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Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony awards ceremonies, curated by Variety senior awards editor Clayton Davis. The prediction pages are Davis’ assessment of the current standings of the race and do not reflect personal preferences for any film or performance. Like any organization or body that votes, each individual category is fluid and subject to change. Predictions are updated every Thursday.

LAST UPDATED: Jan. 19, 2023

2023 Oscars Predictions: Best Makeup and Hairstyling

Category commentary: There are 10 movies still in the running and any can miss. This category has traditionally never worked out in a “traditional” manner (i.e. “American Hustle” missing).

Going with “Blonde” to match Ana de Armas’ nomination for best actress and a surprise snub for “The Whale” because there are two “fat suits” in the running.

NOTE: All credited nominees are ultimately determined by the Academy.

You can read the final Variety Awards Circuit column before nominations here. Nominations will be announced on Tuesday, Jan. 24.

See the latest film predictions, in all 23 categories, in one place on Variety’s Oscars Collective. To see the ranked predictions for each individual category, visit Variety’s Oscars Hub.

See the 2022-2023 Awards Season calendar for all key dates and timelines.

ALL AWARDS CONTENDERS AND RANKINGS:

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And The Predicted Nominees Are:
Rank Film Makeup and Hair Stylist(s) Distributor
1 “The Batman” Naomi Donne (makeup designer), Mike Marino (prosthetics design), Zoe Tahir (hair designer) Warner Bros.
When a sadistic serial killer begins murdering key political figures in Gotham, Batman is forced to investigate the city’s hidden corruption and question his family’s involvement.
2 “Elvis” Shane Thomas (hair and makeup designer), Mark Coulier (prosthetics designer), Jason Baird (prosthetics supervisor for Tom Hanks and Austin Butler), Louise Coulston (key hairdresser) Warner Bros.
The life of American music icon Elvis Presley, from his childhood to becoming a rock and movie star in the 1950s while maintaining a complex relationship with his manager, Colonel Tom Parker.
3 “Blonde” Tina Roesler Kerwin (makeup department head), Jaime Leigh McIntosh (hair department head) Netflix
A fictionalized chronicle of the inner life of Marilyn Monroe.
4 “All Quiet on the Western Front” Heike Merker (hair and makeup designer, SFX design) Netflix
A young German soldier’s terrifying experiences and distress on the western front during World War I.
5 “Amsterdam” Nana Fischer (makeup department head), Lori McCoy Bell (hair department head), Adruitha Lee (hair department head) 20th Century Studios
In the 1930s, three friends witness a murder, are framed for it, and uncover one of the most outrageous plots in American history.
Next in Line
6 “The Whale” Adrien Morot (prosthetic makeup designer), Judy Chin (makeup department head), Anne Marie Bradley (hair department head) A24
A reclusive English teacher living with severe obesity attempts to reconnect with his estranged teenage daughter for one last chance at redemption.
7 “Crimes of the Future” Alexandra Anger (head of department, prosthetics co-designer), Evi Zafiropoulou (makeup designer) Neon
Humans adapt to a synthetic environment, with new transformations and mutations. With his partner Caprice, Saul Tenser, celebrity performance artist, publicly showcases the metamorphosis of his organs in avant-garde performances.
8 “Babylon” Heba Thorisdottir (makeup department head), Jaime Leigh McIntosh (hair department head) Paramount Pictures
A tale of outsized ambition and outrageous excess, it traces the rise and fall of multiple characters during an era of unbridled decadence and depravity in early Hollywood.
9 “Emancipation” Ken Diaz (makeup department head), Andrea Bowman (hair department head) Apple Original Films
A runaway slave forges through the swamps of Louisiana on a tortuous journey to escape plantation owners that nearly killed him.
10 “Black Panther: Wakanda Forever” Joel Harlow (makeup department head) Marvel Studios
The nation of Wakanda is pitted against intervening world powers as they mourn the loss of their king T’Challa.

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2023 Academy Awards Predictions

BEST PICTURE | DIRECTOR | ACTOR | ACTRESS | SUPPORTING ACTOR | SUPPORTING ACTRESS | ORIGINAL SCREENPLAY | ADAPTED SCREENPLAY | ANIMATED FEATURE | PRODUCTION DESIGN | CINEMATOGRAPHY | COSTUME DESIGN | FILM EDITING | MAKEUP AND HAIRSTYLING | SOUND | VISUAL EFFECTS | ORIGINAL SCORE | ORIGINAL SONG | DOCUMENTARY FEATURE | INTERNATIONAL FEATURE | ANIMATED SHORT | DOCUMENTARY SHORT | LIVE ACTION SHORT

The 95th Oscars ceremony will be held at the Dolby Theatre and televised live on ABC on Sunday, March 12, 2023.

