no call was made.

A couple of minutes later, Ryan Hartman blasted an unsuspecting Nikolaj Ehlers in the neutral zone with a big hit but Ehlers did not have the puck. Hartman was given a two minute minor while Ehlers had to leave the game.

With just shy of six minutes to go, the Jets got a massive insurance goal from their depth players.

Morgan Barron made a great backcheck to stop a Wild chance before Kevin Stenlund got the puck ahead for Barron who made a hard drive into the Minnesota end. He was forced to the corner but he managed to send a soft pass to the slot where Mason Appleton was waiting to deposit the puck past Fleury.

With the game out of reach in the final minute, Neal Pionk was given a cross-checking major, Brenden Dillon and Hartman went off for slashing and then Lowry dropped the gloves with Reaves before the final horn sounded.

Hellebuyck was outstanding in helping the Jets earn the critical two points, turning aside 33 shots, including 17 in the third. He made several incredible point-blank saves to keep his team in front, the kind of performance that, if he keeps it up, can carry a team deep into the playoffs.

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Who the Jets will face in round 1 remains up in the air as of the posting of this article. They still have one regular season game remaining Thursday night in Denver, a game that matters not to Winnipeg but will for the Avalanche who are fighting for the Central division crown. It’s a 7 p.m. puck drop with pregame coverage starting at 5 p.m. on 680 CJOB.

*The NHL considers Winnipeg’s loss to Calgary in the qualifying round in the bubble in 2020 to be a playoff appearance.

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Spring may have sprung but a whiteout

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Archie just thinks his personal life is complicated! Cole

The latest WhatsApp beta on Android is getting a neat, little upgrade as it is finally allowing users an in-app way to both edit and add new contacts.

You may be wondering: “Doesn’t this already exist? It seems like a pretty basic thing to have.” It sort of does, but it’s not the same. Currently, if you try to edit your contacts, WhatsApp will redirect you to your phone’s native contacts list. According to WABetaInfo (opens in new tab), people who have WhatsApp beta version 2.23.8.2, 8.4, 8.5, or 8.6 should now see a different user interface when editing or adding contacts that more closely reflects the app’s style. When you do add someone, their information will immediately be saved onto the device’s contacts list or Google account; whichever is available.

Now the question is, will this update have any kind of impact? As WABetaInfo points out, perhaps just a bit. You’re probably just going to shave off a few seconds plus save some processing power that would’ve been spent on launching another app. 

If you’re interested in checking out the redesigned contacts list, you can install the beta version of WhatsApp (opens in new tab) from the Google Play Store at any time. Be aware the update is rolling out in waves so you may not get it initially as was our case. All eager participants can do if they don’t get the redesign is wait until the feature arrives on their device within the coming days.

Future of WhatsApp

As for the future of WhatsApp on Android, there’s a decent amount in store. Back in early March, a different beta introduced Silence Unknown Callers to stop phone calls from unrecognized numbers. There’s also the mysterious Audio Chat (opens in new tab) which doesn’t have a lot of information surrounding it although some online theorize it’s the app’s attempt at emulating Discord voice chats. Also, Meta is expanding the Companion Mode beta (opens in new tab) to all beta testers giving users the ability to link their WhatsApp account to an entirely different mobile device.

For iOS (opens in new tab), the developers are working on a way for users to upload their status updates directly to “Facebook Stories without leaving WhatsApp”. You can try this feature out through WhatApp’s TestFlight beta program, but only if you’re one of the lucky few who managed to join TestFlight before the last spot was taken nearly two years ago.

While we have you, be sure to check out TechRadar’s list of the best-encrypted messaging apps on Android for 2023. 

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The latest WhatsApp beta on Android is

SAG-AFTRA will no longer be the only Hollywood union that leases building space for its headquarters, as the actors guild announced that it has closed a deal for a $46.6 million purchase of a new headquarters in North Hollywood.

“After multiple sessions with my executive director Duncan Crabtree-Ireland and CFO Arianna Ozzanto, it was determined that SAG-AFTRA was now in a financially sound position to pursue this goal,” SAG-AFTRA president Fran Drescher said in a statement.

“National secretary-treasurer and finance committee chair Joely Fisher next took the lead in pursuit of a worthwhile real estate investment,” Drescher continued. “She has dreamed of this day for years and showed great determination to complete the legacy that her mother, former secretary-treasurer Connie Stevens, began decades ago. Many thanks to this collaborative effort for bringing our union into this new chapter of ownership.”

SAG-AFTRA currently leases its headquarters at the historic Miracle Mile building. The Screen Actors Guild first moved into the building in 1993, with AFTRA joining following the 2012 merger of the two guilds. The building was renamed SAG-AFTRA Plaza in 2015.

Now, the union will soon move into a new space along Chandler Blvd. in the San Fernando Valley, just a four-mile drive away from the Universal and Warner Bros. studio lots. The property contains 118,000 square feet of office space and includes the building on 1.22 acres and a nearby 0.71-acre vacant lot.

A timetable on when SAG-AFTRA will move into the new headquarters was not publicly disclosed, though the guild says that its members will be “kept apprised of critical design, occupancy and development milestones as they unfold.”

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SAG-AFTRA will no longer be the only

Jeremy Renner made his first red carpet appearance since the snowplow accident for the premiere of Rennervations.

The Disney+ series follows the actor giving back to communities around the world as he reimagines unique purpose-built vehicles to meet the community’s specific needs.

Talking to Deadline on the red carpet, the Hawkeye star said that working on the show with co-stars Anthony Mackie and Sebastián Yatra “was a wonderful thing to share” and hopes there’s a second season.

“Working on this show is not work, it’s always a lot of fun, good laughter and really good causes. It really actually moves the needle a lot for people and it certainly moves the needle a lot for me in my life,” he added.

The actor said that working on Rennervations “means the world” to him as he works to give opportunities to kids so they can be inspired.

“It’s a wonderful blessing to be united in beliefs and thoughts and actionability with others,” he told us. “To do things with kids [and] give them the opportunities. I’ve always been a big mouthpiece for kids and they deserve the opportunities. I think it alleviates the issues that kids get in trouble with later in life. Kids need to be inspired [and] need the opportunities to be inspired. They don’t always have the environment to have that and it frustrates the hell out of me. Kids are the best dreamers on the planet.”

Renner has made great progress following the near-death accident he suffered in January. As he walked into the venue for the premiere, fans cheered on the actor showing their love and support.

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Jeremy Renner made his first red carpet

According to former “Bachelor” host Chris Harrison, stars of the franchise were rarely narcissists. But the same can’t be said for the series creator.

On Sunday’s episode of his “The Most Dramatic Podcast Ever,” Harrison joined former “Real Housewives of Orange County” star Meghan King for a far-ranging conversation about how narcissism plays into parenthood and relationships.

After recalling her love life and speaking about her children, King asked Harrison if he has encountered any narcissists among the contestants of the long-running ABC series. He replied: “The creator of the show was — severely.”

Harrison continued: “One of the toughest things about narcissism is you will never — I don’t want to say never — but very rarely, will that person ever recognize that in themselves.”

Harrison did not name the “Bachelor” creator, though he‘s likely referring to Mike Fleiss. The former host’s comments come weeks after Fleiss announced his “Bachelor” exit amid allegations of racial discrimination.

During Harrison’s 19-year tenure — which came to an abrupt end in 2021 after he defended a contestant’s previous racist behavior — he worked under Fleiss, who also executive produced the “Bachelor” franchise.

Sources close to the franchise told The Times earlier this month that a more thorough response is currently underway to issues of diversity and cultural sensitivity.

Earlier in the podcast, Harrison said people’s narcissism “usually comes from fragility” and “something traumatic in their lives.”

After news of Fleiss’ exit broke on March 28, Harrison said in his podcast that he found his former boss’s departure “very surprising.”

