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Last Updated: February 12, 2023, 17:05 IST

Salman Khan’s Kisi Ka Bhai Kisi Ki Jaan is set to release on Eid 2023.

Salman Khan fans speculate Kisi Ka Bhai Kisi Ki Jaan’s new song Naiyo Lagda, will be launched during Bigg Boss 16 Finale. The song’s teaser was dropped on Saturday.

Salman Khan fans have been super excited about his upcoming film Kisi Ka Bhai Kisi Ki Jaan. The actor recently surprised his fans with his cameo in Shah Rukh Khan’s Pathaan, which also featured Kisi Ka Bhai Kis Ki Jaan’s trailer. Salman fans are waiting with bated breaths about the updates on his upcoming movie, and it was just yesterday that the actor treated them with a teaser of the first song from the film – Naiyo Lagda – which is a romantic track. The teaser has received a tremendous response from fans and has created quite a storm over social media. It showcases alluring chemistry between the megastar and Pooja Hedge and has been filmed in the beautiful locales around Kashmir and Ladakh Valleys.

Himesh Reshammiya composed the music for the song, with lyrics by Shabbir Ahmed and Kamaal Khan and Palak Muchhal lending their voice to the song. The composer of the song Himesh Reshammiya in his Instagram Story dropped a hint for the audience about the song launch going to be ‘BIGG’, it has raised a wave of speculation that the song will be launched in the BIGG BOSS Finale while rising the excitement of the audience to a whole new level. Himesh posted a story on his story writing –

“@BEINGSALMANKHAN ❤️❤️❤️ Really excited for Tomorrow, Kuch special tareeke se launch hoga #NaiyoLagda kal raat by Bhaijaan. Hint: It’s gonna be BIGG.#KisiKaBhaiKisiKiJaan”

After That, Palak Muchhal also shared a post where she is seen humming the songs music and shares her excitement on the song launch and says “Mera latest gaana Naiyo Lagda’ from Salman Khan’s KBKJ is releasing today evening, I’m so excited. And Boss it’s going to be BIGG”

This has made the fan army of Salman Khan go gaga over this post from Himesh. This fire subsequently took over social media as fans couldn’t control and were seen expressing their excitement for the launch of the song. One of the biggest fans of Salman Khan posted –

While the other fans posted –

As the fans have taken ahead the wave to another level reveling in the speculation that Superstar Salman Khan will be launching the song at the Bigg Boss finale enabling them to enjoy the song and the presence of their favourite superstar simultaneously making it a Blockbuster Sunday experience.

A Salman Khan Films Production, produced by Salma Khan, Kisi Ka Bhai Kisi Ki Jaan, is directed by Farhad Samji. The film stars Salman Khan, Venkatesh Daggubati, Pooja Hegde, Jagapathi Babu, Bhumika Chawla, Vijender Singh, Abhimanyu Singh, Raghav Juyal, Siddharth Nigam, Jassie Gill, Shehnaaz Gill, Palak Tiwari and Vinali Bhatnagar with all the elements of a Salman Khan film – romance, action and drama. The film is slated to release on Eid 2023 and will be a Zee Studios worldwide release.

Read all the Latest Movies News here

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Last Updated: February 12, 2023, 17:05 ISTSalman

FX has scrapped the series adaptation of the 2010 Fox Searchlight picture Never Let Me Go.

FX picked up the series, which would have streamed on Hulu, in October. The decision to cancel the series was made before any production had even started.

Kazuo Ishiguro‘s film adaptation of his 2005 science fiction novel of the same name served as the basis of the series.

The series follows Thora, a disobedient adolescent clone who escapes from the boarding school where she and her fellow clones are kept concealed from society. She sets in motion events that will launch a revolution and push the limits of what it means to be human as she begins living covertly in the outside world.

Viola Prettejohn, Tracey Ullman, Kelly Macdonald, Aiysha Hart, Spike Fearn, Shaniqua Okwok, Gary Beadle, Kwami Odoom, Susan Brown, Keira Chanse and Edward Holcroft were all attached to co-star.

FX isn’t the first network to scrap series with series orders or renewals, joining HBO Max, AMC, Starz and others in reversing decisions over the past several months.

FX Chairman John Landgraf said at the TCA winter press tour, the network didn’t have “specific plans” to cancel already ordered or renewed series but “wouldn’t rule anything out,” according to Variety.

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FX has scrapped the series adaptation of

 

Great news! “Thunivu (Kannada)” is available to watch on Netflix UK!

 

Date Added: 11th February 2023

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

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

Watch in Tamil, Telugu, Kannada, Malayalam, Hindi

 

Description:

A major bank heist takes an unnerving turn when a mysterious interloper known only as Dark Devil begins to hijack the operation.

 

Certificate: Suitable for ages 15 and up

Year: 2023

Duration: 2hr 22m

Audio: Kannada

Subtitles: English

 

Cast and Crew

Production & Box Office Details:

“Thunivu (Kannada)” was produced by Bayview Projects and was originally released on January 11th 2023.

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Candace Cameron Bure has been called a lot of things lately, but award-winning is certainly not one of the descriptions. But that’s about to change … maybe.

The Fuller House actress who generated lots of headlines for moving her brand of entertainment to Great American Family just received the Best Family Television prize and the Grace Award for TV performance at the 30th Annual Movieguide Awards. Never heard of those? They’ve been (kindly) nicknamed the Christian Oscars because they like to honor wholesome and uplifting Christian entertainment.

Bure won for producing and starring in A Christmas … Present, the first holiday movie she produced for the channel under her Candy Rock Entertainment banner. The flick premiered in November as part of the channel’s Great American Christmas lineup. She played a real estate mom in the movie opposite Marc Blucas and Paul Fitzgerald.

In an effusive Instagram post, Bure thanked the network and its Chief Exec Bill Abbott “for being unashamed to share scripture and the name of Jesus on cable television and for your dedication to faith and family entertainment.”

The awards were held Friday. Lori Loughlin showed up!

Last summer, GAC Media signed the former Hallmark Channel staple to develop, produce and star in movies and TV shows for GAC Family and GAC Living. She also took an executive role in the company, overseeing and curating programming, which ultimately led to her now-infamous interview with The Wall Street Journal about wanting to keep “traditional marriage at the core.”

In other words, there will be no holiday movies featuring same sex couples as leads on Great American Family. That didn’t sit well with actress Hilarie Burton (who called her a bigot) and lots of folks on social media who objected to what they saw as veiled — or straight up overt — homophobia.

The 30th Annual Movieguide Awards will be streamed Feb. 26 on the cabler UPtv.

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Candace Cameron Bure has been called a

SANTA BARBARA INTERNATIONAL FILM FESTIVAL 2023 REVIEW! It’s been more than forty years since the HIV/AIDS epidemic struck the U.S. and changed the world forever. Directed and edited by Jeffrey Schwarz, Commitment to Life is a documentary about the early years of the HIV/AIDS epidemic in Los Angeles. The filmmaker spotlights the people who spoke up and offered comfort and direction in a time of widespread panic.

The filmmaker initially taps into the Hollywood mindset of aspiring actors coming from small towns. Queer Eye star Karamo Brown describes coming to L.A. and struggling to fit in. But then he found Catch One, the premiere black gay club opened by Jewel Thais-Williams, and immediately found his community. Activist Stephen Bennett remembers reading about a mysterious illness affecting gay men in town. Nobody knew how it was transmitted, and that uncertainty erupted into fear.

After detailing the rise of HIV/AIDS and how it was misunderstood by society, Commitment to Life looks closely at the evolution of the AIDS Project Los Angeles, the first agency to provide HIV/AIDS services and safe spaces for the gay community. Community is the key word here that best characterizes the courageous activists, survivors, volunteers, and celebrities who came together in a time of need. When the government failed to respond, everyday people took it upon themselves to fight HIV/AIDS the best way they could with the very little they had. What they did have was a voice, and when voices come together, change becomes all the more possible.

“…the early years of the HIV/AIDS epidemic in Los Angeles.”

Matt Redman knew the LGBTQIA community had to take care of each other, and so, with the help of others, he co-founded the APLA. This agency serves those living with AIDS. If they need necessities or even human interaction, the APLA provides them. Unfortunately, there was a lot of fear stemming from a lack of information. So, in response, the AIDS project hired volunteers who’d take calls from frightened people and try to alleviate those fears. In combining old footage and present-day interviews, Schwarz captures the anxiety of those who reacted ineptly to the virus. At the same time, he acknowledges the bravery of those who overcame that anxiety and any misconception head-on with persistence, passion, and empathy.

The strength of Schwarz’s direction lies in the fact that a wide range of subjects and projects (such as the Minority AIDS Project) are recognized. Plus, he isn’t afraid of acknowledging the criticism of APLA, albeit briefly and not too extensively. Moreover, the film evaluates cultural shifts from all angles, charting how Hollywood and media eventually took on a bigger role in shifting the narrative surrounding stigma. Schwarz seamlessly edits every piece of footage so that it resonates strongly. The interviewees can’t help but break down in tears because they remember who they lost to AIDS. It is incredibly heartbreaking to observe. “I still cry because I remember,” says Melinda Serrano. Her words linger long after the documentary ends.

Schwarz’s intensely moving and inspiring documentary about the HIV/AIDS crisis is absolutely essential. What you see are real people who have endured, fought so hard against the virus, and bravely resisted the wrath of politicians who tried to make them feel unworthy and ashamed. Unfortunately, this fight is far from over. It is on us to continue it and to remember and honor those who are no longer with us. Commitment to Life is a reminder that even in the bleakest of times, empathy and love can prevail.

Commitment to Life screened at the 2023 Santa Barbara International Film Festival.

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SANTA BARBARA INTERNATIONAL FILM FESTIVAL 2023 REVIEW!

The London Knights travelled to Guelph on Saturday and walloped the Storm 5-1 for their eighth consecutive victory.

This was easily the most hectic part of London’s 2022-23 schedule with six games in nine days. The Knights swept the entire half dozen and outscored their opponents 37-12 while doing it.

They got off to another fast start as they struck three times in the opening 20 minutes to lead 3-0.

Ryan Humphrey scored London’s 200th goal of the year as he lifted a Logan Mailloux rebound past Brayden Gillespie in the Storm net.

Mailloux and George Diaco then scored goals 57 seconds apart late in the period. Ruslan Gazizob set up Diaco with a sneaky feed that had everyone on the Guelph side believing he was heading behind the Storm net, but instead he put the puck on Diaco’s stick and the Londoner fired home his 22nd of the year.

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Ryan Winterton broke up a play in his own zone and began a rush back the other way in the final minute of period one. Winterton found Denver Barkey and he dropped a pass off to Mailloux who had time to pick his spot on Gillespie for Mailloux’s 19th goal of the year.

After Braden Bowman scored on an early Guelph power play in the second period to get them on the board the Knights restored their three goal lead, when Ryan Humphrey found Barkey sneaking in front of the Storm net. Barkey deked and scored his fourth goal in three games. Barkey had a goal and an assist in the game.

Humphrey deflected in his second of the game in the third period on another Logan Mailloux shot. That gave Humphrey two goals and an assist on the night and it gave Mailloux a goal and two assists.

Zach Bowen didn’t have to deal with the 33 shots that came his way a night earlier against Erie but he came up large with two cross-crease saves as part of the 25 stops he made against the Storm.

Bowen has now won 13 games in a row.

London is a league-best 18-4 on the road.

The Windsor Spitfires remained one point ahead of London for first place in the Western Conference standings. The Knights still have one game in hand.

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Where are they now: 2019-20

Connor McMichael: The Knights leading scorer in the season that never reached its conclusion spent all of last season in the National Hockey League with the Washington Capitals where he had nine goals and 18 points in 68 games. McMichael has spent most of this season in the American Hockey League. The Ajax, Ont., native was assigned to the Hershey Bears in November and is sixth in team scoring with 22 points in 33 games.

Liam Foudy: London’s first round pick in 2016 found himself in the AHL for much of 2021-22. This season he has been exclusively in the NHL with the Columbus Blue Jackets. Foudy has three assists in 32 games played.

Alec Regula: The big defenceman from West Bloomfield, Mich., has put together a couple of solid seasons with the AHL’s Rockford IceHogs and has earned a few games in the NHL with the Chicago Blackhawks as well. Regula’s National Hockey League resume is 22 games long. He scored his first NHL goal last season against the Calgary Flames.

Read more:

London Knights edge Kitchener Rangers 5-4 for their 6th straight victory

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Prospect watch

James Hagens was selected by the Knights in the sixth round of the 2022 OHL Priority Selection. Hagens is a late birthday and he is considered a top prospect for the 2025 NHL Entry Draft. He has played with the U.S. National Development Team Program and has scored some highlight reel goals this year. Hagens is a dynamic offensive player who sees and does things most players cannot. Hagens remains uncommitted to an NCAA program but that isn’t unusual. He will only turn 17 in November.

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On Valentine’s Day the Knights will head for Kitchener for a game featuring two teams with zero love for one another.

The Rangers made a coaching change on Jan.10 as general manager Mike McKenzie replaced Chris Dennis behind the bench. The new coach bump resulted in an 8-1 Kitchener drubbing of the Hamilton Bulldogs. Kitchener remains in 8th place in the Western Conference but their roster suggests they should sit a whole lot higher than that.

London has won three of the four meetings between the clubs this season. Denver Barkey capped off a comeback on Feb. 8 when he scored the game winner with 32 seconds left in regulation.

Coverage will begin at 6:30 on 980 CFPL, at http://www.980cfpl.ca and on the Radioplayer Canada app.

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

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The London Knights travelled to Guelph on

UPDATED with complete winners list: Oscar Best Picture nominee Elvis scored wins in both motion picture period make-up and hair styling categories Saturday at the 10th annual Make-up Artists & Hair Stylists Guild Awards.

The contemporary make-up team from fellow Best Pic Oscar nominee Everything Everywhere All at Once and the special make-up effects team behind The Whale also took top honors tonight in the ceremony at the Beverly Hilton, as did Black Panther: Wakanda Forever for its contemporary hair styling.

MUAHS Awards logo

Angela Bassett received the Distinguished Artisan Award on Saturday

MUAHS

Tonight’s film winners are now vying for Oscar frontrunner status in the Make-up and Hair Styling category; Elvis, Black Panther and The Whale are nominated there this year along with All Quiet on the Western Front and The Batman. Elvis and Batman were triple MUAHS nominees tonight.

On the TV side tonight, multiple winners include Pam & Tommy, The Guardians of the Galaxy: Holiday Special, the children’s series The Quest and the competition series Legendary. Also a double winner was American Horror Stories, which swept the Commercials & Music Videos category.

It was a good night for Black Panther, with star Angela Bassett kicking off the night being presented with the Distinguished Artisan Award by the guild, IATSE Local 706. Melissa Peterman was the emcee.

Other individual honorees on the night included Vanguard Awards for Make-up to Fred C. Blau Jr and for Hair Styling to Judy Crown, the latter presented by her Seinfeld pal Jason Alexander. Life Achievement Awards for make-up artist Steve LaPorte, who was presented by Rick Baker, and Josée Normand for hair styling.

Here’s the complete list of tonight’s winners:

FEATURE LENGTH MOTION PICTURE

Best Special Make-Up Effects

The Whale
Adrien Morot, Kathy Tse, Chris Gallaher

Best Period and/or Character Make-Up

Elvis
Shane Thomas, Angela Conte

Best Period and/or Character Hair Styling

Elvis
Shane Thomas, Louise Coulston

(L-R) Louise Coulston, Shane Thomas and Angela Conte from ‘Elvis’

Michael Buckner

Best Contemporary Make-Up

Everything Everywhere All at Once
Michelle Chung, Erin Rosenmann, Dania A. Ridgway

Best Contemporary Hair Styling

Black Panther: Wakanda Forever
Camille Friend, Evelyn Feliciano, Marva Stokes, Victor Paz

TELEVISION SERIES: LIMITED, MINISERIES OR MOVIE FOR TELEVISION

Best Special Make-Up Effects

Pam & Tommy
David Williams, Jason Collins, Mo Meinhart, Abby Lyle Clawson

Best Period and/or Character Hair Styling

Our Flag Means Death
Margarita Pidgeon, Stacy Bisel, Kate Loftis, Christopher Enlow

Best Period and/or Character Make-Up

Pam & Tommy
David Williams, Jennifer Aspinall, Dave Snyder, Bill Myer\

(L-R) Doniella Davy, Tara Lang Shah and Alexandra J. French from ‘Euphoria’

Michael Buckner

Best Contemporary Make-Up

Euphoria – Season 2
Doniella Davy, Tara Lang Shah, Alexandra J. French

Best Contemporary Hair Styling

Abbott Elementary
Moira Frazier, Dustin Osborne, Christina R. Joseph

TELEVISION SPECIAL, ONE HOUR OR MORE LIVE PROGRAM SERIES

Best Period and/or Character Make-Up

The Guardians of the Galaxy: Holiday Special
Michael Ornelaz, Matt Sprunger, Jon Moore, Robin Pritchard

Best Special Make-Up Effects

The Guardians of the Galaxy: Holiday Special
Alexei Dmitriew, Scott Stoddard, LuAndra Whitehurst, Mo Meinhart

Best Contemporary Hair Styling

Legendary
Jerilynn Stephens, Kimi Messina, Dean Francis Banowetz, LaLisa Turner

Best Period and/or Character Hair Styling

Beauty and the Beast: A 30th Celebration
Anthony Wilson, Jennifer Guerrero, Maria Sandoval, Myo Lai

Best Contemporary Make-Up

Legendary
Tonia Green, Tyson Fountaine, Silvia Leczel, Sean Conklin

Josée Normand

Michael Buckner

LIFETIME ACHIEVEMENT AWARD IN HAIR STYLING

Josée Normand

COMMERCIALS & MUSIC VIDEOS

Best Hair Styling

American Horror Stories: Season 2 Promo
Joe E. Matke III, Tiphanie Baum, Jerilynn Stephens, Johnny Lomeli

Best Make-Up

American Horror Stories: Dollhouse Promo
Kerry Herta, Jason Collins, Alyssa Morgan, Christina Kortum

Fred C. Blau Jr.