2022 category winner: “The Eyes of Tammy Faye” (Searchlight Pictures) – Linda Dowds, Stephanie Ingram and Justin Raleigh

About Variety Awards Circuit:

Variety’s unmatched coverage gives its readership unbeatable exposure in print and online and provides inside reports on all the contenders in this year’s awards season races. In addition to predictions, the section includes — Awards Circuit Column, a weekly analysis dissecting the trends and contenders in the race; Awards Circuit Podcast, a weekly series featuring interviews with the top contenders in the awards race and an expert roundtable discussion with Variety’s leading editors and columnists; Awards Circuit Predictions Video Series, a deep dive into specific categories, led by the leading pundits.

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Variety Awards Circuit section is the home

Clockwise from top left: The Pod Generation, Fair Play, Fairyland (Courtesy of Sundance)
Graphic: The A.V. Club

Snow is falling gently on Park City, Utah, in the opening days of the Sundance Film Festival. The 2023 iteration of everyone’s favorite indie fest is a particularly special one, after online-only versions in 2021 and 2022. In person and virtually, The A.V. Club writers are among the attendees relieved the fest is back on track, schmoozing with fellow cinephiles and checking out as many screenings as possible—always a fool’s errand with so much exciting, innovative, buzzworthy filmmaking on hand.

Day 1 of the fest featured a thrilling live performance from Amy Ray and Emily Sailers of the Indigo Girls, whose documentary It’s Only Life After All was one premiere helping get audiences back into the swing of things. Another music doc, Little Richard: I Am Everything, has fans of the legendary singer abuzz. And the likes of Emilia Clarke, Daisy Ridley, Jonathan Majors, Gael García Bernal, Dakota Johnson appeared at theaters across Park City to promote their premieres. Below are capsule reviews for three films that screened in the first days of the festival. And stay tuned for more dispatches from the wintry frontlines.

Fairyland

Fairyland

Fairyland
Image: Courtesy of Sundance

Director: Andrew Durham

Cast: Scoot McNairy, Nessa Dougherty, Emilia Jones, Geena Davis, Maria Bakalova

For his debut feature, Andrew Durham adapts Alysia Abbott’s memoir about growing up motherless with her queer father Steve in 1970s and 1980s San Francisco. After her mother’s tragic death, Steve (Scoot McNairy) starts living as an out and proud gay man. Alysia (played as a child by Nessa Dougherty) gets a crash course in anti-establishment culture. Steve lets his open life educate his daughter about the world, sex, and queer identity. Fairyland’s early scenes are marred by earnestness. Alysia is literally called precocious and the screenplay literalizes that a tad too much.

The film hits a higher gear when Emilia Jones appears as the teenage Alysia, delivering on the promise she showed in last year’s Oscar best picture winner CODA, which premiered at Sundance. Alysia grows up on screen and so does Jones’ confidence as an actor. Both Steve and Alysia have a witty and biting humor, sometimes verging on the sardonic. But the film doesn’t always follow them there, instead falling back on the obvious. But McNairy, especially, handles this complex character with poignancy. There is a moment when Steve realizes Alysia has grown up and is no longer a child, and with a flicker of the eye McNairy rises above the movie’s sometimes hooky script to tell the story of this relationship in full. Because of his performance, Fairyland is ultimately, utterly heartbreaking. [Murtada Elfadl]

The Pod Generation

The Pod Generation

The Pod Generation
Image: Courtesy of Sundance

Director: Sophie Barthes

Cast: Emilia Clarke, Chiwetel Ejiofor, Rosalie Craig

Surrealism, science fiction, and satire are the main ingredients of Sophie Barthes’ The Pod Generation, a tale set in the uncomfortably not-so-distant future. Emilia Clarke and Chiwetel Ejiofor star as a married couple who join the latest trend in parenting: artificial wombs, or pods, that enable prospective mothers to carry on with their lives with less inconvenience. While Ejiofor’s Alvy, a botanist clinging to the old ways of real plants and trees, believes pregnancy should be “natural,” Clarke’s Rachel is an ambitious career woman who values her marriage, but maybe not as much as the promotion that includes a coveted slot at the dreamily futuristic Womb Center.

Cinematographer Andrij Parekh is one of the real stars of The Pod Generation, which immerses us in a distinctly feminine future, all soft edges and pastel hues. Life in this advanced New York City feels so soothing and full of ease, you almost miss the troubling assertions that AI is considered a better provider of therapy and a better creator of art than humans could ever be. It’s clear how Barthes feels about our so-called technological evolution: she’d call it a devolution. If that message is hit a little hard, at least there are moments of offbeat humor to delight and gorgeously lit futuristic decor to entrance. Another important element here is comedy, which hits a peak when Clarke and Ejiofor’s characters excitedly, but confusedly, watch his sperm inseminate her egg on video in real time. It’s a wild piece of sci-fi speculation, but ironically one depicting the most natural act. [Jack Smart]

Fair Play

Fair Play

Fair Play
Image: Courtesy of Sundance Film Festival

Director: Chloe Domont

Cast: Phoebe Dynevor, Alden Ehrenreich, Rich Sommer, Sebastian De Souza

Chloe Domont makes a confident feature-length debut with Fair Play, a nerve-shredder of a romantic thriller that rests all its stakes on the intersection between love, ambition, and gender in the workplace. It cleverly introduces us to a newly engaged couple obsessed with each other, only to reveal what really gets them off: climbing the financial corporate ladder. They have one playful dynamic at home, and quite another in the toxic and overwhelmingly masculine workplace to which they dedicate most of their waking hours.