“There are obviously a lot of things I know and I just can’t say. But there are a lot of things that make you go, ‘hmm,’” he said in a two-part episode. “I can definitely say more will come out.”

After taking a dig at Fleiss on Sunday’s episode, Harrison returned to King’s question and said narcissism has no place in “how you get to be the Bachelor.”

“You have to be open, you have to be unlucky in love, you have to be ready to express yourself,” he said. “Narcissists really wouldn’t work very well.”

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According to former “Bachelor” host Chris

As Spider-Man: Across the Spider-Verse prepares to introduce Daniel Kaluuya’s new animated Spider-Man hero, the Black Panther actor revealed what to expect in the highly-anticipated sequel.

Black Panther’s Daniel Kaluuya joined the stellar voice cast of Spider-Verse 2 as Hobie Brown aka Spider-Punk, who is a homeless teenager that becomes a hero to the oppressed citizens of New York in his universe.

It is unknown how Spider-Punk will factor in Spider-Verse 2‘s Multiverse mission, but producer Amy Pascal confirmed that a love triangle between Miles Morales, Gwen Stacy, and Hobie Brown would be pushed to the forefront since the latter two have history. 

Daniel Kaluuya Opens up About Spider-Verse 2 Role

In an interview with Empire Magazine, Black Panther actor Daniel Kaluuya talked about his experience in voicing Spider-Punk for Spider-Man: Across the Spider-Verse. 

In the sequel, Kaluuya’s Spider-Punk is a British, plaid-clad mohawked Spider-Man variant from Camden. Interestingly, the MCU actor is a Camden native which makes him the perfect choice for the role. 

Marvel

Kaluuya admitted that he was “gassed” upon learning that he’s joining the Marvel sequel, noting his excitement in voicing “a wicked character that sounds exactly like [him]:”

“I was gassed. I turned to Lord, Miller and Kemp and said, ‘Thank you for letting me be a part of it, because this is cool as fuck.’ I’m a voice in Spider-Verse with a wicked character that sounds exactly like me, from where I’m from. Come on! You go to the younger people in your family and flex: ’I’m getting on, but don’t forget!’”

The Nope and Get Out actor also shared that lending his voice to Spider-Punk was a chance for him to channel himself due to his Camden roots:  

“I’m Camden born and bred, and this character is from Camden which is very much associated with the punk movement, so I think they wanted to lean into what they have for free with me.” 

Kaluuya then shared his approach to how he voiced the character: 

“They were like, ‘What do they speak like?’ and I said, ‘Like me!’ I think it gives it that authenticity, like me saying, ‘Man like Pav! [Indian Spider-Man Pavitr Prabhakar] Big steppa!’ I felt really respected.” 

Alongside the confirmation that Spider-Punk is from Camden in the movie, official merchandise of the sequel reinforced that idea by describing the character as being British. 

What Is Spider-Punk’s Role in Spider-Verse 2?

Daniel Kaluuya’s excitement about finally unveiling Spider-Punk to the world in Spider-Verse 2 is fitting. 

In fact, the Black Panther actor’s Camden roots combined with his enthusiasm to lend his voice to the Spider-Man variant allows the character to stand out amid its stacked cast. 

Aside from the love triangle plot point in the sequel, Spider-Punk appears to be part of the Spider Society that Oscar Isaac’s Miguel O’Hara assembled to protect the Multiverse.

It’s possible that he’s a key member of the group and Miguel trusts him better than Miles Morales. As a result, a riff between Miles and Hobie Brown could also be highlighted, presenting more challenges for the sequel’s titular protagonist. 

Fans can catch Daniel Kaluuya’s performance as Spider-Punk when Spider-Man: Across the Spider-Verse premieres in theaters on June 2.

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With a quick draw approach that rivals even its staunchest competitors, dramas on Fox are notoriously given one of the shortest tryout periods in the history of the television space. Some are culled within the first few episodes, while others last for far too long.


Only a select few manage to hit that sweet spot between non-syndication and early exit. The following are some of the shows that, for better or worse, landed themselves in that spot. Here are the best short-lived Fox dramas that deserve another visit.

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10 Red Band Society

FOX

Based on the international television show Polseres Vermelles, this version of the series followed a rebellious group of teenagers stuck in the pediatric ward of an L.A. Hospital. A mix of John Hughes and Skins, Red Band Society was an unorthodox mix of dramedy and soap, all wrapped up in a gauzy hospital setting. The show was originally picked up by competitor ABC, then dropped, and subsequently acquired by Fox. Produced by Steven Spielberg’s Amblin Television, Octavia Spencer had a starring role in the series as Nurse Jackson.

While 13 episodes were ordered, the show was pulled from the schedule after only ten aired. Unlike other Fox productions, the remaining episodes did wind up airing later that season. In the end, it was soft ratings that spelled the final death knell for the series.

Related: 17 Best Teen Drama TV Series of the Past Decade, Ranked

9 The Adventures of Brisco County, Jr.

The Adventures of Brisco County, Jr.
Fox

This Western dramedy with a steampunk edge was well ahead of its time when it premiered in 1993. Bruce Campbell of Evil Dead fame starred as a lawyer turned gunslinger with some seriously ahead-of-his-time firepower. For what it’s worth, Campbell has said that Briscoe was one of his favorite roles of all time to play.

Co-created by Carlton Cuse of Lost fame and Jeffrey Boam of The Dead Zone, the pair’s work on the third Indiana Jones movie caught the eye of Fox executives wanting them to do a show. The Adventures of Briscoe County Jr., which was inspired by B-movies of the ’50s and ’60s, was one of the last to be filmed on the Laramie Street backlot, which had been used for many a classic Western in its time.

While the show garnered a dedicated following during its run, the number of viewers just wasn’t enough to justify continuing the series at the time. The majestic theme song for the series, however, would garner new life after it was repurposed for competitor NBC’s sports productions (including, of all things, the Olympics). As recently as 2020, the cast got together for a (paid) live table read of the pilot.

8 The Finder

The Finder
Fox

This offshoot of the ever-popular Bones television series featured Geoff Stults as an Iraq war vet with the incredible ability to help people locate the unfindable. Stults’ character was introduced in season six of Bones before being carted off to this series, which was created by Hart Hanson (also of Bones fame). There were some pretty high hopes for The Finder when it was announced for the 2011-2012 season, but those hopes were soon dashed after many of the episodes were aired out of order, which led to some rather unfortunate continuity errors in the long run.

Unfortunately, shuffling from time slot to time slot failed to help matters. Unable to get enough eyeballs onscreen, the show was soon canceled after ratings plunged.

7 Lie to Me

Lie to Me
Fox

While this series had a hefty three-season run, it could easily have stayed on the air for much longer. Cashing in on the CSI trend, this drama featured Tim Roth as specialist Cal Lightman, a leading expert in body language and facial expressions who uses these skills to help law enforcement (and, of course, well-paying clients).

Lie to Me was inspired by the real-life work of Professor Paul Ekman, an advisor to police departments and anti-terrorism groups who also served as a science consultant for the series. The show had an on-again, off-again relationship with the network throughout its run. It was eventually canceled from its two-year run after viewership started to decline.

6 The Outsiders

The Outsiders movie cast
Warner Bros.

Perhaps better known for the Francis Ford Coppola movie featuring an all-star 80’s cast, this novel turned movie had a foray into the television space a few short years after its big screen release. Few, if any, of the original cast members followed into the series from the movie… with the exception of Matt Dillonby (by default). His ending scene in the movie was replayed in the pilot, which picked up where the film left off. Its premiere garnered one of the highest ratings ever for a drama episode on Fox at the time. Unfortunately its Married… With Children lead-in did little to bolster the series’ success after that.