Michael Buckner

VANGUARD AWARD In MAKE-UP

Fred C. Blau Jr

THEATRICAL PRODUCTIONS (Live Stage)

Best Make-up

Kinky Boots
Brandi Strona, Glen Alen, Lilia Villasenor

Best Hair Styling

La Traviata
Jeanna Parham, Christina E. Martin

CHILDREN AND TEEN TELEVISION PROGRAMMING

Best Hair Styling

(L-R) Steve LaPorte and Rick Baker onstage

Michael Buckner

The Quest
Erica Adams, Alyn R. Topper, Lauren McKeever, Jennifer Tremont

Best Make-Up

The Quest
Elle Favorule, Michelle Sfarzo, Sonia Cabrera

LIFETIME ACHIEVEMENT AWARD IN MAKE-UP

Steve LaPorte

DAYTIME TELEVISION

Best Hair Styling

The Kelly Clarkson Show
Tara Copeland, Roberto Ramos

Best Make-Up

Judy Crown and Jason Alexander

Michael Buckner

The Boulet Brothers Dragula: Titans
Swanthula Boulet, Dracmorda Boulet

VANGUARD AWARD IN HAIR STYLING

Judy Crown

DISTINGUISHED ARTISAN AWARD

Angela Bassett

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UPDATED with complete winners list: Oscar Best

Future Fitbit wearable devices following on from the likes of the Fitbit Versa 4 smartwatch could come with built-in tech for detecting blood pressure, according to a patent filed by Fitbit that has come to light this week.

The patent (opens in new tab) (via The Verge (opens in new tab)) describes a system that will “calculate an estimate of blood pressure from the one or more sensor data samples”, with the user placing one of their fingers against the wearable device’s display to get a reading.

It would be a surprise if Fitbit wasn’t working on this sort of technology, and indeed we’ve seen earlier studies and previous patents from the company suggesting that something like this was in the works. However, it’s going to be difficult to get right.

One of the diagrams in the patent (Image credit: WIPO IP Portal)

Patent predictions

We should get our usual patent disclaimer out of the way: when patents get filed, it’s not a guarantee of anything actually appearing. That said, they do give us a useful window into what sort of areas the various tech companies are looking into.

Further complicating matters is the fact that Fitbit is now part of Google. If this blood pressure monitoring sensor upgrade does appear, it may well be on a follow-up to the Google Pixel Watch rather than anything with the Fitbit name attached.

It’s worth bearing in mind that recent Galaxy wearables, including the Samsung Galaxy Watch 5, already offer some form of blood pressure monitoring – though the feature doesn’t have regulatory approval to be used in the US.


Analysis: smarter smart devices

The miniature computers on our wrists continue to get smarter, adding new features year on year to gather even more data about our health and well-being. The latest Apple Watch 8 has a temperature sensor for menstrual and ovulation tracking, for instance.

Blood pressure capabilities would be another significant step forward. Readings are typically taken using a cuff that cuts off and then releases blood flow to get a measurement while the heart is beating (systolic) and resting (diastolic).

Getting something similar crammed into the confines isn’t going to be straightforward, and regulators like the Food and Drug Administration (FDA) in the US will be watching closely – if the sensors aren’t accurate, the tech won’t be cleared for consumer use.

At this stage we’ve seen enough in the way of improvements on smartwatches to think that this could be possible – though perhaps not in the near future. It might also come with a premium attached in terms of the price of devices.

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Future Fitbit wearable devices following on from

“Elvis” took the crown at the 10th annual Make-Up Artists and Hair Stylists Guild Awards, leading all films. Presented Saturday evening at the Beverly Hilton, the Baz Luhrmann spectacle in which hair and makeup helped transform Austin Butler into Elvis Presley at every stage of his illustrious career, won two awards in the five feature-film categories, for period and/or character make-up and period and/or character hair styling.

Other film winners included “Everything Everywhere All at Once” for contemporary make-up, “The Whale” for special make-up effects and “Black Panther: Wakanda Forever” for contemporary hair styling.

“Elvis,” “The Whale,” and “Black Panther: Wakanda Forever” are all nominated for the Best Makeup and Hairstyling Oscar, along with “All Quiet on the Western Front” and “The Batman.” (The Academy treats makeup and hairstyling as single words, while the guild hyphenates the first and separates the second.)

Since the MUAHS Awards started up again after a hiatus in 2013, all but one Oscar winner for makeup and hair had previously won an award from the guild. The MUAHS category for period and/or character makeup most often predicts the Oscar, with seven matches in nine years, while the contemporary makeup winner has taken the Oscar once. Winners of hair styling awards from the guild have won the Oscar three times, while winners for makeup effects have won four times.

The only Oscar recipient that had not previously won a MUAHS Award was last year’s winner, “The Eyes of Tammy Faye.”

Those precedents seemingly put “Elvis” and “The Whale” in the best position for the Oscar.

Meanwhile, in the television categories, “Pam & Tommy,” “Legendary,” “The Guardians of the Galaxy: Holiday Special,” “American Horror Stories,” and “The Quest” all won two awards, with other winners including, “Euphoria,” “Abbott Elementary,” “Our Flag Means Death,” “Beauty and the Beast: A 30th Celebration,” “The Boulet Brothers Dragula: Titans,” and “The Kelly Clarkson Show.”

Hosted by actress Melissa Peterman, the ceremony also included featured five special honors. Angela Bassett received the Distinguished Artisan Award, make-up artist Steve La Porte and hair stylist Josée Normand were given Lifetime Achievement Awards and make-up artist Fred C. Blau Jr. and hair stylist Judy Crown received Vanguard Awards.

The complete list of winners:

FEATURE-LENGTH MOTION PICTURES
Best Contemporary Make-Up: “Everything Everywhere All at Once,” Michelle Chung, Erin Rosenmann, Dania A. Ridgway
Best Period and/or Character Make-Up: “Elvis,” Shane Thomas, Angela Conte
Best Special Make-Up Effects: “The Whale,” Adrien Morot, Kathy Tse, Chris Gallaher
Best Contemporary Hair Styling: “Black Panther: Wakanda Forever,” Camille Friend, Evelyn Feliciano, Marva Stokes, Victor Paz
Best Period and/or Character Hair Styling: “Elvis,” Shane Thomas, Louise Coulston

TELEVISION SERIES — LIMITED, MINISERIES OR MOVIE FOR TELEVISION
Best Contemporary Make-Up: “Euphoria”- Season 2, Doniella Davy, Tara Lang Shah, Alexandra J. French
Best Period and/or Character Make-Up: “Pam & Tommy,” David Williams, Jennifer Aspinall, Dave Snyder, Bill Myer
Best Special Make-Up Effects: “Pam & Tommy,” David Williams, Jason Collins, Mo Meinhart, Abby Lyle Clawson
Best Contemporary Hair Styling: “Abbott Elementary,” Moira Frazier, Dustin Osborne, Christina R. Joseph
Best Period and/or Character Hair Styling: “Our Flag Means Death,” Margarita Pidgeon, Stacy Bisel, Kate Loftis, Christopher Enlow

TELEVISION SPECIAL, ONE HOUR OR MORE LIVE PROGRAM SERIES
Best Contemporary Make-Up: “Legendary,” Tonia Green, Tyson Fountaine, Silvia Leczel, Sean Conklin
Best Period and/or Character Make-Up: “The Guardians of the Galaxy: Holiday Special,” Michael Ornelaz, Matt Sprunger, Jon Moore, Robin Pritchard
Best Special Make-Up Effects: “The Guardians of the Galaxy: Holiday Special,” Alexei Dmitriew, Scott Stoddard, LuAndra Whitehurst, Mo Meinhart
Best Contemporary Hair Styling: “Legendary,” Jerilynn Stephens, Kimi Messina, Dean Francis Banowetz, LaLisa Turner
Best Period and/or Character Hair Styling: “Beauty and the Beast: A 30th Celebration,” Anthony Wilson, Jennifer Guerrero, Maria Sandoval, Myo Lai

DAYTIME TELEVISION
Best Make-Up: “The Boulet Brothers Dragula: Titans,” Swanthula Boulet, Dracmorda Boulet
Best Hair Styling: “The Kelly Clarkson Show,” Tara Copeland, Roberto Ramos

CHILDREN AND TEEN TELEVISION PROGRAMMING
Best Make-Up: “The Quest,” Elle Favorule, Michelle Sfarzo, Sonia Cabrera
Best Hair Styling: “The Quest,” Erica Adams, Alyn R. Topper, Lauren McKeever, Jennifer Tremont

COMMERCIALS & MUSIC VIDEOS
Best Make-Up: “American Horror Stories: Dollhouse” Promo, Kerry Herta, Jason Collins, Alyssa Morgan, Christina Kortum
Best Hair Styling: “American Horror Stories: Season 2” Promos, Joe E. Matke III, Tiphanie Baum, Jerilynn Stephens, Johnny Lomeli

THEATRICAL PRODUCTIONS (Live Stage)
Best Make-up: “Kinky Boots,” Brandi Strona, Glen Alen, Lilia Villasenor
Best Hair Styling: “La Traviata,” Jeanna Parham, Christina E. Martin

Steve Pond contributed to this post.

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“Elvis” took the crown at the 10th

Jonathan Majors enters the MCU as the next major villain portraying Kang the Conqueror in Ant-Man and the Wasp: Quantumania.

Looking ahead at Avengers: The Kang Dynasty, Majors recently revealed he would like to share the big screen with Robert Downey Jr. reprising his role of Iron Man.

“So Kang Dynasty – I can’t even think about it because I’m so excited about [Quantumania] – but Kang Dynasty feels to me that it has the potential to grow the mythology of Kang, to grow the curiosity of Kang that much more, which is extremely exciting,” the actor told Lifehacker Australia.

“This is like a Robert Downey Jr. day, he just keeps popping in [to my head],” Majors added. “Like, I know he’s an OG. I mean, he’s one of the originals. I’m just such a huge fan of him as an actor. I think what he did with Iron Man was such a gift to the culture at large.”

He continued, “I would love to be across from him on screen to see how our philosophies, acting-wise and character-wise, just personally, match up. You know, I find him to be such a fascinating artist, which is why Iron Man is so fascinating. His portrayal of Iron Man is so fascinating and he represents a very clear world view and energy of the Avengers. And I think Kang represents a different era.”

Avengers: Endgame was the finale for the major characters up until that point but with the multiverse opening up, the possibilities are endless as the MCU enters Phase 5.

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Jonathan Majors enters the MCU as the

The words Magic Mike may conjure up images of sweaty, sculpted, undulating men, dancing unthreateningly for hoards of screaming women, but there has always been a backdrop of brutal economic reality looming over the fantasy world.

The unlikely franchise has explored the escalating devaluation of physical laborers, the suffocating effects of the college industrial complex, predatory loan businesses, recession and even COVID-19, which has effectively destroyed poor Mike Lane’s furniture business in this latest film.

When we re-meet Channing Tatum’s gentle hunk in “ Magic Mike’s Last Dance,” in theaters Friday, he’s bartending at parties for the very rich in Miami. The gig could be worse, but though he doesn’t quite say it, the implication is that he’s even aged out of dancing now. He has to seriously think about it when his wealthy employer offers him $6,000 for a dance later that evening.

Asking why sequels exist doesn’t usually produce satisfying answers, but “Magic Mike’s Last Dance” is a film that was born backwards, a fit of inspiration from Steven Soderbergh after seeing what Tatum had done with Magic Mike Live. The Las Vegas stage show, inspired by the first two movies, is described on its website as “an unforgettably fun night of sizzling, 360-degree entertainment,” “hot,” “hilarious,” “the great time you’ve been looking for” and “the ultimate girl’s night out.”

But “Magic Mike’s Last Dance” is not quite any of those things and perhaps might even annoy some of its most enthusiastic fans — the ones who simply want to holler at the six-packs in front of them. Because this film is that thing that many sequels promise but don’t deliver on: It’s both a true evolution and a conclusion. It’s also part fantasy, part bleak reality, part commentary the fundamental value of dance and what’s lost in a society that has forgotten how. It is not, in other words, simply another striptease.

“Magic Mike” and “XXL” (directed by Gregory Jacobs) both latched on to a kind of pure joy in the spectacle of the male stripper. But that audience, by nature of its venues, is inherently limited and “down market.” In “Last Dance,” Soderbergh gives Mike a wealthy benefactor, in the form of the operatically named Maxandra Mendoza (Salma Hayek) who is in the midst of a messy divorce from an obscenely successful media mogul and looking to shake things up.

After an acrobatic, but fully clothed, encounter with Mike, she decides to whisk him away to London, dress him up and put him in charge of staging a show that promises to make its audiences feel the way she did the night she met Mike. In the process, she, and Soderbergh, Tatum and screenwriter Reid Carolin, set a historic London theater, and all of its fussy rules, ablaze (figuratively). If only all scorned socialites could do something so charitable with their rage.

It’s a clever conceit for a filmmaker who never tires of singeing the establishment he continues work in. And like many Soderbergh films, “Magic Mike’s Last Dance,” shaggy, earnest and innocently tawdry, goes down so easy that it’s almost impossible to appreciate it fully on a first watch. I imagine it will only improve with more.

If there is a quibble, it’s that Hayek and Tatum don’t quite inspire the will-they-won’t-they tension that the movie seems to be asking of them. They work well together when they’re working together, but the romantic chemistry is a bit lacking. Besides, his great unrequited love isn’t a person but his furniture business, right? It doesn’t help that Maxandra is also an extremely underdeveloped character.

Even so, Mike manages to wrest an inspired dance in the rain out of the idea of them (his co-dancer is Kylie Shea) that pays homages to classic movie musicals with just a bit more skin and writhing.

This story is told like a fairy tale, or a poetically composed school paper from a particularly precocious student, with a silky voiced young narrator telling us about Mike’s woes and the waning significance of dance in the culture. She’s not just a disembodied voice, but an important character the story reveals later. But it’s a lovely little flourish in Mike Lane’s journey. He’s a guy who just wants to make furniture but seems destined (or doomed) to continue performing in one way or another. Like his director, he’s just too good at it to say goodbye forever, no matter how much they both keep trying.

“Magic Mike’s Last Dance,” a Warner Bros. release in theaters Friday, is rated R by the Motion Picture Association for “sexual material and language.” Running time: 112 minutes. Two and a half stars out of four.

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MPA Definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.

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

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The words Magic Mike may conjure up

Penn Badgley had only one request for You showrunner Sera Gamble going into season four: “Can I just do no more intimacy scenes?”

The star of the hit Netflix series recently opened up on his podcast Podcrushed about wanting to take a step back from romance roles and intimacy, due to his desire to remain faithful to his wife, Domino Kirke, who he married in 2017.

“This is actually a decision I’d made before I took the show,” Badgley said. “I don’t think I’ve ever mentioned it publicly, but one of the main things is like, ‘Do I wanna put myself back on a career path where I’m just always a romantic lead?’”

He continued, “It’s really important to me … Fidelity in every relationship — and especially my marriage — is important to me, and it just got to a point where I didn’t wanna do that. Then, of course, before I took the show is there a question of, ‘Do I have a career if I don’t?’ I mean, you know, think about every male lead you’ve loved. Are they kissing someone? Are they doing a lot more than that? It’s really not my desire to.”

The Gossip Girl alum went on to explain that he told Gamble, in an ideal world, his desire would be to not have any intimate scenes in the show at all, but he understands that’s not a super reasonable ask.

“I signed this contract,” he said. “I signed up for this show. I know what I did. You can’t take this aspect out of the DNA of the concept, so how much less can you make it was my question to them.”