When a coveted promotion—all such promotions are coveted, with hawk-like intensity, at a firm like this—doesn’t go the way Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich) expect, the psychological minefield Domont has meticulously created sets off explosive payoffs. She does tip the scales in favor of one half of this couple, and while one could pick apart the third act’s talking points—or rather yelling points—there’s no denying the satisfaction of a deliciously feminist vindication. Dynevor is a revelation as a shrewdly cutthroat yet utterly humane woman of ambition. But then again, it tracks that an actress ascending the industry of Hollywood would click with navigating the perils of a male-dominated, female-objectifying space where the stakes always seem at an all-time high. [Jack Smart]

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Clockwise from top left: The Pod Generation,

The Mosquito Coast has been canceled at AppleTV+ after two seasons, The Hollywood Reporter has learned.

The show follows Justin Theroux’s Allie Fox, “a brilliant inventor and stubborn idealist, who uproots his family on a dangerous quest to find refuge from the U.S. government, cartels and hitmen,” the logline reads.

The news comes two weeks after the finale of season two, which saw the Foxes venture deep into Guatemalan jungles to meet up with a community of refugees. According to the streamer, “At odds about whether to settle down or keep moving, Allie and Margot [Melissa George] pursue different paths to secure their family’s future. The outcome of which will either unite the family or tear it apart forever.”

The Mosquito Coast is based on the best-selling novel of the same name by Theroux’s uncle Paul Theroux. The actor said the show’s first season served as a prequel for the novel and the 1986 movie that starred Harrison Ford as Allie Fox. And while showrunner Neil Cross tried to stick to the book’s storyline, there were some things he and Theroux agreed to change for the series.

“We made a couple fundamental changes from the book and the movie,” The Leftovers actor previously told THR. “We wanted to push Margot, who didn’t even have the name Margot in the book or the movie; she was just called Mother. But we wanted to give her agency. We architecturally thought of her as the real patriarch of the family, and Allie as almost one of the children. And then we wanted to change the older child into a girl and give her agency as well. It dawned on us that if these two children have been raised in such a closed circuit, they would not be as evolved — or even devolved — as the parents.”

Logan Polish and Gabriel Bateman also starred in The Mosquito Coast.

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The Mosquito Coast has been canceled at

One of my favorite podcast guests joins me this week as Suzana Somers, (@BachelorData) on Instagram, gets us ready for Zach’s season beginning Monday night. We talk about her recent ACL injury, the IG followers numbers for Zach’s women, the frustration from fans regarding influencers and content creators being misguided, and much, much more. Before all that, I have an update and small correction regarding yesterday’s spoilers for Zach’s season. Those can be found here but also at the top of the page on desktop under “Spoilers” then “Bachelor Zach Spoilers,” or on mobile, just click on the “Zach Spoilers” tab. As of now, still only have everything up to the final 3 and hopefully will find out soon who Zach chose in the end. As always, if you’d like to respond to the interview, please include Suzana’s Twitter handle (@BachelorData) in your replies. Thanks again to Suzana for coming on and we’ll definitely have her on again in the future.

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 going over some of yesterday’s spoilers with some updates and corrections. Then Suzana joins me (9:22) to talk about tearing her ACL since we last spoke as we share how our injuries affected day-to-day life, Zach’s women and their social media accounts, the frustration from the fan base about influencers/content creators, where the Bachelor is missing a huge opportunity, and much, much more.

Twitter – @BachelorData
Instagram – @bachelordata
Also, released earlier this morning was Today’s Daily Roundup.

(SPOILERS) Today’s Daily Roundup covers some updates and a correction from yesterday’s spoilers, The Challenge, Special Forces on Fox, nostalgic TV show makes a comeback, and Mr. Feeny how dare you!

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 next week.






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Share Tweet Share Share Email One of my favorite podcast guests joins

Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony awards ceremonies, curated by Variety senior awards editor Clayton Davis. The prediction pages are Davis’ assessment of the current standings of the race and do not reflect personal preferences for any film or performance. Like any organization or body that votes, each individual category is fluid and subject to change. Predictions are updated every Thursday.

LAST UPDATED: Jan. 19, 2023

2023 Oscars Predictions: Best Original Song

CATEGORY COMMENTARY: Lady Gaga was snubbed in best actress last year for her performance in “House of Gucci.”