Related: The Outsiders Cast: Where They Are Today

5 Dollhouse

Dollhouse
Fox
Walt Disney Television

Six years after the equally beloved, short-lived series Tru Calling was taken off the air, Eliza Dushku returned to Fox in 2009 with the new series Dollhouse. Premiering in competition with J.J. Abrams’ Fringe, this Joss Whedon vehicle shadowed a secret organization in charge of reprogramming young people as blank slates, aka Dolls, before hiring them out for assignments to the highest bidder. The organization in question is forced to take some serious steps when one of their many Dollhouse members suddenly becomes sentient.

While Whedon promised to shoot separate webisodes for each episode aired, this unfortunately never came to fruition. Though ratings were low from the start, projected fan response to canceling the show prompted its renewal for a second season. This wasn’t enough to save the series as a whole, however. It was canceled shortly after the end of its sophomore run.

4 Space: Above and Beyond

Space: Above and Beyond
Fox

Set in the distant future, this science fiction series was created by X-Files co-writers Glen Morgan and James Wong. Loosely inspired by the 1960s TV series Combat!, Space: Above and Beyond followed futuristic Marines in their fight against alien invaders. Released just two years shy of Starship Troopers (and the litany of end-of-the-world movies to follow), this series suffered greatly from being in the wrong place at the wrong time.

The series, which was supposed to run for several seasons, was canceled after only one due to high costs and low ratings. The show ended on some serious cliffhangers, even though the creators knew the series was due to be canceled. Nonetheless, both would go on to greener pastures with hits like theFinal Destination series.

Related: 10 Epic Space Battle Movies That Aren’t Star Wars or Star Trek

3 Alcatraz

Alcatraz
Warner Brothers Television

This time-switching show first premiered as a mid-season replacement in 2012. The series, which was created by Elizabeth Sarnoff, Steven Lilien, and Bryan Wynbrandt as a J.J. Abrams and Bad Robot production, starred Sarah Jones, Jorge Garcia, and Sam Neill. Interestingly enough, it was filmed mostly in Vancouver instead of the actual location due to production costs.

In the alternate reality of Alcatraz, the prison—which was shut down in real life in 1963 due to unsafe conditions—is instead shut down after all guards and prisoners on the island mysteriously disappeared. Now, years later, they’ve just as mysteriously reappeared in the modern day. While the series certainly started strong, lost nearly half its viewers by the time the end of the season rolled around. The show was subsequently canceled.

2 Backstrom

Backstrom
Fox

Another brainchild of Hart Hanson, this witty, biting show was based on the Swedish book series by writer and criminologist Leif G. W. Persson. 20th Century Fox originally shopped the project around to other stations before landing a series order with their own network.

Backstrom featured Rainn Wilson in a distinct, but related departure from his Office role. Set in Portland, but filmed in Vancouver, the series centered around a cantankerous member of an elite Special Crimes Unit whose self-destructive tendencies and failing health make it, shall we say, difficult to work with his team of equally eccentric criminologists. The role of a man trying to change his self-hating ways was perfect for Wilson, but it proved to be short-lived. Soon, a killer time slot and low ratings spelled a quick end to this series.

A new Swedish take on the franchise was created in 2020, and has since performed successfully with two seasons under its belt.

1 Almost Human

Is Almost Human on the Verge of Being Cancelled?
Fox

The hype for Almost Human was practically palpable upon its two-night series premiere in 2013. A partnership of J. H. Wyman for Frequency Films, Bad Robot Productions, and Warner Bros. Television, the show followed a hesitant LAPD cop played by Karl Urban who is forced to partner with an android (Michael Ealy) in a futuristic world plagued with crime.

While the series was aired out of its intended order, most of the episodes were isolated enough from each other to not cause too many continuity issues. Despite a strong launch of 9.2 million viewers, both viewership and ratings had taken a nosedive by the time the finale rolled around. In looking ahead to the already packed Fall season, a mix of low viewership and the high cost of running the series proved too much for the network to keep up with.

Thankfully, eager audiences can now turn to DVD sales, lending libraries, or streaming resources to get their quick fix of these programs. Many of these series just missed syndication by a hair, but that doesn’t mean they weren’t worthy, stand-alone shows in their own right. The sad truth is, had they been given a chance to stick around just a wee bit longer, they might just have amassed the ratings and audience they needed to survive and thrive.

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More than a month after hiring a couple of former DeepMind researchers, Twitter is reportedly moving forward with an in-house artificial intelligence project. According to Business Insider, Elon Musk recently bought 100,000 GPUs for use at one of the company’s two remaining data centers. A source told the outlet the purchase shows Musk is “committed” to the effort, particularly given the fact there would be little reason for Twitter to spend so much money on datacenter-grade GPUs if it didn’t plan to use them for AI work.

The project reportedly involves the creation of a generative AI that the company would train on its own massive trove of data. It’s unclear how Twitter would utilize the technology. Insider suggests a generative AI could augment the platform’s search functionality or assist the company in rebuilding its advertising business. In any case, the report colors Musk’s recent decision to sign an open letter calling for a six-month pause on AI development.

Musk has been a vocal critic of OpenAI, the artificial intelligence research organization he co-founded in 2015. “I’m still confused as to how a non-profit to which I donated ~$100M somehow became a $30B market cap for-profit. If this is legal, why doesn’t everyone do it?” Musk said in one of his recent Twitter missives against the lab’s for-profit subsidiary, OpenAI Limited Partnership.

However, a recent report from Semafor suggests his feud with OpenAI is more personal. In 2018, Musk reportedly told Sam Altman, one his fellow co-founders at OpenAI, the lab was falling too far behind Google. Musk then suggested that he should be the one to run the firm, a proposal Altman and OpenAI’s other founders rejected.

The power struggle led to Musk’s departure from OpenAI, though publicly both parties maintain Musk left due to a conflict of interest involving Tesla. At the time, OpenAI said the billionaire would continue to fund its research. However, according to Semafor, Musk’s payments stopped after his departure – despite a promise to provide the firm with roughly $1 billion. The sudden shortfall left OpenAI scrambling to raise cash. In 2019, the organization announced it was creating a for-profit subsidiary to secure the capital it needed to fund its work. That same year, the firm announced a $1 billion investment from Microsoft. When OpenAI opened ChatGPT to the public in November and the chatbot began to dominate headlines, Musk was reportedly “furious.” One month later, he cut OpenAI’s access to Twitter’s “firehose” of data. And now it would appear he wants to compete against his old organization head-on.

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More than a month after hiring a

The Cannes Film Festival said that Pedro Almodóvar’s short film Strange Way of Life will world premiere at its upcoming 76th edition, running May 16-27.

The Western shot in southern Spain stars Ethan Hawke and Pedro Pascal and is the filmmaker’s second English-language experience, after The Human Voice in 2020.

The film had been widely expected to play at Cannes after the director told singer-songwriter Dua Lipa that he expected it to premiere the festival in an interview for her At Your Service podcast in January.

The confirmation of the film’s selection comes as Cannes delegate general Thierry Frémaux and his team tie up the 2023 Official Selection ahead of the traditional lineup announcement Thursday morning in Paris.

Other titles already confirmed by the festival include the Johnny Depp-starring opening film Jeanne du Barry by Maïwenn, Martin Scorsese’s The Killers of the Flower Moon and Indiana Jones and the Dial of Destiny.

Deadline also understands Wes Anderson’s Asteroid City will touch down on the Croisette, though this has not been confirmed by the festival.

There is also strong buzz around Todd Haynes’ May December, Nanni Moretti’s Il Sol dell’Avvenire, Ken Loach’s The Old Oak and Woody Allen’s 50th film, the French-language drama Coup de Chance. Read the Deadline Cannes prediction lists here and here.

The screening of Almodóvar’s Strange Way of Life will be followed by a conversation with the director and the filmmaking team.

The work revolves around a reunion between a sheriff and a rancher who knew one another in a previous life.