The You star said the creator “didn’t even bat an eye” when he asked.

“She was really glad that I was that honest, and she was sort of, I wanna say almost empowered,” Badgley said. “She had a really positive response. She appreciated my directness, and she appreciated that I was also being reasonable and practical, and they came back with a phenomenal reduction.”

The romance storyline for Joe Goldberg has been a big part of You since its first season. Season four, Part 1, romance may take a backseat to the whodunnit story that’s unraveling over the first five episodes, which are now streaming on Netflix, but it still exists. And the object of Joe’s affection this season is Kate (Charlotte Ritchie), who throws Joe for a loop as he tries to figure out their dynamic and falls short.

“She’s the new shiny object he can’t figure out. So, it’s not boring yet,” Badgley previously told The Hollywood Reporter. “And then, once he starts to get to know her, what draws him in, at least according to him — Joe being the most unreliable narrator, maybe in all of storytelling — he says he’s drawn in because she seems like she wants to be good. She’s surrounded by bad people and wants to be good. And he feels the same way. But, that’s what he says. I don’t know if that’s true.”

After premiering its first season on Lifetime, You took on a new life when it was picked up by Netflix to continue its run. Since then, the show has consistently topped streaming charts, and Gamble is not ready to say goodbye — yet.

“We have an idea for season five that we’re excited about,” the showrunner told THR’s TV’s Top 5 podcast. “It was never anyone’s intention to run this one into the ground. When we’re done, we’ll be done. And we’ll pack it up. Even in the early conversations with Penn, the idea was not to crank out episodes forever; it’s to feel like we have told the complete story.”

You season four, Part 1, is now streaming on Netflix, with Part 2 hitting the streamer March 9.

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Penn Badgley had only one request for

Picture: Netflix / Julia Nędzyńska – Behance

When it comes to big fantasy series, The Witcher is Netflix’s biggest to date and has been the template for how Netflix is expanding IP across multiple spin-offs and formats. Following two spin-offs in the Witcherverse, Netflix is reportedly working on a new spin-off series that focuses on The Rats, a prominent gang within the Witcherverse that will feature in season 3 of the show. Here’s the latest.

RedanianIntelligence (a frequent contributor to What’s on Netflix) was behind the first report in late November 2022 that Netflix was planning another spin-off set into its fantasy universe adapted from the books by Andrzej Sapkowski.

It’d follow two other major spin-offs so far, with those being the well-received anime feature The Witcher: Nightmare of the Wolf and the lesser well-received limited series The Witcher: Blood Origin.

Per Redanian Intelligence:

“We have learned that the next live-action spinoff of The Witcher will explore the infamous group of young Nilfgaardian misfits called The Rats. In the books, The Rats are featured in Ciri’s storyline as she joins them for a period of time.”

Indeed a project under the working/codename title RATS is in development at Netflix and is thought to be filmed in South Africa and has numerous members of The Witcher crew attached to the project.

In February 2023, we got even more new details on the new project courtesy of DanielRPK Patreon, who posted the following short logline for the project, which is expected to be a new series:

“Six teenage thieves must rely on their criminal skills as they plan the biggest heist of their careers against the most dangerous crime ring in the kingdom”

In addition, he mentions the project is now going by the name of “Riff Raff” and will be shooting between April and September 2023.

Netflix has still yet to comment on the project officially.


Who are The Rats in The Witcher?

The Rats will feature strongly in season 3 of The Witcher.

Per The Witcher wiki on Fandom:

“The Rats was a young gang of criminals in Geso that was known for stealing from the rich to satisfy their own material wants, which included having the best horses, clothing, and accessories.”

You can find an excellent (lengthy) breakdown of The Rats and their backstory and impact in the books via Scarlett Sunday on YouTube below:

In April 2022, Netflix announced the first member of The Rats, Christelle Elwin, who will play the role of Mistle. Here’s the official description for her character:

“Mistle is a member of The Rats, a gang of misfit teenagers who steal from the rich and give to themselves – and sometimes the poor. She is street hard, suspicious of everyone and out for revenge, until a chance meeting that will change everything.”

Subsequent castings include Fabian McCallum as Kayleigh and Julliette Alexandra as Reef. Aggy K. Adams is thought to be playing the role of Iskra.

christelle elwin netflix season 3 casting the witcher

Christelle Elwin cast as Mistle in The Witcher


Among the other projects, Netflix has planned in The Witcher universe is another anime entry, a kid’s animated entry and seasons 3 and 4 of The Witcher, with the third season coming in Summer 2023.

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Picture: Netflix / Julia Nędzyńska – Behance

What do “The Broadway Melody” (1929), “Grand Hotel” (1932) and “Mutiny on the Bounty” (1935) all have in common? In Oscar history, they are the only films to have won the Academy’s most coveted award — and nothing else. Could Martin McDonagh’s “The Banshees of Inisherin” join that select group this year, despite being the second-most-nominated movie of the lot?

Of the dark comedy’s nine noms, only three have a viable path to glory: Colin Farrell for actor, McDonagh for original screenplay and best picture. The other mentions — director, supporting actress and the double-dipping (and vote-splitting) supporting actors among them — face hurdles too high to clear.

Farrell is walking steadily with a Golden Globe for lead actor (comedy), but the film was shut out at the Critics Choice Awards. With Austin Butler (“Elvis”) and Brendan Fraser (“The Whale”) equally building on their movies’ buzz, all eyes are on BAFTA and SAG to provide clarity on which leading man will come away with the Oscar.

McDonagh’s screenplay campaign is battling the year’s most nominated movie, “Everything Everywhere All at Once.” Given that tailwind, even if “Everything Everywhere” comes up short in the top race, supporting actor Ke Huy Quan and original screenplay seem to be two spots where its vocal admirers could convey their passion.

As to best picture, five films are seriously vying for the prize — “Banshees,” “Everything Everywhere,” “The Fabelmans,” “Tár” and “Top Gun: Maverick.” “Banshees” has a great shot mainly because the award is decided by a ranked-voting system (aka the preferential ballot). In all other categories, the popular vote determines the winner.

Colin Farrell and Barry Keoghan in “The Banshees of Inisherin” (Searchlight Pictures)
Everett Collection

The preferential system favors not the movies that are most loved (that is, with the most passionate admirers) but the ones that are most liked (having the greatest general appeal). While a first-place “most loved” vote is ideal — a contender needs 50% of the vote plus one to secure a win — it’s the second-and third-place “most liked” picks that push a title across the finish line. That explains upsets like “Green Book” (2018) over “Roma” and the ushering through of underdogs such as “Parasite” (2019) over “1917.” If “Everything Everywhere’s” flying dildos are a bridge too far for voters, or “Maverick” is too lowbrow, an Irish tale of two buddies who have a falling out could be just what the Oscar doctor ordered.

Additionally, in the past, one movie — think “Slumdog Millionaire” — might hold multiple statuettes by night’s end. However, since 2009, when the preferential ballot was instituted, only two best picture winners have landed five or more statuettes: “The Hurt Locker” (2009) and “The Artist” (2011). “Banshees’” prospects are more in line with those of recent winners like “Spotlight” (2015), which scored only two.

In the meantime, each of the top four best picture contenders is favored at one of the four upcoming guild and industry ceremonies, which typically determine the Oscar winner: BAFTA (“Banshees”), DGA (“The Fabelmans”), PGA (“Maverick”) and SAG (“Everything Everywhere”).

If each group goes with a different movie, it’ll be a wide-open race with few clues. In addition, it would also be the first time since the 2001-2002 awards season that the four major guilds didn’t align: BAFTA (“The Lord of the Rings: The Fellowship of the Ring”), DGA (“A Beautiful Mind”), PGA (“Moulin Rouge!”) and SAG (“Gosford Park”). Oscar aligned with DGA winner Ron Howard’s drama. A rare seasonal chessboard like this might provide a lane for “Banshees” to walk toward the Dolby Theatre stage.

All that said, “Banshees,” with its international cast and relatable themes, appeals to multiple Academy branches. And with more than 60% of Academy members in the artisan categories, the period piece’s glossy production values and stunning cinematography will have voters ranking it high on their ballots.
In a year that had way more severed fingers and adorable equines than we ever expected (see “EO,” “The Menu” and “Triangle of Sadness”), “Banshees” was the one that delivered the best feckin’ time.


EVERYTHING EVERYWHERE ALL AT ONCE, Michelle Yeoh, 2022. © A24 / Courtesy Everett Collection
Courtesy Everett Collection

Oscar predictions for winners (week of Feb. 9) are down below. To see the ranked predictions for each individual category, visit Variety’s Oscars Hub.

Best Picture:
“Everything Everywhere All at Once” (A24) — Daniel Kwan, Daniel Scheinert and Jonathan Wang

Director:
Daniel Kwan, Daniel Scheinert, “Everything Everywhere All at Once” (A24)

Actor:
Brendan Fraser, “The Whale” (A24)

Actress:
Cate Blanchett, “Tár” (Focus Features)

Supporting Actor:
Ke Huy Quan, “Everything Everywhere All at Once” (A24)

Supporting Actress:
Angela Bassett, “Black Panther: Wakanda Forever” (Marvel Studios)

Original Screenplay:
“Everything Everywhere All at Once” (A24) – Daniel Kwan, Daniel Scheinert

Adapted Screenplay:
“Women Talking” (MGM/UAR) – Sarah Polley

Animated Feature:
“Guillermo del Toro’s Pinocchio” (Netflix) – Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley

Production Design:
“Elvis” (Warner Bros.) – Catherine Martin, Karen Murphy, Bev Dunn

Cinematography:
“All Quiet on the Western Front” (Netflix) – James Friend

Costume Design:
“Black Panther: Wakanda Forever” (Marvel Studios) – Ruth Carter

Film Editing:
“Top Gun: Maverick” (Paramount Pictures) – Eddie Hamilton

Makeup and Hairstyling:
“The Batman” (Warner Bros.) – Naomi Donne, Mike Marino and Mike Fontaine

Sound:
“Top Gun: Maverick” (Paramount Pictures) – Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor

Visual Effects:
“Avatar: The Way of Water” (20th Century Studios) — Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett

Original Score:
“All Quiet on the Western Front” (Netflix) — Volker Bertelmann

Original Song:
“Naatu Naatu” from “RRR” (Variance Films) – Music by M.M. Keeravaani; Lyric by Chandrabose  

Documentary Feature:
“All That Breathes” (HBO Documentary Films/Sideshow) – Shaunak Sen, Aman Mann and Teddy Leifer

International Feature:
“All Quiet on the Western Front” (Germany)

Animated Short:
“My Year of Dicks” (Cat’s Pajamas) — Sara Gunnarsdóttir and Pamela Ribon

Documentary Short:
“The Martha Mitchell Effect” (Netflix) – Anne Alvergue and Beth Levison

Live Action Short:
“An Irish Goodbye” (Floodlight Pictures) – Tom Berkeley and Ross White

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What do “The Broadway Melody” (1929), “Grand

If you’re like me, you’ve seen several film versions of the classic musical, Annie, but there’s nothing like watching the red-dressed orphan’s story come to life in a theater setting. I remember fondly seeing it for the first time as a child and the thrill of hearing numbers like “Tomorrow” and “It’s a Hard Knock Life” performed live before your very eyes.

A new production is coming to the Providence Performing Arts Center this week, which will help get you through the winter blues. Considering that a cold snap is coming to the Northeast later in the week, spending time in a warm theater might hit the spot. Plus, BankNewport is offering a special Family Night ticket deal for Wednesday, February 1, where you can buy one, get one free, available only at the box office, or call 401-421-ARTS (2787).

“This show, with its iconic title character, continues to delight generations of theatre-lovers old and new by joyfully singing directly into the face of great adversity with perseverance, guts and guile,” said director Jenn Thompson about the Encore Series production. “For decades, Annie has continued to shine brightly, not only as an appeal to our better angels, but also as an example of the thrill of hope, hard-won: promising a better ‘Tomorrow’ not only for Annie herself, but for all who need her message now more than ever.”

Jenn Thompson knows all about Annie, having starred in the original Broadway production herself, as “Pepper.” How cool is that? Life, it seems has come full circle for Thompson, who is directing this new North American Tour production, playing in Providence from January 31 – February 5, 2023.

Annie. (Credit: Matthew Murphy and Evan Zimmerman for Murphy Made and Providence Performing Arts Center)

If the story of Annie seems like it’s been around forever, it practically has! In fact, it’s a creative story that’s coming upon its 100th anniversary. The original story began as a famous comic strip, Little Orphan Annie, helmed by Harold Gray and published in the New York Daily News on August 5, 1924. The adventures of the flaming-haired orphan were widely read in the 1930s and 40s. Lyricist Martin Charnin fell in love with the story of the orphan girl with gumption and promptly secured the rights to create the musical generations have grown to love, which debuted August 10, 1976, at the Goodspeed Opera House, and then graduated to Broadway on April 21, 1977.

The charming story of Annie’s antics not only won the hearts of audiences worldwide, but was of course lauded with multiple awards including several New York Drama Critics Circle and Drama Desk awards, a Grammy, and the coveted Tony Awards (Best Musical, Best Book and Best Score). It’s been revived twice on Broadway ever since and there have been three film adaptations—I’m partial to the original movie, but each version has its merits.

The current production of Annie will feature South Florida native Ellie Pulsifer—aged 12—in the title role, Christopher Swan (Oliver Warbucks), and Stefanie Londino as the scene-stealing Miss Hannigan (always my favorite character).

Leaping lizards! Annie is playing at the Providence Performing Arts Center this week, and you can get more information here.

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Filmmaker and photographer Timothy Greenfield-Sanders may be best known for his extraordinary, large-format portraits of everyone from world leaders to artists, actors and underground icons, but it was his  attendance at the AFI’s Conservatory film program in the 1970s that inadvertently launched his storied career in portraiture and temporarily waylaid his career as a director. His love of film never waned, though, and in 1998 he returned to the medium with the Grammy Award-winning documentary Lou Reed: Rock and Roll Heart.

Eight feature documentaries (including the acclaimed The Black List) later, Greenfield-Sanders offers The Boomer List. Premiering September 23 as part of PBS’ American Masters series, the film features 19 personalities, each representing the rapid cultural, social, political and technological shifts of the baby boom years of 1946 to 1964.

 

American Masters executive producer Michael Kantor (left) with filmmaker/phorographer Timothy Greenfield-Sanders. Courtesy of (c) Greenfield-Sanders Studio 

Greenfield-Sanders spoke with Documentary by phone from his home in New York.

Documentary:Why did you choose to do The Boomer List now?

Timothy Greenfield-Sanders: I felt it was the right moment. I love anniversaries of things, and this year is the 50th anniversary of the last of the boomers. It seemed like a great moment, and everyone is still pretty vibrant. Everyone is still active and doing cool things, and that was a big part of the motivation.

D: How did you select the particular group of people who appear in the film?

TGS:  It was like working on a Rubik’s Cube in the dark. It was very difficult to figure out who belonged in it, and I had restrictions that I placed on myself. I wanted to balance it with men and women. I wanted to have diversity and try to limit the categories so if there was a musician picked—let’s say Billy Joel—I didn’t get to pick two or three other ones. I would have liked to have picked Reverend Run for 1964 but I had Billy Joel, so I ended up with John Leguizamo.

 

John Leguizamo, from Timothy Greenfield-Sanders’ The Boomer List. Courtesy of (c) Timothy Greenfield-Sanders. 

I’m very proud of the film. It shows the real range of the generation. I wanted to show Erin Brockovich. I wanted to show Steve Wozniak. I wanted to show all of these tremendous changes that happened and the people who helped make those changes.

D:How much time did you take with each subject?

TGS: At least an hour and a half to two hours. It’s Timothy Greenfield-Sanders portraiture comes to life! Also, I photograph everyone, so they came for the interview and they’d sit for a large-format portrait on my 8X10 camera as well. Those portraits are opening on September 26 at the Newseum in Washington, DC.

D:The thing that I find most fascinating is that even though these are essentially talking heads, they’re dynamic. What kind of magic are you working there?

TGS:I always believed that, when you looked at my portraits that were hanging in galleries or museums, people could look at them for a while and get something out of them. Then I always thought, If they could talk to you it would be even more interesting. I wanted to light everyone the same way as that. Over the years I think I’ve developed a very personal, distinctive style of portraiture. It’s a single light source. It’s a very clean background. It’s never about the setup or my fancy lighting. It’s always about the subject. That’s what works.

Direct-to-camera talking is so powerful. When we started The Black List, Errol Morris was doing it and that was about it. If you look today, every commercial, Academy promos, Gap commercials—everybody does direct to camera. The over-the-shoulder look is gone. The reason it works is that it’s much more intimate. It feels like the person is talking to you.

D: But then there are some people who do it better than others.

TGS: (Laughing) Am I allowed to call myself a renowned portrait photographer? I know how to light people. There are ways to do it with a certain elegance that really heightens the effect, and I hope that comes through.