An Oscar-winner for original song already (“Shallow” from “A Star is Born”), will the Academy look elsewhere in favor of branch favorites (i.e., Diane Warren and Alexandre Desplat) or other popstars (Rihanna, Taylor Swift, The Weeknd)?

It may be close, but I’m forecasting the other Oscar-winning song crew behind “Good Afternoon” from “Spirited” to make the cut.

NOTE: All credited nominees are ultimately determined by the Academy.

You can read the final Variety Awards Circuit column before nominations here. Nominations will be announced on Tuesday, Jan. 24.

See the latest film predictions, in all 23 categories, in one place on Variety’s Oscars Collective. To see the ranked predictions for each individual category, visit Variety’s Oscars Hub.

See the 2022-2023 Awards Season calendar for all key dates and timelines.

ALL AWARDS CONTENDERS AND RANKINGS:

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And The Predicted Nominees Are:
Rank Film Song Title Distributor
1 “RRR” “Naatu Naatu” by Kala Bhairava, M. M. Keeravani, Rahul Sipligunj Variance Films
A fictitious story about two legendary revolutionaries and their journey away from home before they stLofty Sky Distributiond fighting for their country in the 1920s.
2 “Black Panther: Wakanda Forever” “Lift Me Up” by Tems, Ludwig Göransson, Rihanna and Ryan Coogler Marvel Studios
The nation of Wakanda is pitted against intervening world powers as they mourn the loss of their king T’Challa.
3 “Guillermo del Toro’s Pinocchio” “Ciao Papa” by Alexandre Desplat, Roeban Katz and Guillermo del Toro Netflix
A darker version of the classic children’s fairy tale of a wooden puppet that transforms into a real living boy.
4 “Tell It Like a Woman” “Applause” by Diane Warren Samuel Goldwyn Films
Stories of women, both in front of and behind the camera.
5 “Spirited” “Good Afternoon” by Khiyon Hursey, Sukari Jones, Benj Pasek, Justin Paul, Mark Sonnenblick Apple Original Films
A musical version of Charles Dickens’s story of a miserly misanthrope who is taken on a magical journey.
Next in Line
6 “Top Gun: Maverick” “Hold My Hand” by Lady Gaga and Bloodpop Paramount Pictures
After thirty years, Maverick is still pushing the envelope as a top naval aviator, but must confront ghosts of his past when he leads TOP GUN’s elite graduates on a mission that demands the ultimate sacrifice from those chosen to fly it.
7 “A Man Called Otto” “Til You’re Home” by David Hodges and Rita Wilson Sony Pictures
Otto is a grump who’s given up on life following the loss of his wife and wants to end it all. When a young family moves in nearby, he meets his match in quick-witted Marisol, leading to a friendship that will turn his world around.
8 “Till” “Stand Up” by Jazmine Sullivan and D’Mile Orion/United Artists Releasing
In 1955, after Emmett Till is murdered in a brutal lynching, his mother vows to expose the racism behind the attack while working to have those involved brought to justice.
9 “White Noise” “New Body Rhumba” by LCD Soundsystem Netflix
Dramatizes a contemporary American family’s attempts to deal with the mundane conflicts of everyday life while grappling with the universal mysteries of love, death, and the possibility of happiness in an uncertain world.
10 “Where the Crawdads Sing” “Carolina” by Taylor Swift Sony Pictures
A woman who raised herself in the marshes of the Deep South becomes a suspect in the murder of a man with whom she was once involved.
Other Top-Tier Contenders
11 “Avatar: The Way of Water” “Nothing Is Lost (You Give Me Strength)” by The Weeknd 20th Century Studios
12 “Selena Gomez: My Mind and Me” “My Mind and Me” by Selena Gomez Apple Original Films
13 “The Voice of Dust and Ash” “Dust & Ash” by J. Ralph Matilda Productions
14 “Everything Everywhere All at Once” “This is a Life” by David Byrne, Ryan Lott and Mitski A24
15 “Amsterdam” “Time” by Drake, Giveon Evans, Jahaan Akil Sweet and Daniel Pemberton 20th Century Studios

var TGSort=window.TGSort||function(n){“use strict”;function r(n){return n?n.length:0}function t(n,t,e,o=0){for(e=r(n);o=r(n)?t:NaN}function d(n){var e=[],o=n;return t([f,s,c],function(u){var a=[],i=[];t(n,function(n,r){r=u(n),a.push(r),r||i.push(n)}),r(i)1&&r(i[0])o?n:e

2023 Academy Awards Predictions

BEST PICTURE | DIRECTOR | ACTOR | ACTRESS | SUPPORTING ACTOR | SUPPORTING ACTRESS | ORIGINAL SCREENPLAY | ADAPTED SCREENPLAY | ANIMATED FEATURE | PRODUCTION DESIGN | CINEMATOGRAPHY | COSTUME DESIGN | FILM EDITING | MAKEUP AND HAIRSTYLING | SOUND | VISUAL EFFECTS | ORIGINAL SCORE | ORIGINAL SONG | DOCUMENTARY FEATURE | INTERNATIONAL FEATURE | ANIMATED SHORT | DOCUMENTARY SHORT | LIVE ACTION SHORT

The 95th Oscars ceremony will be held at the Dolby Theatre and televised live on ABC on Sunday, March 12, 2023.