The synopsis provided by Almodóvar and posted by the festival reads: “A man rides a horse across the desert that separates him from Bitter Creek. He comes to visit Sheriff Jake. Twenty-five years earlier, both the sheriff and Silva, the rancher who rides out to meet him, worked together as hired gunmen. Silva visits him with the excuse of reuniting with his friend from his youth, and they do indeed celebrate their meeting, but the next morning Sheriff Jake tells him that the reason for his trip is not to go down the memory lane of their old friendship.”

“I must say no more so as not to give away all the surprises of the script,” adds the director. “The strange way of life referred in the title alludes to the famous fado by Amalia Rodrigues, whose lyrics suggest that there is no stranger existence than the one that is lived by turning your back on your own desires.”

The film is produced by Agustín Almodóvar with Esther García as executive producer and Bárbara Peiró, Diego Pajuelo and Saint Laurent by Anthony Vaccarello as associate producers.

Further cast members alongside Hawke and Pascal include Pedro Casablanc, Manu Ríos, George Steane, José Condessa, Jason Fernández, Sara Sálamo, Ohiana Cueto and Daniela Medina.

The music is composed by Alberto Iglesias.

Almodóvar has a long relationship with Cannes. In 1999, he won the Best Director award for All About My Mother. He returned in 2004 with Bad Education, which made history as the first Spanish film to open the festival.

The director won Best Screenplay in 2006 for Palme d’Or contender Volver.

He was president of the jury in 2017, with his jury feting Ruben Östlund’s The Square with the Palme d’Or.

Almodóvar was last at the festival in 2019 with his personal drama Pain and Glory, for which Antonio Banderas won Best Actor from the jury chaired by Alejandro González Iñárritu.

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The Cannes Film Festival said that Pedro

Seth Macfarlane’s production company, Fuzzy Door, has launched a new technology division and hired former Siri CMO, Faith Sedlin, as its president, according to an announcement on Tuesday.

In the role, Sedlin will oversee all operations for the new division, including the company’s production tool, ViewScreen. Created on MacFarlane’s request, ViewScreen allows for the visualization of virtual assets in real time and has been used on shooting/editing virtual lead characters on Hulu’s “The Orville: New Horizons” and the upcoming “Ted” TV series for Peacock. It was developed for Fuzzy Door by visual effects supervisor Brandon Fayette and software developer Gene Reddick.

“I’m thrilled Faith recognizes ViewScreen’s potential and will lead the Fuzzy Door Tech team in introducing and marketing Brandon and Gene’s revolutionary technology to all filmmakers,” MacFarlane said in a statement. “Under Faith’s leadership, this division has a lot of potential and it is something that I am very excited about.”

“When I first saw ViewScreen, I was thrilled by its ability to empower creators both big and small. I’m looking forward to building out this new division and leading Fuzzy Door Tech as we pioneer a new frontier in storytelling,” said Sedlin.

In addition to leading the launch of virtual assistant Siri and eventual acquisition by Apple, Sedlin was the first product manager at eBay; co-founded social classifieds company Oodles, which was later acquired by QVC; and served as CMO for print-on-demand products company Redbubble and nonprofit loan company Kiva.

“Faith not only understands the intricacies of technology development, but she knows how to build a business that can make a significant impact,” said Fuzzy Door president Erica Huggins. “Technology is advancing every aspect of the entertainment business, so being at the forefront of this change with Faith and Seth is exhilarating.”

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Seth Macfarlane’s production company, Fuzzy Door, has

(Photo by: HBO)

While this HBO series has been moderately popular with viewers and critics, Perry Mason also draws relatively low ratings. On top of that, it’s been three years between seasons, so the cast’s contracts may have expired already. Will Perry Mason be cancelled or renewed for season three? Stay tuned.

A detective drama series, the Perry Mason TV show is a prequel that provides a reimagined origin story for the legendary criminal defense lawyer. The show stars Matthew Rhys, Juliet Rylance, Chris Chalk, Shea Whigham, Eric Lange, Justin Kirk, Diarra Kilpatrick, Katherine Waterston, Hope Davis, Fabrizio Guido, Peter Mendoza, Mark O’Brien, Paul Raci, Jen Tullock, Jon Chaffin, Onahoua Rodriguez, Jee Young Han, Sean Astin, Tommy Dewey, and Wallace Langham. Initially, Perry Mason (Rhys) is a low-rent private investigator who lives check-to-check in the 1930s. His wartime experiences in France haunt him, and he suffers the after-effects of a broken marriage. He eventually becomes an attorney. Della Street (Rylance) is his secretary, and former police officer Paul Drake (Chalk) is his lead detective. In the second season, months after the Dodson case has ended, the scion of a powerful oil family is brutally murdered. When the DA goes to the city’s Hoovervilles to pinpoint the most obvious of suspects, Perry, Della, and Paul find themselves at the center of a case that will uncover far-reaching conspiracies and force them to reckon with what it truly means to be guilty.

The ratings are typically the best indication of a show’s chances of staying on the air. The higher the ratings, the better the chances of survival. This chart will be updated as new ratings data becomes available.

Note: If you’re not seeing the updated chart, please try reloading the page or view it here.

For comparisons: Season one of Perry Mason on HBO averaged a 0.03 rating in the 18-49 demographic and 328,000 viewers.

Note: These are the final national ratings, including all live+same day viewing and DVR playback (through 3:00 AM). Early fast affiliate ratings (estimates) are indicated with an “*”. While these numbers don’t include further delayed or streaming viewing, they are a very good indicator of how a show is performing, especially when compared to others on the same channel. Other economic factors can be involved in a show’s fate, but typically the higher-rated series are renewed and the lower-rated ones are cancelled.

 

What do you think? Do you like the Perry Mason TV series on HBO? Should it be cancelled or renewed for a third season?

Check out our status sheets to track new TV series pickups, renewals, and cancellations. You can find lists of cancelled shows here.

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Published: April 11, 2023(Photo by: HBO) While this

The Peabody Awards have announced its 27 nominees for the documentary and news categories, celebrating the most compelling stories released in 2022 across broadcasting and streaming media.

W. Kamau Bell’s We Need to Talk About Cosby, Amy Poehler’s Lucy and Desi and Alex Pritz’s The Territory received nominations in the documentary category, while FRONTLINE received several nominations in the news category.

The nominees were chosen by unanimous vote from the Board of Jurors comprised of 17 members, from 1,200 entries from television, podcasts/radio and the web. Remaining nominees in the categories including entertainment, arts, children’s/youth, podcast/radio, interactive & immersive and public service will be announced on April 13.

The winners of the 83rd annual Peabody Awards will be announced on May 9 and will be celebrated at a ceremony on June 11 in Los Angeles. This will be Peabody’s first in-person ceremony since 2019, and it will also be the first time the event will take place in Los Angeles.

“Whether covering breaking news on the front lines or illuminating historically significant figures, these documentary and news nominees told compelling stories that kept us informed and enriched our understanding of the world. Among a wide selection of excellent stories, Peabody is proud to celebrate each and every one of these worthy nominees,” Jeffrey Jones, executive director of Peabody, said. “Shining light on a wide range of people, places, and struggles, these nominees demonstrate the best of journalism and the best of storytelling. We look forward to honoring the winners in Los Angeles, a first for our storied organization.”

See the full list of nominees below.

Documentary

Aftershock             

After the deaths of two young women from childbirth complications, their families galvanize activists, birth workers, and physicians to face America’s grave maternal health crisis in this eye-opening film.

A Malka Films and Madstone Company Inc Production In Association with Good Gravy Films and JustFilms | Ford Foundation Impact Partners Presents (Hulu)

Batata        

This unprecedented film spans ten years in the life of Syrian migrant worker Maria, a Muslim woman, and her journey from days of farming potatoes to life in a refugee camp in Lebanon, demonstrating the spirit of a woman who puts family above all else.

Saaren Films Inc., Six Island Productions Inc., Musa Dagh Productions (Streaming platforms)

Children of the Taliban   

In this affecting documentary, viewers meet four children — two boys and two girls — living in Kabul, Afghanistan, and learn how dramatically their lives have changed since U.S. troops withdrew from the country and the Taliban came to power. While the girls face the obvious serious difficulties under the patriarchal regime, some of the most chilling footage shows how young boys are radicalized.