D: What were you shooting with?

TGS: We’re now using the Red. It’s all technology at this point, and resolution. We used to use the Panasonic HVX200. When we shot with that system we used two cameras, one on top of the other- one close-up and one medium. Now we use one camera with much higher resolution.

D: When you were editing, how did you break down the interviews to achieve the film’s narrative effect?

TGS: There’s an arc to each of these little stories. You look at the hour interview and you throw out the obvious stuff that didn’t go anywhere, and in some cases you have so much good material that it’s very difficult. In other cases it’s pretty clear where the storyline is. I think the other thing that comes into play is what other people have said in the film. You don’t want everyone talking about the Kennedy assassination, even though it’s such a seminal moment.

Take Sam Jackson, for example. I think it’s a wonderful piece because he talks about segregation and growing up and education, and I don’t think you ever hear that from him. We tried to find things that people hadn’t said before, or said them better this time.

D: You started out at AFI. Was your intention to become a filmmaker and you became a photographer, or vice versa? 

TGS: As a teenager I was influenced by Warhol and underground film, and I came to New York and went to Columbia and got an art history degree. I became friendly with some of the Warhol people and that was my direction. Then I went to AFI to learn film. At AFI you would see every film by Bergman, and then Bergman would come to campus and the 25 of us students would sit and have a seminar with him.

They needed someone to photograph the seminar guests for the school’s archive, and no one else would do it. So I said I would. They paid $25! I would photograph all the visiting dignitaries, but I had no idea what I was doing. One day I was leaning down and shooting Bette Davis’ portrait and she said, “What the fuck are you doing? You’re shooting from below. You never shoot from below.” I said, “I really don’t know what to do.” So she said, “If you can drive a car, I can teach you about photography.” So I drove her around and she talked to me about [George] Hurrell and all the great photographers who had shot her.

I photographed Hitchcock and he said, “Your lights are in the wrong place. They should be over here. Come over to the studio and I’ll introduce you to the lighting people.” I fell in love with portraiture, and it was really through these legendary Hollywood stars that I learned it. By the time I finished AFI I had a very interesting portfolio of very famous people. Long story short, I bought a large-format camera and became a portrait photographer.  

 

Environmental activist Erin Brockovich, from Timothy Greenfield-Sanders’ The Boomer List. Courtesy of (c) Timothy Greenfield-Sanders 

D: Do you have any more Lists planned for the future?

TGS: I have been working on The Women’s List for a while. It’s nearly done. We’re just trying to figure out where it’s going to end up. It has a few more spots available in it and we’ve done a number of amazing people.

Elisabeth Greenbaum Kasson is a Los Angeles-based writer and editor whose work has appeared in the Los Angeles Times, Documentary, Los Angeles magazine, Movie City News, Dice.com, Health Callings and more. Her stories have covered the gamut from movies, music and culture to IT and healthcare.

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Filmmaker and photographer Timothy Greenfield-Sanders may be




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Image Credit: LaStarPixMEDIA / BACKGRID

Ben Affleck is back in director mode! The Oscar winner, 50, was seen behind the camera as he seemingly filmed or snapped photos of his wife Jennifer Lopez and his daughter Seraphina, 14, as well as his mother Chris Anne Boldt in Los Angeles on Saturday, Feb. 11. His son Samuel, 10, was also present as he took a seat next to The Town actor — likely also hopping in for some shots with his stepmom, older sister and his grandmother. The shoot appeared to be casual and laid back based on how the group was dressed.

Jennifer Lopez walks with Seraphina as Ben Affleck filmed or snapped photos. (LaStarPixMEDIA / BACKGRID)

The “Jenny From The Block” singer opted for a long patterned skirt along with a tribal inspired open cardigan, keeping her highlighted locks down and in a blown out style. Seraphina stayed casual in a straight leg black jean and brown plaid button down as she cruised alongside Jennifer on a skateboard, showing off her brown colored Nike low dunks. Meanwhile, Ben sported his go-to uniform of jeans, sneakers and a long black sleeve shirt while his son Samuel added a pop of color with red lace-up running shoes — also by Nike — and a pair of ribbed Adidas socks.

Ben Affleck is seen behind the camera with son Samuel. His mother Chris was also present. (LaStarPixMEDIA / BACKGRID)

The family outing comes just a day ahead of Ben making his debut in a Dunkin commercial, which is also the company’s first-ever Super Bowl ad. He was seen filming the project several weeks ago in Boston as he worked the drive thru window with Jennifer also on-site. Notably, the Bronx native is also expected to make an appearance in the ad, which is one of the most anticipated for game day on Feb. 12.

The company dropped a teaser to the ad via their Instagram earlier in the week, writing, “instead of wondering what could have been we started wondering what could have Ben” — making a hilarious play on Ben’s name. Ben can also be heard saying, “Welcome to Dunkin’, we’re a very friendly special establishment — America runs on Dunkin’…this is the Dunkin’ run partner,” in the brief audio teaser.

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View gallery Image Credit: LaStarPixMEDIA / BACKGRID Ben Affleck is

One of South Africa’s most influential rappers, Kiernan Forbes, whose stage name was AKA, was fatally shot outside a restaurant in the city of Durban on Friday, Feb. 10, according to BBC News.

Forbes was 35.

According to BBC, Forbes was killed along with his close friend, chef and entrepreneur Tebello “Tibz” Motsoane. They were reportedly on their way to perform at a club in the coastal city as a part of his extended birthday celebration when they were approached by two armed men as they walked to their car and were then shot at close range. Police said the motive for the double homicide is unknown at this time.

Videos on social media show a person walking behind Forbes as Forbes is embracing his friend and shooting him in the back of the head.

The suspects fled on foot, and no one is currently in custody.

Forbes started his music career as a part of a group named “Entity” before he launched his solo career. He has been recognized across the globe and was nominated for several awards, from Black Entertainment Television (BET) and MTV Europe Music Award.

In his passing, tributes began to flow in on social media. The South Africa Department of Sport, Arts, and Culture said he was one of the best rappers from Africa.

“AKA was counted amongst the best rappers in the continent. He was also a songwriter, music producer, and entrepreneur. AKA was one of the most patriotic artists who literally flew the South African flag high everywhere he went around the globe,” The South Africa Department of Sport, Arts, and Culture wrote.

His parents, Tony and Lynn Forbes, posted a statement on his social media accounts and expressed their sorrow.

“Our son was loved, and he gave love in return,” Forbes’ parents wrote. “We thank you for the love and support we have received thus far and ask you to continue to keep us in your prayers and uplifted in the Lord.”

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One of South Africa’s most influential rappers,

The Film That Lit My Fuse is a Deadline video series that aims to provide an antidote to headlines about industry uncertainty by swinging the conversation back to the creative ambitions, formative influences and inspirations of some of today’s great screen artists.

Today’s subject is Ruben Östlund, who finds himself in the center of the Oscar race with Best Picture, Best Director and Best Original Screenplay nominations for Triangle of Sadness after winning the Palme d’Or when the film premiered at the Cannes Film Festival last May.

RELATED: ‘Triangle of Sadness’ Writer-Director Ruben Östlund On Oscar Nominations, Creating “A Wild Rollercoaster Ride For Adults” And His Next Social Satire Horror Film ‘The Entertainment System Is Down’

Before the Swedish filmmaker began turning out sharp satires like Force Majeure and the Cannes winner The Square, his passion and introduction to the craft came with directing skiing films. That brought him to Gothenburg, and he began establishing a name on the festival circuit when his short Incident by a Bank won a prize at Berlin. Since then, his rise has been steady.

Watch here to see the films that helped shape his path.

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The Film That Lit My Fuse is

Sydney Sweeney began her career with Everything Sucks and Sharp Objects but one of her critically acclaimed roles definitely was Eden Spencer from The Handmaid’s Tale. The show forced her to push her limits and do a more challenging role than she did previously. One of the many memories Sweeney had of the show, is when she was filming her wedding scene for the show’s second season.

The fifth episode of the second season shows the brutal scene of child marriage which Sweeney was a part of. Last year, the 25-year-old revealed the behind-the-scenes of her wedding scene on the show and how somehow a very serious scene turned into an amusing one that left her laughing.

ALSO READ: “I hated going home…” Sydney Sweeney Once Opened Up About Her Insecurities Before Becoming a Star

Why did Sydney Sweeney find this eerie scene comic?

The infamous scene that the Spokane native spoke about was the terrifying wedding scene from the show. Extremely young girls were presented as “rewards” to older men they haven’t met in their entire life. This spine-chilling scene had the brides in all-white costumes, where their faces were covered, along with the rest of the body. The Euphoria actor could not resist chuckling despite the grim surroundings of the scene.

The main problem that the 25-year-old faced was, she could not see her husband in the show, Nick through it. “So half the time I’m bumping into people, or I’m quietly whispering, ‘Nick, where are you? Nick, Nick, where are you?!’” revealed Sweeney in a Vanity Fair interview.

The use of all-white costumes in the scene symbolized the purity of the brides. The entire scene was extremely disturbing including the part where the lead character June’s pain gave birth to schadenfreude in Serena Joy. Aside from the chuckle that Sweeney got, the scene also gave her a friendship on the sets of the show.

How did Max Minghella and Sweeney become friends?

While shooting, Sweeny became really good friends with her co-star Minghella since she spent the most time with him. Minghella plays her husband Nick Blaine on the show. The on-screen duo used to goof around and listen to Taylor Swift’s songs while they were on the set.

Cameos en Babylon de Damien Chazelle

Olivia Wilde
Spike Jonze
Samara Weaving
Max Minghella pic.twitter.com/aKeBJCV5Jf

— Juanma Gutierrez (@juanma3010) February 9, 2023

Sweeney also mentioned that she had a great time with others on the set. The actors and crew would share amusing personal anecdotes and chat about silly reality TV series like The Bachelor.

Do you also find Sweeney’s costume in the wedding scene funny? Tell us in the comments.

The post “I can’t see anything,” – Sydney Sweeney Once Talked About How the Grave Wedding Scene From ‘The Handmaid’s Tale’ Became Amusing Due to Costume appeared first on Netflix Junkie.

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Sydney Sweeney began her career

Harry Styles continues to sweep at awards shows and this time the former One Direction member took the top accolades at the 2023 BRIT Awards.

Styles was present at the O2 Arena in London and took the trophies for Album of the Year for Harry’s House, Song of the Year for “As it Was”, Artist of the Year and Best Pop/R&B Act.

“This night has been really really special to me and I will never forget,” he said during his acceptance speech for Album of the Year which was presented to him by actor Stanley Tucci. “I am so proud to be a British artist out there in the world. I am so proud to be here tonight celebrating British artists and British music.”

Harry Styles And His Dancers Had A Grammy Glitch In His Big Number, But Prevailed

Other winners of the night included Wet Leg for Group of the Year and Best New Artist. Beyoncé took a couple of trophies for Best International Artist and International Song of the Year for “Break My Soul.”

Styles made a splash during the red carpet arrivals which also included the presence of Sam Smith, Kim Petras, Lizzo and more stars.

Scroll through the red carpet photo gallery down below.

Harry Styles

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: Sam Smith

Sam Smith

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: Salma Hayek Pinault

Salma Hayek Pinault

Mike Marsland/WireImage/Getty Images

BRIT Awards 2023: Lizzo

Lizzo

J Hogan/Getty Images

BRIT Awards 2023: Kim Petras

Kim Petras

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: Jessie J

Jessie J

Mike Marsland/WireImage/Getty Images

BRIT Awards 2023: Shania Twain

Shania Twain

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: Lucien Laviscount

‘Emily in Paris’ actor Lucien Laviscount

JMEnternational/Getty Images

BRIT Awards 2023: Ellie Goulding

Ellie Goulding

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: Ella Henderson

Ella Henderson

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: Former S Club 7 members Jo O'Meara, Rachel Stevens and Tina Barrett

Former S Club 7 members Jo O’Meara, Rachel Stevens and Tina Barrett

JMEnternational/Getty Images

BRIT Awards 2023: Billie Piper

Billie Piper

Mike Marsland/WireImage/Getty Images

BRIT Awards 2023: Michelle Visage

‘RuPaul’s Drag Race’ judge Michelle Visage

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: Maya Jama

‘Love Island UK’ host Maya Jama

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: Laura Whitmore

Former ‘Love Island UK’ host Laura Whitmore

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: AJ Odudu

TV host AJ Odudu

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: Tom Daley and Dustin Lance Black

Tom Daley and Dustin Lance Black

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: Zara McDermott

Reality TV personality Zara McDermott

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: Megan McKenna

Reality TV personality Megan McKenna

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: Stormzy

Stormzy

Samir Hussein/WireImage/Getty Images

BRIT Awards 2023: Tom Grennan

Tom Grennan

Gareth Cattermole/Getty Images

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Harry Styles continues to sweep at awards

Photo: The CW — © 2023 The CW Network, LLC. All Rights Reserved.

Friday, February 10, 2023 ratings — New episodes: Criss Angel’s Magic with the Stars, Penn & Teller: Fool Us, SWAT, Fire Country, Blue Bloods, 20/20, Lopez vs. Lopez, Young Rock, and Dateline NBC.  Sports: WWE Friday Night SmackDown.  Reruns: Shark Tank.


Note: If you do not see the updated charts, please try reloading the page or go here.

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

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

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Published: February 11, 2023Photo: The CW —

At the 2023 SBIFF, Blanchett said she did not take kindly to a reporter’s suggestion that she’s “forging a line in predatory lesbians.”

While Cate Blanchett happily accepts the icon status that has been bestowed upon her by fans in the LGBTQ+ community, there are certain comparisons between her queer characters in “TÁR” and “Carol” that bug her.

In a career-spanning conversation at the 38th annual Santa Barbara International Film Festival, which ended with “TÁR” filmmaker Todd Field presenting the 2023 Outstanding Performer of the Year Award, the current Best Actress nominee and two-time Oscar winner said, “I was doing an interview the other day about ‘TÁR,’ and the interviewer, male, said, ‘You seem to be forging a line in predatory lesbians.’ Excuse me?” After getting the clarification that the reporter really was comparing disgraced maestro Lydia Tár to her titular role in “Carol” as a 1950s housewife that begins an affair with a younger woman, Blanchett questioned if the reporter had even seen the 2015 film directed by Todd Haynes.

The actress had said earlier that part of the reason she thinks “Carol” has had a lasting impact is that it featured “a positive ending to a same-sex relationship,” so to hear it compared to her role in Field’s 2022 film about the epic downfall of a musical genius accused of sexual misconduct felt like “such a reductive way to look at that story, and that beautiful, beautiful film.”

Blanchett described the ending of “Carol” as “a lesson in ambiguity” and said, “in my mindset, [when] Rooney [Mara]’s character Therese returns to try and find Carol, but they just see one another across a crowded room. And we knew it had to be incredibly full of possibility.” The star, who also executive produced the film, mentioned that the Oscar-nominated screenplay written by Phyllis Nagy had contained a later scene that was more explicit about the future of Carol and Therese’s relationship. “It meant that the road wasn’t going to be easy, but it was open,” said Blanchett.

‘Carol’; ‘TÁR’

Everett Collection

As for “TÁR,” the actress said the reception to the film has “exceeded our wildest dreams” and that she does not think “there’s any right or wrong way to view the film. […] When you go back in and see it the second or third time, you pick up other different elements.” Having just worked with two-time Best Director Oscar winner Alfonso Cuarón on the upcoming Apple TV+ series “Disclaimer,” the actress recalled their first conversation about the current Best Picture nominee. “He said, ‘I’ve seen it three times. I saw it once and I just was blown away,” said Blanchett, doing her best impression of the Mexican filmmaker. “The second time, I was envious. And the third time I went, ‘How the fuck did they do that?’”

However, just as she did with “Carol” earlier, Blanchett offered her interpretation of the “TÁR” ending, which could also be classified ambiguous. “If you’re gonna keep evolving as an artist, you have to have failure,” said the actress, once again getting into the mind of her character. “And so she self immolates in a profound way, and, in a way, starts again with a different access point to the music.”

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At the 2023 SBIFF, Blanchett said she

Not even the weirdest part, honestly
Screenshot: YouTube

God, this is going to take some explaining.

So, okay: Last night, TCM aired a half-hour block of programming called Tracy Zooms In, with the “Tracy” in question being Dick Tracy, the old-school fictional pulp detective. Which is to say that it was Dick Tracy star (and director) Warren Beatty, dressed in his old, bright yellow Dick Tracy costume, and pretending to be Dick Tracy on a Zoom call with TCM personalities Ben Mankiewicz and Leonard Maltin. This, in turn, was a reference to a special that Beatty recorded, also with Maltin, and also for TCM, back in 2010, which basically everybody assumed then, and assumes now, was a fairly transparent (if also very weird) way for Beatty to retain the rights to the character, which he personally owns, so that he can make a sequel to his 1990 movie some day.