2022 category winner: “No Time to Die” by Billie Eilish and Finneas from “No Time to Die” (MGM/United Artists Releasing)

About Variety Awards Circuit:

Variety’s unmatched coverage gives its readership unbeatable exposure in print and online and provides inside reports on all the contenders in this year’s awards season races. In addition to predictions, the section includes — Awards Circuit Column, a weekly analysis dissecting the trends and contenders in the race; Awards Circuit Podcast, a weekly series featuring interviews with the top contenders in the awards race and an expert roundtable discussion with Variety’s leading editors and columnists; Awards Circuit Predictions Video Series, a deep dive into specific categories, led by the leading pundits.

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Variety Awards Circuit section is the home

Screenshot: RuPaul’s Drag Race

There is a petition on Change.org demanding the return of 90 minute episodes of RuPaul’s Drag Race with more than 25,000 signatures. (This season’s episodes were shortened to accommodate a new reality series from MTV called The Real Friends Of WeHo.) While I didn’t particularly mind the tighter episodes thus far, it has officially ruined the franchise’s best and most important episode: Snatch Game.

With scant time available, the editors manage to get a lot of information into the first two minutes of the episode. Amethyst reenters the werkroom suffering from self-doubt after surviving her second consecutive lip sync for her life. It is clear that the continuous critiques of her comic timing are having a toll on her psyche. Like much of the season so far, the camera suddenly focuses on Sugar and Spice. Their psyche is also strained with separation anxiety and the divide between the fantasy of working as a team and the reality of signing up to be competitors in a reality competition program. At the same time, Lux finds herself in another number dispute. Rather than arguing over the length of her wigs, she is bickering with Loosey over who placed second after Sasha in last week’s challenge. Like the wig, it doesn’t really matter. However, it does lay the groundwork for two continuing narratives: Lux’s potential delusion of her own performances and Loosey’s competitive nature.

The next day, after a delightfully shady comment from Spice (orchestrated by Mistress) at Amethyst’s expense, RuPaul enters the room. Dressed in her suit from the 2019 Met Gala, RuPaul’s outfits suggests a special occasion. RuPaul quickly confirms the assumption by announcing this week’s challenge is the Snatch Game. The revelation perplexes the girls as the Snatch Game is normally reserved for later in the season, typically when only 8-10 contestants remain. The twist this season is that it will be a Super Sized Snatch Game with 14 contestants split into two different groups. It’s a format that has been tested in out in later All Stars 4-6 with Snatch Game of Love and All Stars 7 Double Snatch Game.

THE WERKROOM

After being divided arbitrarily into two separate groups, the queens begin to prepare for Snatch Game. In past seasons, there is a sense of excitement and trepidation from the queens about competing in such a significant challenge. With such a short edit, those moments are removed. There are no classic moments of queens figuring out they have the same character prepared and there is no werkroom visit from RuPaul coercing a queen to change their character last minute. Instead, the queens simply list who they will be performing with the usual mix of classic camp characters like Joan Rivers and Amanda LePore, new internet and social media sensations like Trisha Paytas and Bretman Rock, and over-the-top pop stars like Miley Cyrus. The segments end with Sugar and Spice convincing themselves that the Snatch Game will be the battle of the twins, which serves as a potentially bad omen like Poppy’s “sorry, losers” comment last week.

After the Snatch Game, there is little discussion about the actual challenge and how the queens performed. Dictated by the abbreviated edit, the narrative focuses on Loosey’s experiences of being bullied as an adolescent and how it impacted her comedic persona. It continues the discussion Malaysia and Mistress were having last week in which Mistress made the astute observation about the horrors of having your first bully be your family. Interestingly, this same idea came up when Sugar and Spice were discussing their own families. It’s a good argument for an extended edit that might have pulled these narrative threads closer together. In addition, this choppy edit broadcasts that this episode is focused on Loosey and predicts her winning this week.