Moondogs Films production (Channel 4)

The Dreamlife of Georgie Stone              

This short documentary spans most of the 22-year life of Georgie Stone, a young Australian trans activist, revealing her memories as she grows up, affirms her gender, finds her voice, fights to change laws and public perception, and becomes a role model for other trans kids throughout the world.

A Netflix Documentary in association with Screen Australia / A Closer Production (Netflix)

George Carlin’s American Dream          

This two-part documentary from Judd Apatow and Michael Bonfiglio illustrates how legendary comedian George Carlin evolved from late-night-standup hack to a wordsmith, a countercultural hero, and, ultimately, a truth-teller who used dark humor to illuminate key issues of our time like sexual assault and climate change. Archival footage of Carlin himself, as well as extraordinary access to his diaries and letters, helps to paint a complete portrait of a man who wouldn’t settle for anything less than expressing his authentic voice.

Apatow/Rise Films Production in association with Pulse Films (HBO Max)

Independent Lens: Missing in Brooks County              

Migrants go missing in the rural area of Brooks County, Texas, more than anywhere else in the United States, and activist Eddie Canales is the one who helps their families find them. PBS’ documentary profiles Canales in this subtle, specific, and alarming take on U.S. immigration.

ITVS, Fork Films, Engel Entertainment (PBS)

Independent Lens: Writing with Fire     

Fearless journalists staff India’s only all-female newspaper in an intensely patriarchal landscape, painting a portrait of courage and hope. Filmmakers Rintu Thomas and Sushmit Ghosh spent four years in India’s Uttar Pradesh state capturing the women’s daily work lives as well as the larger context in which they operate: India’s caste system and its far-right religious movement.

Black Ticket Films (PBS)

Lucy and Desi        

Director Amy Poehler explores the surprising story of how Lucille Ball and Desi Arnaz, a woman and a Cuban man, became TV’s most powerful couple in the 1950s, transformed numerous aspects of television production, and pioneered the American sitcom as we know it.

Amazon Studios, Imagine Documentaries, White Horse Pictures in association with Paper Kite Productions and Diamond Docs (Prime Video)

Mariupol: The People’s Story     

This terrifyingly crucial feature-length documentary tells the story of the essential coastal Ukrainian city of Mariupol through those who lived there as it was destroyed by Russia.

Top Hat Productions / Hayloft Productions (BBC Select)

POV: Let the Little Light Shine            

This captivating documentary tells the story of a South Side Chicago neighborhood where a high-performing, largely Black elementary school is threatened by the forces of gentrification—a story that reflects larger struggles with the historical impacts of institutional racism and the ways demographic shifts affect education.

A co-production of SCHOOL FILM LLC, AMERICAN DOCUMENTARY | POV, ITVS and BLACK PUBLIC MEDIA (PBS)

The Rebellious Life of Mrs. Rosa Parks             

Rosa Parks was more than an “old” lady who was too tired to go to the back of the bus, as this documentary demonstrates, delving deep into the Civil Rights icon’s historic role in the Montgomery Bus Boycott beyond her traditionally assigned role in school textbooks.

SO’B Productions (Peacock)

The Territory        

This immersive, awe-inspiring documentary looks at the tireless fight of the Amazon’s Indigenous Uru-eu-wau-wau people against the encroaching deforestation brought by farmers and illegal settlers.

National Geographic Documentary Films Presents A Documist And Associação Jupaú Film in association with Time Studios, Xtr, Doc Society Climate Story Fund / A Production of Protozoa Pictures, Passion Pictures, Real Lava (Disney+)

We Need To Talk About Cosby               

Writer/director W. Kamau Bell weighs the life and legacy of Bill Cosby as a peerless groundbreaker and dominant cultural force against his crimes as a convicted sexual predator through difficult and candid conversations with comedians, journalists, and survivors in a potent examination of problematic artist versus art.

SHOWTIME Documentary Films Presents, A Boardwalk Pictures Production, In Association With WKB Industries (Showtime Networks)

News

60 MINUTES: The Declining Mental Health of America’s Kids

This 60 Minutes report delves into the mental health crisis striking kids across America and explores its root causes: the isolation and fear of the pandemic and the addiction and toxicity of social media.

CBS News 60 Minutes (CBS)

ABC News Digital: Buffalo: Healing From Hate

Through four in-depth video profiles, ABC News Digital tells the personal stories of those killed in the mass shooting at the Tops supermarket in Buffalo, spending time with their families to paint tender and detailed portraits of those lost and making sure their lives and legacies are not forgotten after the onslaught of news coverage.

ABC News Digital (ABC)

FRONTLINE: Crime Scene Bucha

FRONTLINE, The Associated Press, and SITU Research teamed up on an exclusive visual investigation into Russian war crimes in the Ukrainian town of Bucha during a month-long occupation, drawing on hundreds of hours of closed-circuit television footage, intercepted phone calls, and a 3-D model of the town to map the deaths of 450 people in the soldiers’ “cleansing” operations.

FRONTLINE (PBS) with The Associated Press and SITU Research (PBS)

FRONTLINE: Michael Flynn’s Holy War

Truly terrifying in its implications, this FRONTLINE episode asks how Michael Flynn went from being an elite soldier overseas to waging a “spiritual war” in America, emerging as a leader in a far-right movement that puts its brand of Christianity at the center of U.S. civic life and institutions, attracting election deniers, conspiracists, and extremists around the country.

FRONTLINE (PBS) with The Associated Press (PBS)

FRONTLINE: Putin’s War at Home

This report takes a deep, documentary approach to profiling the defiant Russians risking imprisonment as they push back against President Vladimir Putin’s crackdown on criticism of his war on Ukraine, with extraordinary footage from inside the country.

FRONTLINE (PBS)

FRONTLINE: Ukraine: Life Under Russia’s Attack

FRONTLINE provides a dramatic and intimate look inside the Russian assault on Kharkiv, Ukraine’s second largest city, following the displaced families trying to survive underground, civilians caught in the war, and first responders risking their lives.

FRONTLINE (PBS)

The Gap: Failure to Treat, Failure to Protect

A year-long investigation by local Minneapolis-St. Paul’s KARE 11, revealed systemic failures to treat people with mental illness who were declared incompetent in court and resulted in state-wide reforms that were deemed lifesaving by the mental health community and lawmakers.

KARE-TV (NBC/KARE-TV)

Guns in America

Faced with repeatedly reporting on the endless cycle of mass shootings across America, PBS NewsHour raised the bar, providing context while also telling empathetic stories across different segments throughout the year dealing with victims, survivors, and their communities in Buffalo, New York, and Uvalde, Texas.

PBS NewsHour (PBS NewsHour)

Inside An Armed Bank Raid in Lebanon

In a gripping piece that illuminates complex issues, VICE News reports from inside an armed bank raid for 16 hours in Lebanon as desperate bank customers demand their own savings despite the country’s limits on how much people can withdraw from their accounts amidst a crushing economic crisis.

VICE News (VICE TV)

Myanmar: The Forgotten Revolution

A team of courageous filmmakers spent more than a year inside the Southeast Asian country of Myanmar, bringing viewers inside a largely ignored and forgotten civil war in which more than 20,000 people have been reported dead and thousands are fighting a military coup that removed their elected government.

Evan Williams Productions (Channel 4)

No Justice for Women in the Taliban’s Afghanistan

Women’s lives drastically changed after the withdrawal of American troops from Afghanistan in August 2021. VICE takes viewers inside a justice system tipped against women facing physical and sexual abuse and the underground shelters where women turn to escape violence at home for a devastating look at the country’s inequality.