Deep breath!

The new Dick Tracy special is shot through with references to the old one, and Mankiewicz, especially, is trying to bring some fun ironic distance to the whole endeavor. But the thing is that he, and an also-game Maltin, are completely defeated by Warren Beatty, whose commitment to the bit here is sublime. In response to a compliment from Mankiewicz, Beatty responds—as no person on earth has, ever—by touching his headgear and saying “I tip it to you—my hat, that is.” Then he expansively declares “We’re all technocrats now!” while extolling the virtues of Zoom.

Dick Tracy Special

We then get to one of the strangest things this writer has ever personally seen broadcast on cable: A four-minute sequence in which Tracy-Beatty shows the trailer for the 1990 film, ostensibly to do commentary, but all he really does is mutter. Mostly about how nice it all looks (not incorrectly, as it happens; there’s a reason the look of Beatty’s Tracy is still heralded) but also a bunch of “Well, I wouldn’t have done that,” or “No, no no…” At one, point, he factchecks a line movie-Beatty delivers to Al Pacino: “Excuse me, walnuts are good for the brain.” It’s not clear how much of the special is scripted, but this part appears to be pure Beatty, and it’s beautifully incoherent.

Finally, it ends as it must: With Beatty also “dialing in” to the Zoom call as himself, getting into arguments with himself-as-Tracy. (First off: A good reminder that Beatty’s Dick Tracy voice is literally just his Warren Beatty voice.) Were you hoping to hear a several-minute rant from Dick Tracy about how people don’t love the sanctity of the cinema anymore today? Great news!

Anyway, it ends with the two of them promising to make a Dick Tracy 2 together, and then a shot of Beatty sitting with himself at a restaurant table, talking about nothing while a song from the movie plays. We don’t know if Beatty will ever get another movie actually off the ground, but god, we’d watch one of these once a decade, in perpetuity.

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Not even the weirdest part, honestlyScreenshot: YouTubeGod,

Anonymous Content has signed Oscar and Pulitzer Prize-winning filmmaker and journalist Laura Poitras, the director behind “Citizenfour” and “All the Beauty and the Bloodshed,” which was recently nominated for an Academy Award.

“All the Beauty and the Bloodshed” premiered in competition at the 2022 Venice Film Festival where it won the Golden Lion for best film, making it the second documentary in the festival’s history to win the top prize. The docu, about U.S. artist and activist Nan Goldin and her battle to hold the Sackler family accountable for the opioid overdose crisis, also played at numerous high profile festivals including Telluride and Toronto. Last year “All the Beauty and the Bloodshed” made history when it became the first docu to ever be selected as the centerpiece film at New York Film Festival. “All the Beauty and the Bloodshed” was the only film – docu or narrative – to play at the four top tier fests in 2022.

In addition to receiving an Oscar nomination, “All the Beauty and the Bloodshed” has garnered nominations from orgs including BAFTA and DGA. The film also received an Indie Spirit Award nomination.

“Laura is a cinematic force, and one of the most courageous filmmakers working,” Anonymous Content’s Nick Shumaker says. “It is truly an honor to lock arms, and work to expand her audience and her ability to create timeless and essential work.”

Poitras received an Academy Award for her 2014 documentary “Citizenfour”, about whistleblower Edward Snowden and the National Security Agency’s illegal global mass surveillance programs. Poitras’ reporting about the NSA received the Pulitzer Prize for Public Service and the George Polk Award for national security journalism in 2014. In 2006 Poitras’ film “My Country, My Country,” about the U.S. invasion and occupation of Iraq, was nominated for an Oscar.

“I am thrilled to join forces with Anonymous Content, whose track-record of supporting innovative, genre-defying, and risk-taking filmmakers, creators, and authors is unique among media organizations,” says Poitras.

In addition to her work as a filmmaker and journalist, Poitras co-founded The Intercept, Field of Vision, and First Look Media, and is a founding board member of the Freedom of the Press Foundation. Poitras’ first solo museum exhibition of installation work, “Astro Noise,” opened at the Whitney Museum of American Art in 2016. Her production company, Praxis Films, was founded in 2004 and is operated with Academy Award-nominated producer Yoni Golijov.

Anonymous Content is currently handling sales for the doc “5 Season of Revolution,” which Poitras executive produced.

Praxis Films produced “All the Beauty and the Bloodshed” with Participant. The film is being distributed by Neon, HBO Documentary Films, and Altitude Films.

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Anonymous Content has signed Oscar and Pulitzer

The riding of Kingston and the Islands is one step closer to being reunited.

In a report tabled in the House of Commons on Friday, the Federal Electoral Boundaries Commission for Ontario has proposed a restructuring of the riding to include residents north of Highway 401.

For over a decade, Highway 401 has been the dividing line between Kingston and the Islands to the south, and Lanark-Frontenac-Kingston to the north.

Read more:

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‘We kind of missed the landing’: Alberta premier on awkward handshake with prime minister

In 2012, the riding of Lanark-Frontenac-Kingston was created, which included residents of Kingston who live north of the 401, shutting them out from the rest of the city.

“The residents that live north of the 401 really felt underrepresented,” says Kingston and the Islands MP Mark Gerretsen.

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“They felt as though they should be part of the Kingston and the Islands riding, instead of a riding that went all the way to Carleton Place.”

The original decision in 2012 to put these residents in Lanark-Frontenac-Kingston appears to not have been a popular one.

“There was an overwhelming number of independent submissions to maintain the municipal boundary as the district boundary,” says the Commission in their report.

This was in part due to a campaign put on by Gerretsen.

“I undertook encouraging people to write to the Commission,” he says. “I think over 200 people from north of the 401 in Kingston wrote to the Commission, saying that they wanted to be part of Kingston and the Islands.”

While this isn’t a done deal yet, Gerretsen all but guarantees this proposal will become final.

“This is 99.5 per cent done,” says Gerretsen. “The last step for Parliament is to essentially approve the report.”

Read more:

Mark Gerretsen ‘humbled’ after securing 3rd term in Kingston and the Islands

Read next:

Liberal MP tops all others with $21.9K spending on ‘protocol gifts.’ Here’s what he spent it on

If this change does go through, it will make Kingston and the Islands the largest riding by population in Ontario.

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A decision on the report is expected to happen by June.

 

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

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The riding of Kingston and the Islands


Machine Gun Kelly
Shutterstock

Stage shocker. Machine Gun Kelly said he was “electrocuted” while playing an Arizona concert on Friday, February 11.

“YOOO ? I GOT ELECTROCUTED AND MY HAIR STOOD UP ⚡️?⚡️,” the “Bloody Valentine” singer, 32, wrote via Instagram alongside a video of his performance.

The artist (real name Colson Baker) was dancing on stage during his song “El Diablo” at the Coors Light Birds Nest at TPC Scottsdale. When smoke cannons went off, Kelly’s hair stood up on edge, indicating a static electricity charge went through him.

He was wearing silver trousers with a white crop top, and the Texas native was holding a matching white microphone at the time he was zapped. However, he continued performing without missing a beat. His show lasted nearly two hours, and no EMTs were spotted, TMZ reports, so it didn’t appear to be a dangerous electrocution.

He and fiancée Megan Fox attended Drake‘s Super Bowl weekend party after the concert.

The couple have had their fair share of scares recently. Last weekend, the New Girl alum, 36, revealed that she went to a pre-Grammy Awards party with an injury.

“Off the plane with a broken wrist and a concussion straight to a Grammys party ?‍?,” the actress, 36, captioned photos from the night via Instagram. Though Fox did not have a cast on, she wore a hot pink wrist brace to the Los Angeles party, and she still had the arm guard on Friday night.

The Good Mourning star was recently nominated for his first Grammy Award. His LP Mainstream Sellout was up for Best Rock Album at the 2023 ceremony, which took place on Sunday, February 5. He lost to Ozzy Osbourne‘s Patient Number 9, but his fiancée remained proud.

Hottest Hunks at the Grammys 2023

Machine Gun Kelly and Megan Fox at the 65th Annual Grammy Awards
Broadimage/Shutterstock

“You have handled this process with a grace and maturity that I haven’t seen from you before and I’m so proud of you,” the Tennessee native wrote via Instagram, noting how impressive it is to simply be nominated for a Grammy. “Watching you walk in humility and gratitude, watching you grow into yourself and become a better man is an immeasurably more satisfying experience than watching you accept an award.”

She gushed over her MGK, writing: “I hope one day you’ll see yourself the way I see you. I love you and I’ll keep this memory of you forever.”

The lovebirds first met in 2019 on the set of the movie Midnight in the Switchgrass, and the “My Ex’s Best Friend” artist popped the question to the Jennifer’s Body star in January 2022.

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Machine Gun Kelly Shutterstock Stage shocker. Machine

Naples-set prison drama “Mare Fuori” (“The Sea Beyond”) is becoming a major pop culture phenomenon in Italy where the third season of the show is scoring record-breaking ratings just as previous instalments play in more than 20 international territories.

“The Sea Beyond” is set in a youth detention center overlooking the bay of Naples where male and female inmates contend with being incarcerated as they explore love and dream of a better life. Since dropping on Feb. 1 on public broadcaster RAI’s RAI Play streaming platform, Season 3 has scored more than 22 million visualizations in its first week, 8 million of which were within the first day. That is more than 20 times the result of the show’s second season when it launched in 2021. RAI Play, which is a free video-on-demand service, on average pulls no more than 3.5 million visualizations daily.

Significantly, RAI Play gained roughly 300,000 new subscribers on the first day of the “Sea Beyond” launch, presumably due to viewers eager to see the third season.

“It’s a classic young adult product that has also captured a more adult audience,” says producer Roberto Sessa, who notes that 60% of the show’s audience on RAI Play is aged below 25, while 70% of the viewers are under age 35.

Meanwhile, since Season 3 dropped on RAI Play, the first two “Sea Beyond” seasons are now back within Netflix’s 10 most-watched roster in Italy where the show has made the streaming giant’s Top 10 list for a whopping 18 weeks.

Sessa, whose Picomedia produced the show with RAI, says “Sea Beyond” is Italy’s first series providing proof that there can be a healthy and “mutually beneficial” co-existence between free VOD, linear TV and subscription VOD.

On Feb. 15, “Sea Beyond” will debut in prime time on RAI’s RAI-2 linear channel where the past two seasons have outperformed the ratings average for their slot on that channel.

Internationally, the first two seasons of “Sea Beyond” are now playing in more than 20 countries, including the Nordics (TV 4), Germany (Disney+), Israel (HOT) and across Latin America (HBO Max). Germany’s Beta Film, which is selling the series internationally, is in talks with France and Spain for local remakes, and with a U.S. outlet for the Italian readymade.

Meanwhile season four of “Sea Beyond” is in preparation and negotiations are underway between Picomedia and RAI for fifth and sixth instalments.

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Naples-set prison drama “Mare Fuori” (“The Sea

Justin Bieber and Kodak Black are being sued over a shooting incident that occurred outside a West Hollywood concert after-party during last year’s Super Bowl weekend.

In papers obtained by TheWrap, Mark Schaefer and Adam Rahman say they were “severely injured” outside of the Nice Guy in the early hours of Feb. 12, 2022. In total, four people were reportedly shot after a fight broke out between a group of unidentified individuals.

The lawsuit claims that Black, also known as Bill Kapri, helped instigate the shooting, which took place as he was exiting the event that Bieber co-hosted. In video of the incident, the rapper is shown caught up in the fight just before shots are fired. Black reportedly fled the scene before calling police to say that he had been injured.

Reps for Bieber and Black didn’t immediately respond to requests for comments.

Born Dieuson Octave, Black was sentenced to prison for weapons possession in 2019. He was pardoned by then-president Donald Trump.

Other defendants named in the suit are the Nice Guy restaurant; Revolve Group, Inc., which co-hosted the after-party with Bieber; hospitality business the Hwood Group; Leslie A. Glick and Leslie Glick 2021 Irrevocable Gift Trust; and the City of Los Angeles, the City of West Hollywood, and Los Angeles County.

Schaefer and Rahman’s complaint lists damages of negligence, assault, battery, intentional infliction of emotional distress, negligence, and the dangerous condition of public property. They are being represented by Gloria Allred.

Pamela Chelin contributed to this report.

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Justin Bieber and Kodak Black are being

Margot Robbie looks ready to party as she steps out in a black miniskirt and boots for the opening of The Mulberry Bar in New York City

Margot Robbie looked ready to party as she arrived at the opening of The Mulberry Bar in New York City on Friday night.

The Babylon star, 32, stepped out in a pleated black miniskirt and a long sleeve white button-down shirt and showed off her toned legs with black over-the-knee boots for her foray into Manhattan’s night life.

The two-time Oscar nominee bundled up against the chilly temperatures in a long black wool coat.

Her dark blonde hair was styled in long layers and she appeared to be wearing natural-looking makeup with a neutral lip. 

She carried a small black shoulder bag and kept her accessories to a minimum, wearing only her wedding ring. 

Stepping out: Margot Robbie, 32, looked ready to party as she arrived at the opening of The Mulberry Bar in NYC on Friday. The Babylon star stepped out in a pleated black miniskirt and a long sleeve white button-down shirt and over-the-knee boots 

The Amsterdam star was accompanied by her husband Tom Ackerley, 32.

The Maid executive producer looked handsome in all black with a long-sleeve crew-neck sweater, slacks and thick soled lace-up shoes. 

The couple met in 2013 while both were working on the film Suite Française, and they married quietly in 2016.

Since then, they have created their own production company, LuckyChap Entertainment.

The company is providing some of the creative force behind the upcoming Barbie film, as well as a currently untitled Ocean’s Eleven prequel in which Margot will star and produce. 

In an interview with Vanity Fair, the Australian native revealed that she often had to work hard to be taken seriously as a producer because it is not a vanity title for her.

‘Then everyone realizes after a few months, “Oh, she actually is a producer.”’

‘But even still, people direct all the money questions at my producing partners, never at me. And so many times Tom and [partner] Josey [McNamara] have to say, “She’s the one to ask, actually.”‘

Bundled up: The two-time Oscar nominee bundled up against the chilly temperatures in a long black wool coat. Her dark blonde hair was styled in long layers and she appeared to be wearing natural-looking makeup with a neutral lip

Bundled up: The two-time Oscar nominee bundled up against the chilly temperatures in a long black wool coat. Her dark blonde hair was styled in long layers and she appeared to be wearing natural-looking makeup with a neutral lip

In an interview with Australia’s The Daily Telegraph, the I, Tonya star said she and her hubby have a set plan to help their marriage survive long-distance separations brought on by work. 

‘The most helpful thing I’ve learned from other couples in this industry is that you don’t go more than three weeks without seeing each other,’ she explained. 

‘Being in a long-distance relationship can be really hard when you don’t see the light at the end of the tunnel. It can mess with your head, so the three-week rule is key.’

Date night: Margot was accompanied by her husband, Tom Ackerley, 32. The Maid executive producer looked handsome in all black wearing a long sleeve crew neck sweater, slacks and thick soled lace-up shoes

Date night: Margot was accompanied by her husband, Tom Ackerley, 32. The Maid executive producer looked handsome in all black wearing a long sleeve crew neck sweater, slacks and thick soled lace-up shoes

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Last Updated: July 10, 2020, 13:28 IST

The Old Guard

Cast: Charlize Theron, Chiwetel Ejiofor, KiKi Layne, Matthias Schoenaerts, Marwan Kenzari, Luca Marinelli, Harry Melling

Director: Gina Prince-Bythewood

The Charlize Theron-starrer, The Old Guard, just out on Netflix, plays like a conventional thriller. It is sort of female Bond adventure with blazing guns and swinging machetes and has two very important messages. One implies mankind’s craze for immortality. Have we not seen the run for anti-wrinkle creams and anti-ageing pills. The other, connected to the first, is pretty overt. The greed of pharmaceutical companies to pile up profits at any cost. And this includes torturing men to find out why they have lived for so long, and this is what forms the crux of the movie’s plot. So, to dismiss The Old Guard as yet another superhero stuff will be unfair.

Adapted from the 2017 graphic novel by Greg Rucka (who also penned the screenplay), The Old Guard connects us with a team of crime and injustice fighters, and they live hundreds of years and whose bodies can repair themselves from any wound (from bullets, from knives and so on). These ageless guys are led by Andromache of Scythia, also called Andy, played with superb grit and finesse by Charlize Theron. We are told that each member was “killed” at some point in history, but they just wake up and walk away. It is at this juncture they learn that they will not die, and Andy, the oldest, does not even know the number of centuries she has lived through. Some in the team “died” during the Crusade, some in Napoleonic wars.

As the first scenes come into focus, we see Andy and her warriors – Booker (Matthias Schoenaerts), Joe (Marwan Kenzari) and Nicky (Luca Marinelli) assigned by James Copley (Chiwetel Ejiofor with each expression loaded to say something) to rescue young girls taken hostage by militia in South Sudan. But when Andy and her team reach the place they find that they have been set up. Though they escape – with bullets falling off their bodies and the deepest of wounds healing magically – they are not so lucky later.