Image for article titled RuPaul's Drag Race plays Snatch Game in an overstuffed and underbaked episode

Screenshot: RuPaul’s Drag Race

THE CHALLENGE

The combination of such an early Snatch Game with the truncated edit of the episode proved RuPaul’s claim that “too much is never enough.” There were too many contestants playing the game and it left with an unsatisfying result. The two most glaring issues were of duration and interaction. Part of the test of Snatch Game is that the contestants must embody their characters for a prolonged amount of time. While we may not know how long the filming of Snatch Game was, the fact is that contestants only had the opportunity to introduce themselves and answer two questions at most. This combined with the sheer amount of impersonations let a lot of queens hide in plain sight. The other issue was that by dividing the Snatch Game into two sessions there is no way to tell how some performers stacked up against one another. Snatch Game really excels in the unstructured moments of queens improvising with one another. It separates the tops from the bottoms. However, the new format leaves too many questions. How would Loosey and Mistress have interacted? Would there be a clear winner between the two? Would Mistress or Marcia had done as well if they had to deal with Sugar and Spices antics?

The results of the Snatch Game produced a few good performances, a few horrible, but mostly mediocre and boring performances. In the latter group were Anetra, Lux, Malaysia, and Sasha. On the positive end, both Marcia and Loosey really transformed themselves, but it was Mistress and Loosey who really took control of Snatch Game. In the horrible realm, Sugar and Spice failed with unfocused and messy performances. On the opposite end, Robin and Aura flopped with stiff and dull impersonations.

Three interesting if not totally successful performances came from Jax, Salina, and Amethyst. Jax had a good concept and kept it simple. Her smile, and tongue slip was a good visual gag and her last-minute confirmation of “oil-based” paint showed she was paying attention after Amethyst missed the joke. It was a safe, yet clever performance. Similar to Jax, Salina took the approach of impersonating someone who’s actual personality is unknown. It’s a smart approach to the Snatch Game utilized by performers like Gigi Goode, Symone, and Rosé in recent years. However, the issue with Salina’s performance is that if you’re going to do something provocative you have to make sure it is hilarious and it was not. She did the cardinal sin of saying something instead of showing something when she said “I’m so horny.” A horny Virgin Mary is a funny idea, but Salina failed to incorporate the concept into the performance. Finally, Amethyst gave a performance that was so fully committed it deserves praise. It wasn’t the funniest by a long shot, but she was so deeply in character and managed to get a few laughs while being forced to perform in the middle of the Sugar and Spice cyclone. In the end, the best part of Snatch Game was getting to know more about the Pit Crew. They are more than eye candy.

Image for article titled RuPaul's Drag Race plays Snatch Game in an overstuffed and underbaked episode

Screenshot: RuPaul’s Drag Race

THE RUNWAY

In a monochromatic feathered tweed ensemble with contrasting tangerine hair, RuPaul announces the runway category as “Beautiful Nightmare.” The prompt is to present glamourous horror, which many did well. The actual value of the runway in terms of judging has long been in dispute, but one certainty is that with the abridged episodes, the queens are getting much value out of their looks. It’s a little disheartening to see the work and expense that go into these looks getting a few seconds of screen time.

Marcia played into people’s fear of the dentist, but her pedestrian look did not add beauty to the nightmare. While she has been given the note to drag up her makeup, she really needed to drag up this look with exaggeration, fabrication, and at least a ton of sequins. One outfit that reached the maximalist reaches of drag was Malaysia’s jaw-dropping lavender take on Where the Wild Things Are which suggests that they are at a gay disco. Somewhere caught in the middle was Lux’s drowned bridal look. From the waist up it was disturbingly gorgeous, but from the waist down was just disturbing. Perhaps it was the runway lighting, but the contrast between the color of her arms and the color of her tights was distracting.

Salina and Loosey appeared to turn to horror cinema for inspiration with differing effects. While Salina called her look a zombie, it recalled Leatherface from Texas Chainsaw Massacre. Unfortunately, the look called to mind Laurence Chaney’s Monster Mash look and Salina’s paled in comparison. Salina’s look was a little too much nightmare and not enough beauty. Loosey channeled Jason from the Friday the 13th franchise. It wasn’t the best look of the night but it was complete, polished, and a smart departure from Loosey’s normal colorful camp. She managed to flex her versatility with this runway.

Mistress, Anetra, and Robin seemed to be inspired by Kiss of the Spider Woman conceptually. Mistress set her look apart with the crystal caging that evoked a spider’s web. Anetra embraced sleekness in a latex black widow look. Robin utilized texture with a tarantula-inspired 1950’s Lady Dior silhouette. Luckily, their differing interpretations avoided a new Kimono-gate from season eight.

Sasha, Jax, and Amethyst had unique interpretations of the prompt that made for memorable runways. Sasha’s transparent black gown managed to equally evoke witch and scarecrow. However, it might have been her hauntingly beautiful makeup that made the look. It was disturbing, yet fashionable. After raiding art history for her Snatch Game performance, Jax turned to Greek mythology for the runway with a Medusa-inspired look. The ensemble was full of great attention to detail from the braided wig and the shocking face prosthetics to the tattooed Grecian body suit and bust purse. There is a sense that if Jax worked on padding more the judges might have gone crazy for the look. From Medusa to Lady Gaga, Amethyst stuck to her aught popstar aesthetic by recreating the performance from the 2009 MTV Music Awards. It met the brief, but something about mimicking the look felt unimaginative for the imaginative runway category.