VICE News (VICE News)

One Day in Hebron

American Al Jazeera host Dena Takuri returns to Hebron, the once-vibrant Palestinian city where her father was born and raised to see what Israel’s military occupation has done to his hometown: segregated streets, traumatized residents, shuttered businesses, and the remaining Palestinians erecting nets to catch the trash thrown at them by settlers.

AJ+ (Direct From)

The Price of Care: Taken by the State

This local news investigation from ABC10-KXTV in Sacramento uncovered how the California Department of Developmental Services gained conservatorship powers over hundreds of adults with disabilities, only to separate them from their families and neglect them in care facilities. The reporting resulted in changes to California’s conservatorship laws, adding protections and additional funding to enact them.

KXTV/ABC10 (KXTV/ABC10)

Shimon Prokupecz: Unraveling Uvalde

After the deadliest school shooting since Sandy Hook in 2012, the CNN team led by Shimon Prokupecz relentlessly pursued the glaring, unanswered questions about the law enforcement response to the Uvalde, Texas school shooter who killed 19 children and two teachers. A gut-wrenching interview with one surviving teacher underscores the horrific question, “Why didn’t anyone help sooner?”

CNN (CNN)

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The Peabody Awards have announced its 27

A trio of friends is on the fishing trip of a lifetime in Teddy Pryor’s thriller short, Map Heist. Ava (Sofia Goorno), Bellamy (Forest Quaglia), and Oliver (Chris Whitcomb) are on a lazy fishing trip. When Oliver’s only fishing lure gets stuck in the lake, Bellamy dives in only to find it attached to a small treasure chest.

Inside the chest, they find a treasure map in a bottle. The map was left centuries ago by pirates off the cape. Unfortunately, in celebrating their find, the three are noticed by a group of “ruthless” townies on the sands. The townies steal the map as Ava, Bellamy, and Oliver are napping on the shore.

Let’s be real. The “map” story is just a plot device to turn into an action-thriller of our “mouse” trio being chased by the “cat” townies. The majority of the film is that chase.

“…Bellamy dives in only to find it attached to a small treasure chest.”

Map Heist is solely about the action, and it successfully pushes the limits of action under low-budget indie conditions. Most impressive is the fact that our actors really go at it action-wise. The sequences are shot in the forest, and our actors and stunt persons hold nothing back physically. Sofia Goorno, as Ava takes a massive fall during the chase, and I felt it.

The other action comes in the form of hand-to-hand combat. This forces our “weaker” heroes to employ specific tactics to gain the upper hand over the stronger foe. I wouldn’t say the fighting is groundbreaking by any means, but it’s effective enough to tell the story. Of course, everything leads to a big stunt piece at the end.

There are definitely holes in the narrative, but again, we’re not here for that. Map Heist is an impressive action short. You feel the danger and a couple of punches to the gut at the same time. It shows that this small crew of actors and filmmakers could produce an action film on a low budget. Well done. Now, let’s work on that story for next time.

For more information about Map Heist, visit the official website of star and producer Forest Quaglia.

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A trio of friends is on the

A NEW Bible chapter that contains hidden verses has come to light after it was erased by a scribe 1,500 ago.

The incredible discovery that dates back to the 3rd century features chapters 11 through 12 from Matthew and is one of the earliest translations of the Gospels.

1

The page contains chapters 11 through 12 from MatthewCredit: Vatican Library

The page came to light thanks to the use of ultraviolet photography on a manuscript at the Vatican Library.

The hidden text was initially erased by a scribe in Palestine- a common practice at the time as parchment was scarce so manuscripts were often erased and reused.

The original Greek version of Matthew chapter 12, verse 1 reads: “At that time Jesus went through the grainfields on the Sabbath and his disciples became hungry and began to pick the heads of grain and eat.”

While the Syriac translation reads, “[…] began to pick the heads of grain, rub them in their hands, and eat them.”

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A medievalist from the Austrian Academy of Sciences (OeAW) Grigory Kessel has now been able to reveal the lost words and his findings are published in the journal New Testament Studies.

He said in a statement: “The tradition of Syriac Christianity knows several translations of the Old and New Testaments.

“Until recently, only two manuscripts were known to contain the Old Syriac translation of the gospels.”

Claudia Rapp, Director of the Institute for Medieval Research at the OeAW, said: “Grigory Kessel has made a great discovery thanks to his profound knowledge of old Syriac texts and script characteristics.

“This discovery proves how productive and important the interplay between modern digital technologies and basic research can be when dealing with medieval manuscripts.”

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A NEW Bible chapter that contains hidden

‘Love Is Blind’ Star Micah Lussier Breaks Down in Tears Talking About Her Behavior on the Show (Exclusive) | Entertainment Tonight

































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Kelli Giddish will return to NBC’s “Law & Order: Special Victims Unit” as fan-favorite character Amanda Rollins in the Season 24 finale, a person close to the production told TheWrap on Tuesday.

She’ll also appear in the Season 3 finale of “Law & Order: Organized Crime,” with both shows set to air on Thursday, May 18.

In her final episode episode as a regular on the police procedural, Rollins wed longtime love A.D.A. Dominic “Sonny” Carisi (Peter Scanavino), who is still on the series. She also quit Olivia Benson’s (Mariska Hargitay) squad and began an offscreen job teaching, a move that followed her being shot in the line of duty.

TVLine, who was first with the story, reported that Rollins will be pregnant in the crossover episodes.

Rollins’ spot in the squad was filled by rough-around-the-edges Detective Grace Muncy (Molly Burnett), who transferred from the Bronx gang unit.

All three “Law & Order” series were renewed through 2024 on Monday, while series creator Dick Wolf extended his deal with NBC and Universal TV until 2027 on Tuesday.

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Kelli Giddish will return to NBC’s “Law

Very few people on Earth can surf colossal waves as well as the legendary Garrett McNamara. And even fewer share his capacity to put the experience into words.

“It’s like getting in a race car, having an avalanche come after you and you’re kind of on a muddy road going as fast as you can,” Garrett explained during an appearance at “HBO Doc Panel: 100 Foot Wave,” part of the Deadline FYC House + HBO Max screening and panel series. “This avalanche — you’re taunting it, for about lack of a better word, staying right under the avalanche, letting it engulf you.”

Season 2 of the Emmy-winning series debuts on HBO on Sunday night, with Garrett and his wife Nicole back, along with many of the world’s top big-wave surfers chasing the adrenaline rush of riding a massive wall of water. Much of the action again takes place at Nazaré, Portugal, which McNamara helped put on the map as the location with perhaps the biggest waves on the planet.

RELATED: ‘The Vow’, ‘Mind Over Murder’, ‘The Anarchists’ Directors Talk True Crime – Deadline FYC House + HBO Max

“We had faith in the idea that there was a lot more there to do,” director and executive producer Chris Smith said of returning for a second season. “We’re only as good as the people that allowed us into their lives… They’re incredibly open with us and I think that’s what makes it so special.”

Season 1 was all about McNamara’s quest to surf the biggest wave in history. In Season 2, he plays a somewhat more supportive role to others who are eager to equal what he’s done.

“I pretty much accomplished all my goals and dreams, so I just want to help all the people around me accomplish theirs,” McNamara said. “I’m finally patient and I don’t have to surf every wave.”

Season 2 sees Garrett and Nicole welcome their third child, daughter Fe (pronounced “fay”; the Portuguese word for faith). Nicole literally gives birth on camera.

“I’m actually a very private person,” Nicole said, but noted she nonetheless felt “definitely no hesitation” about allowing cameras around her for that intimate moment. “Because starting Season 1 it was my goal, if I was going to do this, I was going to do it fully. I didn’t want to half do it. … I just had to tell myself, I’m going to completely ignore the camera and I’m going to do everything I normally would do and not change anything that I would say or do.”

That philosophy extended to sharing candid interpersonal moments between wife and husband.