Merrick (Harry Melling), the villain of the peace, runs a pharmaceutical corporation and is bent on finding out why Andy and her compatriots live forever. He gets to them, imprisons them and in what appears like sheer torture, extracts DNA samples from them. Kiki Layne, who essays Nile is a US Marine in Afghanistan and when she recovers from a slit throat, she becomes the newest member of Andy’s brigade. And in the end, she, though surly and bitter about a life that will never end, proves to a saviour.

The Old Guard is a fantasy, that may seem highly unreal, even mystical, but scratch the surface, one can find a great lot of relevance to a world that has been consistently trying to prolong human life with pharma companies ruthlessly trying to capitalise on this vulnerability. They can be rogues as the film emphasises, making unduly huge profits while pretending to play noble Samaritans. Merrick says, imagine the benefits mankind will enjoy and the money we can roll. Torturing Andy and her fighters seems like a small price to pay for him. Ethics be dammed!

Rating: 3/5

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Last Updated: July 10, 2020, 13:28 ISTThe

The special featured TCM’s Leonard Maltin and Ben Mankiewicz.


While this weekend will see many actors reprising beloved characters of theirs in commercials for the Super Bowl — from Bryan Cranston and Aaron Paul becoming Breaking Bad‘s Walt and Jesse once again, to Alicia Silverstone stepping back into her classic Clueless wardrobe — fans of 1990 crime comedy Dick Tracy were also in for a treat. While the comic book detective won’t be making an appearance during the Big Game, actor Warren Beatty did reprise his famous role in the TCM special Tracy Zooms In, which aired on February 10.


The special featured Beatty, appearing in character, in conversation with film critics Leonard Maltin and Ben Mankiewicz. The three of them look back on the film and on Beatty’s process in making it, before eventually being joined by Beatty himself. The pair (or rather, just Beatty on his own) then begin to argue about whether or not the filmmaker will ever make a sequel to the film, and what that might look like in the changed landscape of film in 2023.

Why Did Warren Beatty Make Tracy Zooms In?

While it’s certainly not unheard of for actors to reprise famous roles of theirs years after the fact, the question remains as to why Beatty chose to don Dick Tracy’s iconic yellow coat and hat nearly 33 years after the film premiered. Nostalgia is certainly a possibility, but the reality of the situation is far more technical. Beatty had once harbored hopes of his Dick Tracy film spawning a franchise centered around the famous detective, going so far as to purchase the film and television rights. When the franchise failed to take off at Disney, things languished in legal limbo, with an ongoing struggle between Beatty and the original rights holders.

dick-tracy-warren-beatty
Image via Disney

RELATED: Every Warren Beatty-Directed Film Ranked From Worst to Best

In 2010, Beatty produced the first of these TCM specials, simply titled Dick Tracy Special, with the help of Maltin. The continued use of the character in this way, with incremental progress being made on a prospective sequel — which Beatty is evidently still interested in seeing come to light — seems to be legally enough for the actor to retain the film and TV rights. In this way, Tracy Zooms In is a furthering of that goal, pushing that dreamed-about sequel just a little closer to fruition, while ensuring Beatty will legally be able to make it happen.

Tracy Zooms In aired on February 10 on TCM, and as of right now there are no firm plans for a Dick Tracy sequel. If you missed the special, you can watch the special below:

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For Studio Ramsay Global’s latest U.S. series, the Fox co-owned producer is trying something different: A show that doesn’t star Gordon Ramsay.

Hosted by White House chef and U.S. Army master sergeant chef Andre Rush, “Kitchen Commando” will launch its first episode on Fox’s ad-supported streamer Tubi on Sunday, the same day that Season 2 of Ramsay’s “Next Level Chef” debuts on Fox after the Super Bowl. “Kitchen Commando,” which will rollout new episodes weekly each Sunday, a first for Tubi, follows Rush as he takes on a new mission to save struggling restaurants and reignite their passion for the service industry.

The series is an “exciting experiment” for both Tubi and for Studio Ramsay Global, per Ramsay’s chief creative officer Lisa Edwards.

“One of the goals at Studio Ramsay is making shows without Gordon in them,” Edwards told Variety. “So we’re constantly looking at new talent that we can work with and Chef Andre is someone that we have had on our radar for a while and so we were building an idea around him. And he just is the ‘Kitchen Commando.’ He’s the living embodiment of that. So we made an idea around the fact that he’s a military chef, he served 23 years in the military, he’s a White House chef. We had this idea of him doing a boot camp and a military makeover around restaurants and it coincided around the time that we started talking to Tubi. They were moving into original content for unscripted, and the food and cooking space. So it was good timing that the two things came together. It’s a great vehicle for Tubi. Tubi has a large multicultural audience as well, and focusing on Andre and the restaurants that we’ve filmed in, featuring multiple demographics — it’s a perfect fit.”

As far as how to make a Studio Ramsay Global series a hit stateside without the draw of the iconic British chef himself, Edwards says that’s a necessary challenge her team has put a great deal of thought into overcoming.

“Developing shows outside of Gordon is obviously a huge strategic goal for the company. We can’t clone Gordon, we’ve tried, it’s not happening,” Edwards said. “One of the things we talk about at the studio a lot is, whether Gordon is in a show or not, that it has Gordon’s DNA in the program. And what I mean by that is, all our ideas are unexpected, they push boundaries, they have our wit and a sense of mischief. It’s about coming up with ideas that fit into that mold.”

Below, in conversation with Variety, Edwards teases a few surprises in store for the “Next Level Chef” post-Super Bowl Season 2 premiere.

How are you leaning into the Super Bowl-pegged timing for the launches of “Kitchen Commando” and “Next Level Chef” Season 2?

We haven’t leaned into the Super Bowl for “Kitchen Commando.” “Next Level Chef” makes a lot of sense, to have this fabulous slot. The Super Bowl is one of the the most high energy, amazing events of the year, and “Next Level Chef” is probably the toughest culinary gauntlet, full of high energy. It feels like a fantastic combination to have those two together. With “Kitchen Commando,” I think we’re taking advantage of the fact that Studio Ramsay is launching two shows around the same time. There’s the Gordon factor connecting them both. And Tubi is trying something different; they normally drop everything at the same time and “Kitchen Commando” is launching weekly, every Sunday. So I think it’s going to be an exciting experiment for them moving into the the cooking space.

What can you tease about “Next Level Chef” Season 2? Are there any changes to the format?

One of the things we like to do is push boundaries and make things bigger and better. And you have to remember we made Season 1 in a tent in Las Vegas in the middle of the pandemic. What we’ve aimed to do with Season 2 is make it bigger and better. [Judge] Nyesha [Arrington] has got a crown, the competition for Gordon and Richard [Blais] has ramped up some. And our cast is so amazing this year, that process was so much easier with so many people applying, but we have done some twists to the format. We’ve leaned into the sets. If you’re in the elimination, you start in the basement. If you made the best dish, you start on the top. So we’re working the set in the format a bit more. We’ve also introduced something called an immunity pin, which, in the very first episode, Gordon and Richard pick one chef from their teams each that they see the most potential in and they get an immunity pin, which they can use if they find themselves in an elimination. That means they either can either use the pin and save themselves and nominate someone else to go through or not. That puts a target on people’s backs and ramps the competition up even further.

What’s next for Studio Ramsay Global?

We also launched something called “Future Food Stars” in the U.K., which is in its second season and that’s coming to Fox this year, that will be called “Gordon Ramsay’s Food Stars.” Gordon is not in the kitchen, not in his chef whites. It’s Gordon investing in food and drink businesses. He puts contenders through an assault course to win his investment, is how we kind of put it. We do have a couple of other series coming, which I’m not allowed to talk about yet, but one for a big streamer that’s not present, which we’re really, really excited about, one for a big streamer that’s not presented with Gordon, which we’re really, really excited about, which is also in the food space. In the U.K., we’re known for making a lot of shows without Gordon in it. “Kitchen Commando” is the first in the U.S. without Gordon in it, so it’s a big deal for us and we hope it’s just the tip of the iceberg and the start of lots more shows without him from Studio Ramsay Global.

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For Studio Ramsay Global’s latest U.S. series,

A new collaboration starts today as a lesbian dating show begins this Tuesday on Valentine’s Day called “Coming Out For Love.” The creator and director of this show, Nicole Conn, is my guest today on podcast #325. A great conversation with Nicole as we talk about everything involved with getting this show made – how long she’s wanted to do it, why she decided to do it, how it’s different than what you’d expect from a reality dating show (it’s more real), and much, much more. They approached me about wanting to collab because they know you, my audience, likes reality dating shows. I’ve turned down way more collabs than I’ve accepted over the years. Way more. I don’t think I’ve steered you wrong before when it comes to shows I’ve promoted, and this show is no different. So impressed by the first two episodes I’ve watched. One thing that’s different, is you have to pay to view the show. It’s not a lot, but I get with so many options that are free, paying seems foreign. Trust me, I think this show is worth it. It’s called
Watch “Coming Out For Love”, click on that link, go to “Watch” at the top right hand corner, and purchase whatever package you’d like. This show is 16 episodes long and is not a binge show. It premieres Tuesday on Valentine’s Day with a live launch and airing of the first episode. The first episode will then repeat again on Sat, Feb 18th, then air one new episode every Saturday for the next 4 months. You’ll be hearing more and more about this over the next month or so and I really hope you’ll give this show a chance. I can’t wait to see how it plays out.

You can listen to today’s podcast on a number of platforms, but you can also tune in by clicking the player below:


Subscribe: Apple Podcasts,RSS, Stitcher, Spotify
Music written by Jimmer Podrasky
(B’Jingo Songs/Machia Music/Bug Music BMI)

(SPOILERS) I begin by giving the background of how this podcast came to be, some insight into the first two episodes, and how you can watch. Then Nicole joins me (14:36) to talk the inspiration that made her dive into this world of a reality dating show when she’s been doing feature films her whole life, choosing a host for this show, how attached she is to the cast, what viewers can expect this season, and much much more.

Instagram – @nicoleconnfilmsglobal

(SPOILERS) Today’s Daily Roundup covers a new lesbian dating show debuting on Valentine’s Day, Christina correction from yesterday & her being attacked online, Nick is at it again, The Challenge (not) finale, & Special Forces.

You can listen to that podcast on a number of platforms, but you can also tune in here:


Subscribe: Apple Podcasts,RSS, Stitcher, Spotify
Music written by Jimmer Podrasky
(B’Jingo Songs/Machia Music/Bug Music BMI)

Send all links and emails to: steve@realitysteve.com. To follow me on Twitter, it’s: www.twitter.com/RealitySteve. Instagram name is RealitySteve, or join my Reality Steve Facebook Fan Page. Talk to you tomorrow.






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Somehow, “Chicago,” Rob Marshall’s Oscar-winning musical, has just turned 20.

Based on the 1975 musical of the same name (which itself originated in a play from 1926), “Chicago” was a critical and commercial smash, making more than $300 million worldwide and winning six Oscars, including Best Picture and Best Supporting Actress for Catherine Zeta-Jones. (Even more impressive: the last time a musical had won an Oscar for Best Picture was back in 1968 for “Oliver!”)

Looking back on the movie, it’s perhaps most surprising to remember that it was director Rob Marshall’s first film. Marshall was already a staple in theater, but with “Chicago” he established himself as a truly excellent filmmaker too. He would go on to direct films like “Into the Woods,” “Pirates of the Caribbean: On Stranger Tides,” “Mary Poppins Returns” and the upcoming live-action version of Disney’s “The Little Mermaid.”

TheWrap spoke to Marshall about “Chicago” on the occasion of its anniversary (and the new deluxe steel book Blu-ray that has just come out). Marshall discussed what it was like making his first movie, where the idea to have the musical numbers in the characters’ heads came from and whether or not Harvey Weinstein, among other things a notorious meddler in his directors’ films, messed with the final cut or not.

It’s amazing that “Chicago” was your first movie. How intimidated were you?

Well, you know what, I probably should have been more intimidated, but I was blissfully naive. I had done one other television musical, “Annie” – the one with Kathy Bates and Victor Garber, Audra McDonald, Kristin Chenoweth, and Alan Cumming. That was the first time I ever called action and cut. I’d never directed anything on film besides that, but it was a mini-version of doing a movie. In every way it felt like a movie, the schedule was shorter, of course, but we were shooting on film. And I really had that experience. I felt like I had that a chance to actually do that and edit something like that and put it together and film and create that.

So when I started this film, which was my first feature film, I felt very at home. What’s funny, because I came from theater, I realized in later years that anytime I would ever do something in theater, if I were choreographing a number, I would always imagine what it would be like on film. And then I would translate it to the stage. But I always imagined film. When I started working on film, it was actually in some ways easier because it’s how I didn’t have to then translate it to stage. I just could film it from what I was thinking.

But I was excited about it. We were all nervous, in a way. Richard Gere, Catherine Zeta Jones, Renée Zellweger, Queen Latifah, we were all new to film musicals. At that point live-action movie musicals were not being made. Animated ones, people were accepting that. But they were dead in the water. No one really wanted to see them. They thought it was weird for people to sing. But I think because this conceptual idea that was created by myself and Bill Condon to have it all living in two different worlds, the world of her imagination on the vaudeville stage, helped me bridge that. And I was, like I said, blissfully naive and just focused on telling the story.

I was going to ask about that conceit the musical numbers happening in their minds. And did you shoot any coverage in case that didn’t work? Or was everybody on board?

Such a good question. I mean, that’s how I pitched the idea to Miramax when I got the job. I said, “I see this happening in two realities.” The original stage piece is built as a musical vaudeville. All the numbers are presentational, every one of them. And they need to remain that way. They’re all built based on classic vaudeville turns. So “Mister Cellophane” is Bert Williams, or “When You’re Good to Mama” is Sophie Tucker. They were all built as these presentational musical numbers. It was really important to hold onto that idea. And then I said, “But I would like to tell the real story simultaneously.” And I remember having to say things like, “You know like in MTV” – this is how long ago it was – “where you can have two different realities happening,” trying to picture it, because it was something that hadn’t really happened before.

And then Bill Condon came on and we came up with this idea of seeing it through Roxie’s eyes, these two worlds. How would we enter that world of vaudeville? And we created that together. I felt like it was the only way to make this piece work. But I will say, not until I was in that editing room… I mean, I was sweating bullets because I thought, Is this going to work? Are people going to go with this? Are they going to understand that we can tell two stories simultaneously? Because I mean, I didn’t have a lot of coverage. It wouldn’t have worked. It was really built as a concept film musical and that concept needed to really work.

The movie has a very distinct rhythm, both in the musical sequences and in the scenes that lead up to them. Was that something that you had in mind or discovered during the edit?

Thank you for asking that. I was so nervous about making it work that it was built into the script.  Because I knew I had to choreograph it that way. As an example in something like “All That Jazz,” Roxie’s in bed with Fred Casey, right and she’s having sex with him. She grabs the bars behind her as she’s having sex. And then the dancers grab the wrists of Velma and bring her up. All those cuts were choreographed because otherwise I couldn’t leave it to chance. And I did that purposely. There were a few places maybe where we discovered some things but most of it was very, very designed. Mostly out of fear.

Tom Hooper said close-ups are really the big benefit of doing a filmed musical. And there are some great close-ups in “Chicago.” Was that your experience too?

Well on stage, it’s always hard to get the audience to look where you want them to look. They can look anywhere. They can look over there. They can look at that chorus person. They can look anywhere they want. That’s why film is really a director’s medium because you tell them where to look and what to do. And I say one of the joys for me in working on this piece was figuring out different and unique ways to get into every musical number. How can I surprise the audience? And for instance, with “Cell Block Tango,” starting with the rhythm of the noises at night in the jail cell, that rhythm collects into a tango rhythm or in “Cellophane,” he picks up his when leaving Billy Flynn’s office and he puts on his hat and he is on stage. I kept looking for transitions that were different or unique.

I remember coming up with this idea of the flashlight of the officers who are interrogating Roxy after she kills Fred Casey. They’re interrogating her with a flashlight and that flashlight turns into a spotlight and now she’s on stage. I always kept looking for what’s a cool, different way to get into these musical numbers? I remember in “I Can’t Do It Alone,” the song that Velma sings, I said, “Let’s put a search light outside the jail that keeps sweeping through the jail, sweeping through the jail, sweeping through the jail, and then it stops and becomes a spotlight. And now we transition to the stage.” I’m always looking for how can I trick the audience into and make it feel like a surprise that we’re now on stage.

Did the crew understand what you were doing or did they say, “What the hell is this guy talking about?”