Sugar and Spice once again coordinated their runway looks to diminishing returns. They both presented demonic doll looks that were really only differentiated by their color choices to reflect their contrasting, yet connected personas. Throughout the season, their repetitive looks have reflected poorly on whoever went down the runway second. However, even the first look felt repetitive and uninspired. Both these looks paled in comparison to the one presented by she who should not be named in Season 12.

This week they saved the best for last when Aura walked down the runway. At first, it seemed like Aura misunderstood the assignment and was going to present another boring black look. Then she turned around. It was one of the best reveals on a Drag Race runway when the minimal front of the dress gave way to the ornate and disturbing back. The exposed backbone, a subversive reinterpretation of the Schiaparelli Skeleton Dress made in collaboration with artist Salvador Dalí, was the look of the night. It would have been better had Aura toned down the theatrics, but it was a memorable mix of elegance and shock.

Image for article titled RuPaul's Drag Race plays Snatch Game in an overstuffed and underbaked episode

Screenshot: RuPaul’s Drag Race

THE JUDGING

Before the runway, RuPaul played a mini version of Snatch Game with Michelle Visage, Carson Kressley, and special guest judge, Lena Wilson’s favorite film star, Amandla Stenberg. Like the other parts of the episode, the judging is trimmed to near extinction. More than half the cast is deemed safe, leaving Marcia, Mistress, Loosey, Sugar, Spice, and Aura on the mainstage for critiques.

Marcia is praised for her performance as Tim Gunn, commended for trying to amp up her makeup, and chided by RuPaul for an underwhelming look. Underlining the makeup critique for Marcia, Michelle praises the Mistress’s skill before celebrating her Rosie O’Donnell impersonation. Michelle and RuPaul agree that she mastered the snatch game by holding the spotlight and knowing when to land a joke. RuPaul ends it with an approving, “I’ve got my eye on you.” Loosey enjoys equally high praise for her Joan Rivers. Carson even comments that he loved how Loosey as Joan came after some of the other queens with the camera cutting to Sugar and Spice. The edit is clearly revealing the winner and the bottom two with a couple of cuts.

On the other end of the spectrum, Sugar, Spice, and Aura are criticized for their performances. The judges argue that Sugar’s performance was off the mark and disruptive to the other performers. Likewise, Spice is critiqued for some bizarre choices, not nailing Miley’s voice, and simply not being funny enough. While Aura was praised for her look, they said her performance lacked energy and joy. RuPaul dismisses the queens for the judges to deliberate, but that deliberation was left on the cutting room floor because in the next shot, the queens are back and RuPaul announces their placements.

Marcia and Mistress are declared safe before Loosey is announced as the winner. Given how hungry Loosey is for a win, it would have been more interesting to award the win to Mistress, who was equally good. It would have given great tension for the next few episodes if Loosey had placed second in a challenge tailor-made for her. There is a lack of suspense involving the bottom two as well. Aura must have been unfazed by her low placement considering her stellar look and the fact that a lip sync for your life between the twins was inevitable before the season even premiered.

Image for article titled RuPaul's Drag Race plays Snatch Game in an overstuffed and underbaked episode

Screenshot: RuPaul’s Drag Race

THE LIP SYNC

The moment everyone knew was coming is about to unfold. The only surprise is that it is coming so early in the season. It feels like the show could have spent more time exploring the dynamic of Sugar and Spice being forced from working as a team to becoming competitors for a couple more episodes. In fact, the drama of the pairing felt oddly undramatic. As it turns out, the drama unfolded in Untucked, which seems to be more than half the story in these condensed episodes. It’s strange seeing how tense it was before the lip sync only after the lip sync has already occurred.

While you might have expected Beyoncé’s “Beautiful Dreams” considering the runway theme or perhaps sister singers Chloe X Halle considering the twin face-off, the lip sync song is Pat Benatar’s “You Better Run.” Released in 1980, or 18 years before the twin’s birthday, the song features the lyric “you better leave from my side,” which feels appropriate. What unfolds is a funny, yet chaotic lip sync that Sugar and Spice clearly choreographed together and what Spice called a “twin-sync for your life.”

Refreshingly the twins, who normally have a static performance style calibrated for a stationary cell phone, utilized the entirety of the stage running from end to end. However, Sugar appeared ill at ease in her preferred platform shoes and stumbled throughout the performance. From the producer’s standpoint who stays and who goes is sort of moot. It seems that Spice is fitting in better with the other queens and has had slightly better success in the challenges, while Sugar seems to have alienated herself from most of her competitors. Either way, it will be interesting to see how one twin will do without the other for the rest of the competition. They claimed to be an all-or-nothing package in Untucked, but once Spice is declared the victor she decides to remain in the competition.