“Sometimes it frustrates Garrett, because he’ll be like, ‘Don’t get so mad at me in front of the camera.’ I’m like, ‘You asked me to document my life. So I’m gonna keep it real,’” she said to the amusement of the audience. Garrett joked about how he felt in the moment, “Don’t show the real stuff!” 

Tony and Emmy winner Joe Lewis (Fleabag) is among the executive producers of the series. He became attached to 100 Foot Wave through a family connection.

“Nicole is my wife’s second cousin. And a few years ago they just asked me for advice” about doing a documentary series, he said. “They asked me to get involved. I was lucky enough to know Chris and asked him if he liked surfing. Turns out he didn’t, but it still worked out. I just follow my curiosity and love great artists. And, like Garrett, I like helping people accomplish things. I like putting good things out in the world.”

Smith chimed in, “For the record, I do like surfing now.”

Smith’s credits include the documentary series Bad Vegan, the documentary Fyre about the ill-fated music festival, and executive producing the docuseries Tiger King. None of those projects necessarily show off humanity to best advantage.

“I had spent some years making some things that felt like they were almost more negative,” Smith said. “Since doing this show, I feel like I’ve been making things that are more positive. They both have their place, but it’s been very nice to live in this space, because you spend so much time on these projects and I never get tired of visiting these people and visiting that town [Nazaré] and these waves.”

As for the possibility of a third season, Smith says he’s up for it.

“We’ll see,” he said, adding, “We’d love to. We’ll go as long as we can.”

Check out the conversation in the video above.

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Very few people on Earth can surf

Julie Bowen has signed on to star in Peacock’s forthcoming series “Hysteria!”

According to the streamer, the series is a coming-of-age thriller that explores American’s dark history of mass hysteria through the shocking story of the teenage Satanic Panic, a struggling high school heavy metal band of outcasts in the ’80s. As a group, they realize they can capitalize on the town’s sudden interest in the occult by building a reputation as a Satanic metal band, until a bizarre series of murders, kidnappings, and reported “supernatural activity” triggers a leather-studded witch hunt that leads directly back to them.

Bowen will play Linda Campbell, the mother of one of the teenage outcasts. Linda experiences a series of supernatural disturbances that force her to question everything she knows about her son, as well as the growing threat of Satanism in their small Midwestern town.

Most known for her Emmy-Award winning term as Claire Dunphy on ABC’s “Modern Family,” Bowen’s other notable credits include “Happy Gilmore,” “The Fallout,” “Life of the Party,” “Horrible Bosses,” and “Hubie Halloween” among other titles. Her earlier TV credits include “Boston Legal” with James Spader and “Ed,” where she played Carol Vessey. She also directed two episodes of “Modern Family” and a short film called “Girl Code” starring Jenna Ortega.

Bowen is represented by Liberman/Zerman Management and CAA.

“Hysteria!” was originally ordered at Peacock in August 2022. Matthew Scott Kane serves as writer and executive producer. John Francis Daley, Jonathan Goldstein, Chris Bender and Jake Weiner will also executive produce. Scott Stoops will supervise for Good Fear. Jordan Vogt-Roberts (“The Kings of Summer,” “Kong: Skull Island”) is set to direct the first episode. The series is produced by UCP.

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Julie Bowen has signed on to star

Last Updated: April 11, 2023, 21:52 IST

Nafisa Ali posing with Shah Rukh Khan and Priyanka Chopra. (Photo: Instagram)

Nafisa Ali brought back memories of Shah Rukh Khan and Priyanka Chopra attending a polo tournament together.

Veteran actress Nafisa Ali is often seen taking a trip down memory lane. She shares throwback pictures of herself or with other actors on her Instagram handle. Today, she shared an old picture of her with Shah Rukh Khan and Priyanka Chopra. The post is a tribute to her husband’s regiment, the 61st Cavalry.

On Tuesday, Nafisa Ali took to her Instagram handle and shared a throwback picture. It looks like both went as chief guests to the regiment’s polo tournament in Delhi. In the picture, the actress is seen presenting Shah Rukh Khan with the regiment’s polo jacket. Priyanka Chopra is also seen in the frame but is overshadowed by Nafisa.

Sharing the photo, Nafisa wrote, “This was when Shahrukh Khan and Priyanka Chopra came as chief guests to our polo tournament in Delhi … we presented him with the regiment‘s polo jacket. My husband’s Regiment the 61st Cavalry was formed immediately after India’s independence in 1947 following the amalgamation of the princely states with India. All regular and irregular erstwhile state forces’ cavalry units were disbanded to raise a new Horse Cavalry Regiment.”

See her full post below:

A couple of weeks ago, the actress shared pictures of wearing a saree. “Me at 19 years for a photo shoot …. A sari advertisement in Bombay after winning ‘Miss India 1976”, she writes as a caption.

Nafisa Ali is best known for her roles in films such as Junoon, Major Saab, Bewafaa, Life In A… Metro, Yamla Pagla Deewana.

Talking about Shah Rukh Khan, who was last seen in Pathaan. It also stars Deepika Padukone and John Abraham. The film was a super hit at the box office. He will be soon seen in Jawan with Nayanthara and Dunki. While Priyanka Chopra will be next seen in Jee Le Zaraa alongside Alia Bhatt and Katrina Kaif. She will be soon seen with Richard Madden in the most-awaited series, Citadel. It is slated to release on Prime Video on April 28. Recently, she announced that she has teamed up with John Cena and Idris Elba for a film titled Heads of State.

Read all the Latest Movies News, Entertainment News

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Last Updated: April 11, 2023, 21:52 ISTNafisa

Howard Stern and Rosie O’Donnell are showing their support for Dylan Mulvaney, the transgender social media star who has been at the center of conservative backlash following her partnership with Bud Light. Mulvaney announced in an April 1 Instagram video that she was teaming up with Bud Light for a fan contest, while also revealing the company made her a one-time only specialized can with her face on it. An alleged leak of a Bud Light gay pride can also hit social media around the same time.

Many conservative figures condemned Bud Light following its decision to team with a LBGTQ content creator. Kid Rock went viral for posting a video to Instagram in which he used a semi-automatic rifle to shoot down cases of Bud Light. The singer said that he wanted his message to be as “clear and concise as possible,” before bluntly saying: “Fuck Bud Light, and fuck Anheuser-Busch.”

Country singer Travis Tritt later wrote in a Tweet that he would no longer support Anheuser-Busch, the company that produces Budweiser and Bud Light, adding, “I will be deleting all Anheuser-Busch products from my tour hospitality rider. I know many other artists who are doing the same.”

Howard Stern expressed disbelief over Rock and Tritt’s reactions during the April 10 episode of his SiriusXM radio show (via Billboard). “I thought there must be a piece of this story that I’m missing,” the radio host said. “I’m not bothered by gay people or [transgender] people. They don’t impact my life, they don’t hurt my life. I love when people are in love. You wanna be a woman? Be a woman. You wanna be a dude, be a dude. Be whatever you fucking want. As long as you ain’t hurting anybody, I’m on your team.”

“I wish I could call Kid Rock and have him come on the show and just tell me, ‘Why are you so upset about this? How is it hurtful?’ I don’t know why he got so upset,” Stern continued. “Kid Rock, I know him. He’s got a great life. He transitioned from some kid in Michigan to a rock superstar! I’m really dumbfounded by why someone would care so much that they would blow up a can of Bud Light and say, ‘Fuck Anheuser-Busch.’ I don’t get it.”

Stern observed that many of Kid Rock’s songs are all about “doing my thing and fuck you if you’re not with me,” so he found it ironic that the singer would get so upset about Bud Light and Dylan Mulvaney teaming up. In other words, just let them do their thing.

Mulvaney happened to be the April 11 guest on Rosie O’Donnell’s “Onward” podcast, but it appears the discussion was recorded before the Bud Light controversy as Mulvaney did not discuss Rock, Tritt or any of the current backlash. However, O’Donnell did call out Rock in her introduction to the conversation.