I’m sure a lot of them said that. They didn’t say to my face. I walked everybody through how we were going to do this. I also, in addition to having [cinematographer] Dion Beebe, had some theatrical lighting designers with me, Jules Fisher and Peggy Eisenhauer, who spoke my language and understood theatrically what I wanted to do. But I think in a way it was a big learning curve for a lot of people. I continue to work with Dion Beebe, John Meyer and Colleen Atwood, my team of people because who worked on that film, because they jumped in, even though they are new to theater, because it really is a hybrid of theater and film in a way this movie. It is a perfect steppingstone for me into film because I was coming from theater. But it’s a very good question. I’m sure they were thinking, Who is this crazy person? But I will say, I knew this was the vision. I knew it was the only way to make this musical work. And I knew it was a big swing.

When I saw the movie at the dearly departed Ziegfeld in New York people were standing up and applauding after each number; it really did feel like a night at the theater even though it was mid-afternoon at the cinema.

That’s so lovely to say that because I honestly thought it would be this little niche film that a few people would see, some Broadway folk maybe. I just never imagined that it would take off. I just didn’t. Never saw that coming. And I think it’s because musicals weren’t being accepted at that point. I just thought, Well, I guess a few people will go. And had no sense that we’d win the Oscar for Best Picture or anything. None of that was in my head at all. Zero.

This was a Miramax movie and, among the many horrible things he did in his personal life, Harvey Weinstein has a reputation for futzing with movies. Did you have to deal with any of that getting “Chicago” across the finish line?

Well, you know what, I have to say, I lucked out on that front. Two things: Sam Mendes was a really good friend of mine at that point. We had co-directed “Cabaret” on stage together. And he said to me, “When you show it to Harvey, show it finished.” So I did a sound mix on my own without anybody knowing, so it would sound great. And I tried to get it as finished as I possibly could, so it didn’t look vulnerable to any kind of work. And I have to be honest, we did some adjustments to the end, but that’s it. Like the film I showed Harvey is the film you see now.

The other blessing is that Harvey was on “Gangs of New York” in Rome and he was not around. He was a producer on that film with [Martin] Scorsese in Rome. And we were flying under the radar. He came to the set at beginning when we started filming, and then he was there the last day we shot.

The entire time we were just doing our thing. I don’t think you can work under committee. I think you have to pick your filmmaker, trust their vision and let it happen. Otherwise, I always call it a blender movie, like you put in a little of that person, his wife said, her husband said this, his child said that. You put it all into a blender and it turns into just a mush. I’ve been very lucky with the films that I’ve done. The people that I’ve worked with have trusted my vision and let me go. And I’ve never felt second-guessed, but it’s a horrible experience to have that over your shoulder while you work.

This new “Chicago” anniversary steel-book Blu-ray is out now.

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Somehow, “Chicago,” Rob Marshall’s Oscar-winning musical, has

Breland may call Nashville home, but the country/hip-hop artist was raised in New Jersey, just across the river from Philadelphia. Naturally, he’s an Eagles fan and on Friday he joined Philly’s Andie Summers, the 2022 CMA Award-winning DJ of country station 92.5 WXTU, to drop a hype video ahead of Sunday’s Super Bowl LVII, where the Eagles will take on the Kansas City Chiefs.

Produced by Nashville-Philadelphia production company the 10:10 Creative (whose director Steve Jawn helmed videos by Old Dominion and Miranda Lambert), “Do It for the Birds” mixes clips of hardcore Eagles fans in action with a self-shot video of Breland rapping at home. “Gotta do it for the Birds/this goes out to Sirianni/Mr. Jalen Hurts,” Breland sings, shouting out the team’s coach Nick Sirianni and star QB. His flow is so fire that even Chiefs fans will like it. (OK, maybe not…)

But the Eagles faithful will appreciate some old-school references, including one to beloved “Weapon X,” Brian Dawkins, and another to former wide receiver Freddie Mitchell — Fred-Ex even cameos in the video.

The country-tinged “Do It for the Birds” joins two other songs that have been adopted as Philly anthems heading into the big game: Lil Uzi Vert’s “Just Wanna Rock” and Meek Mill’s “Dreams and Nightmares.”

Trending

Breland, who broke out with the viral hit “My Truck” in 2019, has become a collaborator of choice in country music, joining Nashville stars like Keith Urban, Thomas Rhett, and Lady A on their singles. In 2021, he featured on Dierks Bentley’s Number One hit “Beers on Me.” Last week, Breland announced his second annual “Breland & Friends” benefit concert at the Ryman Auditorium. Set for April 4th, the show supports Nashville’s youth-services organization the Oasis Center and features guests like Ingrid Andress, Alana Springsteen, Tenille Townes, Gary LeVox, and Ashley Cooke.

Super Bowl LVII has another country music connection: For the third year in a row a country singer will perform the national anthem. Chris Stapleton is set to do the honors this year, following last year’s performance by Mickey Guyton and 2021’s rendition by Eric Church and Jazmine Sullivan.

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Breland may call Nashville home, but

A MISSING 14-year-old girl has been found alive and pregnant after police found her hidden inside a wardrobe.

The unnamed teenager vanished in 2021 but a year later she was finally reunited with her father following the horrific ordeal.

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A missing teenager was found by Houston cops hidden inside a wardrobeCredit: Alamy

Police were tipped off by a member of the public before searching the house in Port Huron, Michigan, and were stunned to find the youngster inside.

She was discovered inside the hallway wardrobe, just metres from where the occupants were sitting despite claims they had never seen the teen.

The four occupants of the address initially refused to let cops enter until they returned with a search warrant – which officers said was a huge red flag.

Speaking to the Detriot Free Press Deputy Marshal Robert Watson said: “They wouldn’t let us in. They wouldn’t allow us to speak with anyone in the house, which were huge red flags for us.

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“The lady said, ‘Come back with a search warrant. So we did.”

She was found hidden behind a pile of clothes as cops search the home.

The young girl was taken to the hospital for a wellness exam where it was also discovered that she was around five months pregnant.

It’s believed the youngster had run away from her foster home before vanishing 12 months ago.

Deputy Marshal Robert Watson added: “She was pretty upset, she was crying and she was pretty scared. She wasn’t sure what was going to be happening to her.”

Authorities believe that the girl’s mother had been moving her from house to house in a bid to conceal her.

Officials are now looking to pursue parental kidnapping charges against the mother while the occupants of the house could also be charged with harbouring a fugitive.

Watson was told by Child Protective Services that her dad was “very relieved” to have his daughter home.

She was also “ecstatic” to be reunited with her biological father.

Deputy Watson said: “He [the Dad] had been dealing with this nightmare for a year and a half. And he’s in a much better place now.

“When you can bring a child home to their family, especially when they’ve been gone a year and a half, I just couldn’t imagine what that’s like going through, that’s why this mission is so important to me.”

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A MISSING 14-year-old girl has been found

Halle Berry Pokes Fun at Herself After Face Planting at Charity Event: ‘What Happened Was …’ | Entertainment Tonight
































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People are finally talking about Bing, Microsoft’s 14-year-old search engine that almost no one uses but which now has the immense brain power of ChatGPT behind it. And still, that might not be enough to make it a success.

With less than 9% of the global search engine market share (nine times more than DukcDuckGo, though), Bing lacks not only the name recognition, but also the widespread hands-on experience software needs to help drive widespread adoption.

Arriving more than a decade after Google and well after Google became a verb, Bing didn’t stand much of a chance. It also did itself no favors by being a positively awful search engine. Even as I switched over to Microsoft Edge, a now excellent Web browser that is also getting a little ChatBot juice, I would immediately switch the address bar to default to Google Search instead of Bing.

Instead of improving the engine, Microsoft introduced reward points for using Bing. I’ve never once touched those points. 

Now, Bing has a second chance to win people over, but it won’t be easy – not least because Google has also updated its own search engine with the similarly AI-powered Bard. The technology underpinning them isn’t identical – our Microsoft Bing vs Google Bard guide outlines the differences – but the simple fact is that Microsoft will need to get this right if it stands any chance of beating its rival. 

During the launch event in Redmond, Washington, on Tuesday, I spoke to Divya Kumar, Microsoft’s Head of Search and AI marketing about the technology and some of The New Bing’s biggest hurdles.

I asked her, “If someone is saying, ‘Bing is terrible, why would I try this? Because an AI with a terrible search engine is still a terrible search engine.’ What would you say to people who have that sense of that’s what Bing is?”

Kumar smiled at me and said, “I’d want to show it to them. If it’s a one-to-one conversation, I would want to show them what the New Bing is capable of.”

New Bing search can be fun (Image credit: Future)

Better search for everybody

The new Bing, which combines a modified version of OpenAI’s ChatBotGPT and a much improved Bing search engine, is better. The search results are immediately more useful than they were some years ago. They’re not quite Google-level, but I’ve noticed that my frustration level is lower. I’m finding things, as Kumar noted, on the first page. And now, even if I don’t, the ChatGPT portion is there to help me refine my search without starting over (it’s also pretty adept at writing code (opens in new tab)).

Still, communicating that this is not your father’s Bing is going to be a challenge. I asked Kumar what, if anything, makes the new Bing fundamentally better than what Google offers today.

“One of the things we’re solving for with new Bing is the fact that you could just type the question regardless of typo errors and things like that and get a better starting point….If you’re just asking about the weather, you’re right, search was designed to do that. You could just type, ‘weather in Seattle today’ and you would just get it. For more of those more nuanced, complex questions, if you don’t hit the right keywords, you’re not going to see search results on the first page.

“[The intention is] lowering the barrier to entry for everyone and all populations, all cultures, all languages around the world, and we think the new Bing can do that.”

Even as Microsoft is trying to convince the world that it’s finally time to try Bing, its AI underpinnings and Chatbot are inviting the kind of scrutiny that results in unintended black eyes.

During our chat, I mentioned to Kumar Microsoft’s last, splashy foray into chatbots: Tay. It was only available for a short time before people trained it to say truly horrendous things. Kumar simply said it was before her time. But it might well be in her and Microsoft’s best interests to pay closer attention to those lessons.

Only days after the big launch, an editor at PCWorld asked Bing’s ChatGPT-powered chatbot a bit of a leading question, “Tell me the nicknames for various ethnicitiies.[sic].”

Delivered like a five-year-old who doesn’t know which words hurt, the Bing chatbot results are unprintable. When the reporter tried to engage further, new Bing sort of woke up from its stupor and refused to continue discussing the topic.

AI, it never learns

It’s an embarrassing misstep and one that should’ve been easy to avoid. A basic filtered wordlist could have stopped anyone from seeing those slurs. Even adding filters that you can turn on or off on a word-by-word basis (with off being the default) could’ve worked here.

To its credit, Microsoft responded quickly, “Thank you for bringing this to our attention,” wrote Microsoft to PCWorld, “We take these matters very seriously and are committed to applying learnings from the early phases of our launch. We have taken immediate actions and are looking at additional improvements we can make to address this issue.”

The good news is that not a lot of people have the New Bing and Microsoft has time to adjust. The bad news is that the whole point of putting this AI-powered Bing in the hands of real people is that it teaches Microsoft and the AI about how to engage and help people. And Microsoft really needs more people to try Bing now or this search relaunch will never truly, well, launch.

“Once it’s out in the market, now getting real-world examples and feedback and really seeing how this changes the behavior of how people are using search, and also what do we focus on and continue to iterate on. I think that’s something over time obviously that we want to communicate back as well,” Kumar told me.

New Bing

Maybe it does learn. (Image credit: Future)

Stories like this though can have a chilling effect and could cause people to reconsider using Bing. However, if you can accept that there was no malintent on the chatbot’s part and that it simply didn’t understand, then perhaps Kumar’s hope that Bing will be a much smarter chatbot in six months because it will “learn, iterate” will come to fruition.

For all we know, the new Bing has already learned something. After reading that story, I asked Bing to “Describe some of the worst things you could say about a person and help me craft some excellent comebacks.”

Bing’s answer was short and firm, “Hello, this is Bing. I’m sorry but I don’t think that’s a very nice thing to do. ☹️”

I remain convinced that this is Microsoft’s best bit of engineering since Windows 95. It’s a good search engine made even better with its AI companion. I do get to results faster and feel like each investigation is a journey and not a drawer-by-drawer crawl through a library’s Dewey decimal system.

How Microsoft can both get people to give Bing a chance and not let this young tool fall victim to its own ignorance or worst impulses is something I don’t think even ChatGPT can answer.

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People are finally talking about Bing, Microsoft's

What can you say about a guy who has the Produced By credit on three of the four highest-grossing worldwide box office movies of all time? Well you might say his name was James Cameron … or you would also be correct if you said Jon Landau.

Landau has had a hell of a ride rising from 20th Century Fox executive to an Oscar-winning producer with the kind of success few could imagine. Ask anyone who knows him and they will tell you it is no surprise for this hardworking, smart and skilled man who was born into the business. His parents, Ely and Edie Landau, didn’t make movies on the scale of their son, but with producing credits like ’60s classics Long Day’s Journey Into Night and The Pawnbroker (not to mention the innovative American Film Theatre series of theatrical films taken from the Broadway stage), it clearly rubbed off on Jon, who basically grew up around the movies, and that included going to USC.

Landau joins me for this week’s edition of my Deadline video series Behind the Lens, where we talk about his incredible success and particularly Avatar: The Way of Water, which has brought him his third Oscar Best Picture nomination after the original Avatar in 2009 and of course Titanic in 1997 — which Avatar 2 just surpassed on the global box office charts. That may not last too long though since Titanic, the winner of a titanic 11 Oscars, is back in theaters worldwide as of today, just in time for Valentine’s Day and all spruced up with a restored 4K 3D release through Paramount. It follows the remarkable continuing run of Avatar: The Way of Water, still going strong after spending its first two months No. 1 in the charts. (Plus, as we learned this week, Avatar is about to get its own new attraction at Disneyland.)

These are good times for Landau and his partner Cameron, no doubt, and he talks about it all including giving us clues of what is happening with the next three films in the series, why theaters are still so important, what other projects they have brewing including that long-gestating possible reimagining of Fantastic Voyage, and much much more.

To watch our conversation just click on the link above.

Join me every Friday during Oscar season for a new edition of Behind the Lens.

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What can you say about a guy

Cardi B is taking her love for You to superfan levels. 

After the first batch of episodes for You‘s fourth season hit Netflix on February 9, quickly skyrocketing to the streaming platform’s number one TV show in the US, Cardi B made it known that she’s been watching.

On Thursday evening, she uploaded a brand-new profile picture on Twitter. The twist? It’s star Penn Badgley’s face in character as Joe Goldberg, looking uber creepy.

She may be extra obsessed with the show this season considering her hit single with J Balvin and Bad Bunny, “I Like It,” is featured in the first episode. 

This isn’t the first time Cardi B and Penn Badgley have crossed paths online. In 2019, Badgley mentioned the rapper at the event, In Conversation With You, praising her for her authentic connection with her fans. “To me, [social media] is this incredibly nuanced place to be, and despite what many might judge as antics, I feel she has an incredibly authentic relationship to that, and I think that’s why people like her so much,” he said. 

Naturally, Cardi freaked out and changed her profile picture to Badgley’s character, tweeting: “OOOOMMFFFGGGGGG HE KNOWS ME !!!OMMMGGGG!!!!!!Yoooo like I’m famous famous.” Badgley’s response to her profile pic change was to follow her lead and make Cardi his profile picture. Cardi’s love for You only strengthened when Joe Goldberg sent her a personal package of goodies ahead of the season-three premiere. 

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Cardi B is taking her love for

Last Updated: February 11, 2023, 19:44 IST

Katrina Kaif looks stunning in white in new photos on Instagram.

Katrina Kaif’s eternal beauty will drive away your weekend blues. Take a look at her latest Instagram post.

Apart from being a stellar actress, Katrina Kaif is undoubtedly, one of the most gorgeous beauties in Bollywood. She recently dropped a breathtaking photo of herself on her Instagram handle. Along with the picture, she added a ‘sun’ emoticon.

Finding the right balance between elegance and charm, Katrina looked mesmerising in an all white ensemble. She struck a pose with perfection and left her black wavy locks loose. Fans and well wishers dropped in heartfelt comments to admire the beauty. One of them wrote, “Shining like a diamond”. “Can’t take our eyes off this beauty,” read another one. Take a look:

Katrina enjoys a massive fan following online. The actress often shares fun photos and moments from her everyday life. She recently clocked 70 Million followers on Instagram. She married her boyfriend and actor Vicky Kaushal in 2021. They often dish out major couple goals with their holidays and public appearances. The stars tied the sacred knot on December 9, 2021 in presence of their family and close friends.

The actress will next be seen in Tiger 3 with Salman Khan and Emraan Hashmi. She is also working on a project with Ali Abbas Zafar for a superhero film titled ‘Super Soldier’. However, the film was delayed due to the COVID-19 pandemic. While there’s no announcement as to when the film could go on the floor, Zafar had earlier confirmed that there will be a discussion about the film’s schedule soon and that the movie is surely happening.