“Kid Rock had to take an assault weapon and shoot the boxes of beer, proving what?” O’Donnell asked (via TooFab). “Beer companies have been supportive of the LGBTQIA community for decades. This is not the first time. Who do you think sponsors pride? Gay people, trans people, we drink beer too, man. Put down your gun, Kid Rock, it’s in bad taste. Especially after what happened at the school in Nashville.”

“I have tried to be the most uncontroversial person this past year and somehow it has made me controversial still,” Mulvaney told O’Donnell during the conversation. “I think it comes back to the fact that these people, they don’t understand me and anything that I do or say then somehow gets taken out of context and is used against me. It’s so sad because everything I try to put out is positive, it’s trying to connect with others that maybe don’t understand me, it’s to make people laugh or make a kid feel seen.”

Mulvaney currently boasts 1.8 million Instagram followers and 10.8 million TikTok followers.

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Howard Stern and Rosie O’Donnell are showing

We are less than a month away from the much-anticipated Guardians of the Galaxy Vol 3. which comes out on May 5, 2023 and Marvel has just announced a very interesting collaboration with meal kit company Hello Fresh.  The company is rolling out a snack it and a recipe series inspired by the Guardians. 

Be on the lookout for fun options like Zarg Nut Bites and/or Mango Milky Fizz. 

Guardians Snack Adventure

The Guardians Snack Adventure features pre-portioned ingredients and step-by-step recipe cards.  Follow the steps to make two servings of Zarg Nut Bites and Mango Milky Fizz.  Also included in the mix are collectible milk cartons and a jar featuring Guardians of the Galaxy-inspired designs.  

Here’s a closer look at the ingredients of each of the snack box options mentioned above: 

  • Zarg Nut Bites – Crushed pretzels, salted cashews, sweet Thai chili sauce, and chocolate chips come together for a salty, crunchy snack with a bit of sweet heat
  • Mango Milky Fizz – Get a jump start on one of Summer’s biggest trends, the Mango Milky Fizz will be making an appearance in Guardians of the Galaxy Vol 3. This sweet treat is made of apricot jam, coconut milk, seltzer, and mango bits.  

So how can you score this snack box? This limited-edition kit will be released on a first-come, first-served basis (No Hello Fresh subscription is required) beginning on Monday, April 17 starting at 12pm EST.  Visit HelloFreshAdventure.com. Additional kits will drop on Monday, April 24, and Monday, May 1 (also at 12pm EST.) 

Guardians of the Galaxy Recipe Adventure

In addition to the Snack Kit above, Hello Fresh is also rolling out six brand-new recipes in a Guardians Recipe Adventure series. Two recipes will be featured for Hello Fresh subscribers each week. Options Include: 

  • Terran-Style St. Louis Sandwich – with Sliced Dill Pickle and Potato Rounds
  • “Destroyed” Thai Chili Coconut Smash Patties-  with Coconut Lime Rice and Roasted Green Beans
  • Galactic Beef Melts-  with Blue Corn Chips
  • Galaxy Greens Ricotta Ravioli-  with Lemony Zucchini and Toasted Panko & Parsley 
  • Fire-Blasted Vegan Coconut Curry Soup-  with Tomatoes & Cauliflower
  • Crispy Orloni-Style Tilapia Tacos –with Chipotle Mayo, Cilantro Cabbage Slaw, Pickled Jalapeños, & Radishes

All of the awesome Guardians of the Galaxy menu items are available to order online NOW for Hello Fresh customers. 

You can check out the latest Guardians of the Galaxy Vol 3. trailer below: 

Don’t miss the film when it hits theaters on May 5, 2023.  Also be sure to head over to Hello Fresh and bag yourself some delectable Guardians of the Galaxy cuisine. 

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

Plan With Me

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

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

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

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If you’re entering the world of HBO’s The Last of Us completely unaware of anything but the series, then we suggest you read no further. Because recently, Pedro Pascal, Bella Ramsey, and more discussed the most shocking part of The Last of Us Part II. Yes, we’re talking about Joel’s death.

Speaking to Esquire, Pedro Pascal, Bella Ramsey, and Craig Mazin all chimed in on the matter of Joel’s death, whether it will happen, and how the series will likely approach it. And… yeah, it’s not looking so great for Joel. But… we probably won’t see Joel die in the first episode of The Last of Us season two either.

the last of us joel ellie hug --- Pedro Pascal, Bella Ramsey discuss joel's death
HBO

Pascal noted he hasn’t played The Last of Us games or watched the scene of Joel’s death to date. But “It wouldn’t make sense to follow the first game so faithfully only to stray severely from the path… So, yeah, that’s my honest answer.” It sounds like Pascal has squared with his character’s fate. But co-star Bella Ramsey, who plays Ellie, doesn’t seem so certain about losing Pascal’s Joel yet.

They offer, “If that does take place in the show… I don’t know that I’m emotionally ready for it.” But likely, Ellie won’t feel emotionally ready for it either. So, that’s probably another check in the Joel death category.

However, showrunner Craig Mazin does offer a sprinkle of something different. On the matter of Joel’s death in the HBO The Last of Us series, he has this to say:

This should be fairly obvious to anyone by now, but I don’t fear killing characters. But the important thing to note is that neither Neil [Druckmann, who co-created and exec-produces the series with Mazin] nor I feel constrained by the source material.

Fascinating. Could there be hope for Pedro Pascal’s Joel on The Last of Us, yet? Or will his death simply evolve to the point we don’t see it coming, and it hurts all the more? Probably the latter. But with confirmation that The Last of Us Part II will be told over more than one season, we probably still have some time left with Joel. This is great because we need to see more of Pascal and Ramsey and their Joel and Ellie before we have to let them go. Then again, if Joel did die in The Last of Us season two episode one, we surely will not have seen that one coming.

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If you’re entering the world

Activision has detailed some of the big changes coming to Warzone 2 this week as part of the game’s Season 3 update.

These include changes to the battle royale game’s pacing, combat, movement and more.

Improvements to the core pacing include “a reduced delay time between circles closing towards the mid-game, the addition of more Ammo Caches and Buy Stations in areas to support regain in the late-game, as well as the inclusion of UAV Towers to provide intel and encourage more combat engagement opportunities”.

BlackCell | Call of Duty: Modern Warfare II & Warzone 2.0

One-hit-down sniper rifles are also coming to the game after being tested in its Saint Patrick’s Day event. Bolt-action snipers equipped with Explosive Ammunition will be able to down enemies with one shot, and the MCPR-300 has also had Explosive Ammunition added to its progression.

Among the planned equipment and killstreak rebalances, the Bomb Drone “will no longer one-hit-down and can instead support flushing and/or pushing an enemy squad”.

In terms of movement, the Redeploy Drones first introduced to Ashika Island will provide players with a new way to quickly traverse Al Mazrah.

“Movement will now feel more dynamic and fluid due in part to improvements to mantling over objects or through windows, with slight adjustments to sliding and diving responsiveness”, Activision said.

Movement changes and weapon balancing will exist across Warzone 2 and Modern Warfare 2.

Season 3 will also include the return of the multiplayer mode Gunfight. One of the maps featured in Gunfight will be Blacksite, which is the home of Warzone 2’s new 1v1 Gulag too.

“Blacksite is a roughly rectangular, asymmetrical map with several interior spaces and long external routes, especially on the west portion of the map, where there is a large corridor that stretches between the two spawn areas,” according to Activision.

The Modern Warfare 2 and Warzone 2 Season 3 roadmap

“That area in particular is great for long-distance weaponry, if you have it in your Gulag Loadout; otherwise, it’s a clear path for equipment to be thrown down at the start of a duel. For close-quarters engagements, use the various buildings, where Operators can weave in and out of doorways and other openings to disorient their opponents.”

Season 3 of Modern Warfare 2 and Warzone 2 will launch on April 12 at 10am PT / 1pm ET / 6pm BST.