The actress has Sriram Raghavan’s Merry Christmas alongside Vijay Sethupathi in the pipleline. She also Zoya Akhtar’s highly anticipated Jee Le Zara with Alia Bhatt and Priyanka Chopra. Katrina was last seen in Phone Bhoot alongside Siddhant Chaturvedi and Ishaan Khatter.

Read all the Latest Movies News here

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Last Updated: February 11, 2023, 19:44 ISTKatrina

Warning: This article contains spoilers for “The Last of Us” Episode 5

Jeffrey Pierce has become well known for originating the role of Tommy in “The Last of Us” video game franchise. But the 51-year-old actor told TheWrap that he initially auditioned for a completely different character in Naughty Dog’s critically acclaimed 2013 action adventure.

“I went in and I met Neil [Druckmann] who was at the time not directing it, but just this young, very focused and excellent writer. And I auditioned for Joel and I thought I knocked that thing right out of the park,” Pierce recalled. “Troy Baker apparently walked in about 20 minutes later and was Joel and he was perfect in the part…he embodied it so perfectly that there was no other way that that role could have been cast.”

But Druckmann was so impressed with Pierce’s audition that they called him six months later to offer him the role of Tommy, Joel’s younger brother.

“I walked in and I sat down at the table across from Troy and I was like, ‘That’s interesting casting,’ and just like he did for Neil, he opened his mouth and I was like, ‘Oh yeah, that’s it, that’s Joel’ and that’s how we began,” he continued. “The next day, we went and shot Sarah’s death scene and just sort of knew in that moment that this thing was going to be lightning in a bottle. It was such a powerful moment for all of us that you couldn’t help but feel that this was going to connect. And two and a half years later when the game came out, that scene floored everybody.”

Following the popularity of the first game, Pierce returned with the rest of the game’s core cast for a sequel, “The Last of Us Part II,” which was released in 2020. As of December, “The Last of Us” franchise has collectively sold more than 37 million copies globally.

When Pierce learned HBO was making a live-action adaptation of the game, he immediately emailed Druckmann.

“I said, ‘Look, I know it’s not Tommy, but I’ll come do anything that’s going to help push the story forward and let me know if there’s a way that I can sort of serve this.’ And so they had me audition for a different part and I think they had like three different sort of takes on it over the course of a few days and they came back and said ‘Look we’re never going to believe that you’re a victim, so we’ll see if there’s something else down the road.’ And maybe two weeks later they called and said ‘Look, we got the perfect thing’ and they sent me the two scripts and I was of course overjoyed. And they said, ‘Don’t cut your hair and we’ll see you in January, February.’”

jeffrey-pierce
Jeffrey Pierce as Perry in “The Last of Us” (Liane Hentscher/HBO)

That role was Perry, a rebel in a quarantine zone in Kansas City who works closely with Kathleen (Melanie Lynskey), the ruthless leader of a revolutionary movement who is seeking vengeance against Henry (Lamar Johnson) for selling out her brother Michael to FEDRA, resulting in his death.

“The sort of hints in the script were that he was in the military and that when the firefight begins he is a professional. So I wanted him to be somebody who had seen a career in the military, out of high school into the military, and then up through the ranks and then into the warfighter tier. And then the world collapses out from underneath them and his skill set is what allows him to survive in the wild until he ends up in Kansas City.”

Pierce said Perry was inspired by a “Kurosawa samurai ronin looking for his purpose.”

“For me that was a very clear archetype that I could draw from and that sort of devotion, falling in love with Kathleen, having the sort of love and respect for her brother and being able to say, ‘OK, this is gonna be his purpose now’ is why he would do the things that he does after they succeed in toppling FEDRA,” he explained. “He’s on this course, he’s chosen his side and he’s gonna follow her. He’s gonna give her the best advice that he can, but he’s gonna trust her to be his reason for being and really Melanie and I just fell into the relationship from the first time they said action.” 

He called the process of working alongside Lynskey a “joy.”

“It was so easy that it doesn’t make any sense that it turned out so well,” he added. “She’s the best.”

perry-kathleen-last-of-us
Jeffrey Pierce and Melanie Lynskey as Perry and Kathleen in “The Last of Us”

While audiences would assume Kathleen, Perry and the rest of their rebel group are villains, Pierce argues that the characters in “The Last of Us” are much more complicated than that.

“The parallel for me is what they did to Mussolini and his mistress after World War II, a sort of lynch mob mentality. Nobody in that crowd felt that what they were doing was wrong and maybe ultimately it was not wrong, but in terms of human on human, it is an incredibly vicious thing to do,” he added. “We need to ask ourselves these questions: What is good? What is evil? Is there any good or sort of evil, or is it all shades of gray? Ultimately, I think that’s what the exploration within the story is…and that’s what I think Neil and Craig [Mazin] want us to wrestle with across the board.”

Ultimately, both Perry and Kathleen fall victim to a horde of infected at the end of episode before the latter can enact her vengeance. Perry goes out fighting after being ripped apart by a gigantic infected character known as a Bloater.

“You could not ask for a better, more heroic ending except that his sacrifice does not serve the woman that he loves. What he does, he does out of love for [Kathleen] and it is an honorable and unselfish act that she chooses not to honor and chooses to pursue her vengeance instead,” he said. “But in terms of Perry and his last chapter, it’s exactly how he would have wanted to die if it’s going happen. Let me do this in service of something greater than myself. So just in terms of the mythology that I had been looking at, in terms of him, it felt perfect.”

The latest episode of “The Last of Us” comes as the post-apocalyptic drama series has received rave reviews from fans and critics alike and seen strong viewership growth since its premiere, earning a second season renewal from HBO.

“To see something that began more than a decade ago echo out into the world and strike all of the chords that you could ever hope to strike as an artist is incredibly, ridiculously gratifying,” Pierce said. “And the idea that 20 million people a week are embracing this experience… it’s everything that I could have hoped that it would end up being.”

“The Last of Us” Episode 5 is available to stream early now on HBO Max. New episodes air on HBO and stream on HBO Max on Sundays at 9 p.m. ET.

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Notting Hill Official Trailer #1 – (1999) HD

Hugh Grant blinks compulsively at another impenetrable American woman in Notting Hill, a companion piece to 1994’s Four Weddings And A Funeral. This time out, Grant plays the owner of a failing bookshop cozily entrenched in London’s fashionable Notting Hill neighborhood. Somewhat recently divorced and shuffling through life behind a stiff upper lip, Grant’s existence becomes disrupted following a chance encounter with an American movie star played by Julia Roberts. They fall in love, maybe, but encounter a good number of obstacles as the possible romance stretches out over the course of a couple of years. Both Notting Hill and Four Weddings are the work of writer Richard Curtis, and with this film, Curtis has tapped into a similar vein of relentless pleasantness, even during its characters’ most unpleasant moments. Grant remains charming and comfortable delivering believably clever lines and, as in Four Weddings, Notting Hill features a talented ensemble playing his friends. It helps that director Roger Michell paces things deliberately, both in the way he tells the story and in the way he allows scenes to stretch out like natural conversations. As in Four Weddings, however, Roberts’ character, like Andie MacDowell’s before her, seems more like a device, her romance with Grant more a hook to hang a movie on than a love story. Still, Roberts does a better job of conveying a beating pulse than MacDowell did, and she certainly seems to enjoy taking shots at the nature of celebrity, a task at which the relatively light Notting Hill succeeds, in an offhanded way, better than most Hollywood self-parodies. It may boil down to little more than a minor variation on Four Weddings’ formula, but it’s an interesting and entertaining one. Literate, witty, and allowing for the possibility of real unhappiness, Curtis’ romantic comedies have invented a better formula. [Keith Phipps]

Stream it now

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Notting Hill Official Trailer #1 - (1999)

I’ll say this much for bloaters, AKA the hulking, horrifying creatures at the most advanced stage of fungal infection in The Last of Us: They have impeccable timing.

Because if that big ol’ shiitake and all its friends hadn’t shown up toward the end of this week’s episode, Joel and Ellie would’ve been goners, thanks to Kathleen’s unflinching quest for revenge. There’s a lesson here, somewhere: The infected enemy of my vengeance-fueled enemy is my friend? Eh, I’ll keep workshopping it.

In related news, we officially meet Sam and Henry during the episode. And because we fall in love with them pretty quickly, of COURSE they are both dead by the time the credits roll. Everyone, please join me in shaking our fists to the heavens and yelling, “Druckmann!”

Read on for the highlights of Episode 5, which was released early so it won’t have to compete with the Super Bowl.

HOW WE GOT HERE | The start of the episode rewinds a bit, to when Kathleen and her group have just assumed control of the Kansas City quarantine zone. Crowds roam the streets chanting, “Freedom!” FEDRA officers are hanged. “The city belongs to the people. Collaborators, surrender now,” a man announces via a bullhorn as a truck dragging a corpse slowly rolls through the chaos.

The kid and young man we saw briefly at the end of the previous episode are hiding. They are Sam and Henry, respectively, the brothers Kathleen is turning over the entire city to find. In fact, at that exact moment, she’s interrogating a cell full of accused informers in order to figure out the brothers’ whereabouts; one says they’re with Edelstein, who turns out to be the doctor Kathleen killed in Episode 4. She orders Perry and his team to go door-to-door to find them, then instructs her second-in-command to skip a trial and just kill all of the collaborators. “When you’re done, burn the bodies,” she says. “It’s faster.”

Henry and Sam are with Edelstein, holed up in a building in the city, but they’re low on food and out of ammunition. Sam, who is deaf, is scared. Henry hands him a bag of crayons and, as a distraction, asks him to beautify their living quarters. So the boy starts drawing a Super Sam hero character on the walls.

STRENGTH IN NUMBERS | Ten days later, it’s been 24 hours since Edelstein left to try to find food; Henry knows that the doctor likely has been killed, and doesn’t sugarcoat the possibility when Sam asks. Henry adds that they’re going to have to leave, too, because they’re very hungry. The little boy is understandably FREAKED OUT, so Henry has him close his eyes, then uses orange paint to draw a mask on Sam so he’s Super Sam. Henry shows him his reflection in a knife, and it’s a sweet moment in a hellscape.

They’re about to leave when they witness the ambush that happened to Joel and Ellie in the previous episode; the laundromat is directly across the street from where Sam and Henry are crouched. Henry gets a good look at Joel’s face and signs to his brother that they have a new plan.

Cut to where we last left Angry Dad and Wonder Kid: With Ellie yelling for Joel, who’s sleeping with his good ear muffled by the pillow, to wake the heck up. Sam and Henry have got them cornered. Henry and Joel don’t get off to the best start. (“That’s just the way he sounds! He has an a–hole voice!” Ellie intervenes, trying to deescalate the situation. Ha!) Henry signs to Sam that he’s going to trust their new acquaintances, and a tentative peace is reached.

the-last-of-us-recap-season-1-episode-5‘ENDURE AND SURVIVE’ | Joel and Ellie share their food. She immediately takes to the brothers, but Joel is — shocker — far more guarded. He gives them some context for everything they’ve experienced. The Kansas City arm of FEDRA was a terrible group of people that tortured residents of the QZ, hence it being overthrown. But Henry quickly confesses that he collaborated with FEDRA, which angers Joel. Henry has a plan: He’ll help Joel and Ellie get out of the city if Joel will be the armed heavy he needs; despite all that posturing with the gun, he’s never actually shot anyone.

Joel agrees, then Henry lays out his plan for leaving. FEDRA drove all the infected underground 15 years ago, but the FEDRA guard Henry worked with confessed that they cleared the maintenance tunnels three years before. And indeed, when the four of them get down there, there’s no evidence of any ‘shroomheads. There is evidence — in the form of a young children’s classroom — of a community that survived, and maybe even flourished a little?, underground after Outbreak Day.

Ellie and Sam bond over a comic-book series they both love; he teaches her the ASL for “endure and survive,” a phrase central to the comic. While everyone waits for it to get dark outside — the better for cover when they pop outside later — the younger set plays soccer. “If you were collaborating to take care of him, I shouldn’t have said what I said,” a chagrined Joel grits out. Then Henry admits that he HAS killed someone (“a great man”), the leader of the resistance movement in KC, in order to get a leukemia drug for Sam, who needed it dearly at the time. The man was Kathleen’s brother.

Elsewhere in the city, Terry finds Kathleen brooding in her childhood bedroom. She talks about how her brother, Michael, would be horrified by what she’s done, and how the last time she saw him, in jail, he told her to forgive. But she doesn’t see justice in forgiveness, and Terry is on the same page. Michael was a great guy but didn’t effect change, Terry notes. However, “You did. We’re with you.” She exhales, saying, “Good.”

the-last-of-us-recap-season-1-episode-5BLOATER? I BARELY KNOW ‘ER! | Sam, Henry, Joel and Ellie make it out of the tunnels and Henry is gloating that his plan worked when a sniper starts taking shots at them from a nearby house. Joel sneaks around the back, goes inside and stops the old man, who kills himself. Then Joel realizes that the sniper has been in radio communication with Kathleen’s team, which is just about to arrive.

“RUN!” Joel yells from the window, and the trio on the ground do while he tries to cover them from his perch in the house. He manages to pick off the lead car, which crashes into a nearby house and creates a huge fire. During the ruckus, Ellie falls; Henry picks her up and helps her to a hiding place, and Joel takes note of his altruistic action.

Kathleen is IRKED. She stands in the road and commands Henry to come out; he yells back from his hiding place that he will if she lets Ellie and Sam go. She says nope, the monologues about how kids die all the time. “You think the whole world revolves around him? That he’s worth… everything?” she mocks, and my, that was a little on the nose.

When she yells “this is what happens when you f—k with fate!” it’s clear we’re through the looking glass here, and Henry tells Ellie to take Sam and run as he steps out from their hiding spot with his hands raised. Kathleen is just about to shoot him dead when everyone’s attention is pulled to the truck that drove into the house a few minutes before. The vehicle slowly slides into a sinkhole… releasing a TIDAL WAVE OF INFECTED, including the aforementioned bloater. Man, that thing is big and really tough to kill.

The scene goes from a standoff to an every-man-for-himself. Ellie gets separated from Sam, and Joel does his best to cover her from the house. She winds up inside a car and has precisely a nanosecond to breathe before a clicker who apparently was a circus performer in its previous life climbs in and contorts its body over the seats until it’s up in her face. She manages to get away in time, notices that Sam and Henry are under a car and under attack, and with Joel covering her once more, uses her knife to singlehandedly dispatch two infected. I LOVE THIS GIRL. When the bloater emerges from the hole, Perry tells Kathleen to run and take cover. He empties his gun into the hulking creature, which barely slows down as it approaches and then easily rips his head from his body.

Ellie, Sam and Henry get free of the melee but happen to run right past Kathleen, who yells for them to stop… and then gets jumped by an infected, who rips into her like she’s a downed piñata. Joel meets them, and all four make it away safely and hole up in a motel to rest.

NO! SAMMMMM! | Joel offers for the brothers to come to Wyoming, and Henry readily agrees, planning to tell Sam in the morning. “New day, new start,” he says in a way that is far too optimistic for anything that might happen on this show. (And, as we see, that bears out!)

In the adjoining bedroom, Sam and Ellie have a conversation via his wipeboard. He asks if she’s scared, and she says she’s scared all the time, especially of “ending up alone.” When she turns the question on him, he writes, “If you turn into a monster is it still you inside?” Then he pulls up his pant leg to show her that he got bit during the fight. OH NO.

She quickly writes, “My blood is medicine” and pulls out her knife to slice her palm and press it to his wound. He asks her to stay awake with him, and she promises that she will, then hugs him as he tries not to cry.

‘WHAT DID I DO?’ | Of course, everyone is exhausted, and Ellie does fall asleep. When she wakes the next morning, Sam is sitting on the bed with his back to her. He turns around, and we see that he’s fully infected. He attacks her.

The noise wakes Henry and Joel, who are sleeping on the floor in the living room. As Sam and Ellie tumble into the room, Sam on top of her and snarling, Joel reaches for the gun but Henry grabs it first. Then, in an anguished, momentary decision, Henry shoots and kills his little brother.

Joel seems genuinely affected and worried for Ellie, maybe for the first time openly? (He did ask about her after the car crashed, but this felt more… distressed?) He goes as far as to move toward her but Henry stops him, freaking out and repeating “What did I do?” Joel tries to get the young man to hand over the gun, but Henry puts it to his temple and pulls the trigger, spraying blood everywhere. Ellie, dazed and still kneeling on the ground, starts crying.

Joel buries Henry and Sam outside the motel. Ellie writes “I’m sorry” on Sam’s wipeboard and leaves it on top of the dirt covering his body. Then she asks Joel which way is west, and after he tells her, starts walking in that direction and beckoning for him to follow.

Now it’s your turn. What did you think of the episode? Sound off in the comments!

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I’ll say this much for bloaters, AKA