Stray observations

  • Best moment: Robin reacting to Salina saying “us too” to Amethyst saying she can’t believe she’s still in the competition.
  • I need a moratorium on queens talking about how much they want to win an episode so early in the season. Everyone needs to relax and realize that there are ump-teen people in the competition. There needs to be more of a focus on doing as good as possible in each moment, rather than scoring a win.
  • A salute to the set designer of the new Snatch Game and the speedo windows.
  • Marcia proves she has make-up skills her metamorphosis into Tim Gunn.
  • Looking forward to Trinity’s response to Lux’s comment about her Amanda Lepore. Lux’s Lepore was as equally fine as Trinity’s.
  • Where were the koosh balls, Mistress?
  • I can’t believe that Mistress got to the “duckwalk” joke before Anetra.
  • Anetra’s was the most disappointing. I think they should ban the Kimmy Jong-un approach. It felt like Anetra simply decided to use a British accent and built a character around it without much thought.
  • When Robin was questioned about her ham hock comment she went into full Wikipedia mode.
  • I wonder if there was more to Sasha’s performance. The edit made it feel like she just sort of dissociated from the game. Although, the sodomite line was perfectly delivered.
  • I know this might run into a copyright issue, but the twins should have been Hannah Montana and Miley Stewart. Or at least Mary-Kate and Ashley Olsen.
  • Loosey’s best moment was “Rocket scientist, my ass” with the eye roll.
  • My favorite part of Snatch Game might have been the “oil-based” jokes.
  • Aura’s song was such a cringe moment. Don’t set yourself up like that if you don’t have something.
  • Wait, the most cringe moment for Aura was when RuPaul shut down her answering a question in Filipino.
  • It was amusing to see the top row of the second Snatch Game react to Sugar and Spice. Loosey and Jax are clearly annoyed and Sasha seems above it all.
  • This may be generous, but the repetition of Spice hitting herself over and over again with the hammer might have worked if she were working in her chosen format of TikTok.
  • Considering how short the runways have become its worth saying the top looks: 1. Aura, 2. Malaysia, 3. Sasha
  • Will we ever get confirmation that Sugar and Spice got their names from whether the 2001 film Sugar & Spice or from Two-Faces girlfriends in Batman Forever. Or are both those references too old for them?
  • The ‘D’ rating is for the editing and decision to play Snatch Game with 14 contestants divided into two groups and not a reflection of the queens performances in the challenge or on the runway.

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Screenshot: RuPaul’s Drag RaceThere is a petition

Growing up in the wake of the Iranian Cultural Revolution of the early 1980s, nonfiction filmmaker and Film Independent Member Nazanin Nematollahi quickly came to realize her ambitions placed her at odds with her country’s rapidly diminishing protections for both women and artists. Having already begun to experiment with filmmaking as a university student at the time of the Green Movement, Nematollahi and her partner immigrated to the United States.

Eager to use her filmmaking talents for education and advocacy, Nematollahi’s lens turned toward documentary, focusing on stories of protest, empowerment and autonomy. In the course of work (including co-founding production shingle More Equal Films), the current San Francisco resident became an activated member of the independent film community, engaged with a wide variety of arts organizations including—you guessed it!—Film Independent.

We mounting civil rights tensions once again flaring up inside Iran, Nematollahi has again diverted her attentions to social justice—a sacrifice that has impacted the production of two feature projects, Tehran MoCA and My Body, Your Soul. We caught up with Nematollahi as part of our regular Member Lens spotlight to learn more.

 

NAZANIN NEMATOLLAHI

Describe your upbringing in post-revolution Iran. What was your early experience with cinema like in that environment?

Nematollahi: After the Islamic Revolution in 1979, Iranian had to deal with an authoritarian and anti-West government that saw no benefit in cultural exchange or creation of any sort of art that didn’t draw attention to Islamic ideologies. Due to the heavy propaganda and censorship, visual artists, especially filmmakers, suffered the most. Throughout these years, the government banned many filmmakers from developing projects that showed the deficiency of the government or shed light on human rights issues in Iran. Excessive incarcerations, torture and threats made many Iranian filmmakers not develop projects or—sadly—accept a volunteer exile.

Even though I was raised in a less cultural family dealing with the trauma of losing two young sons in the Iran-Iraq war, I was always curious about what was happening outside Iran’s borders. In such a closed country with limited internet access, I remember smuggling movies and books with immense fear of not getting caught. You know that limitation could be a way to creativity!

When I met my now husband and creative partner at Tehran University, we dared to go against the tide and make movies. Despite many financial barriers, we finally bought very modest equipment, and I started exploring filmmaking. During the Green Movement in 2019, I truly understood how the regime could brutally torture innocent people. That was when we decided to accept there was no other way than to leave our motherland.

Did you have an idea growing up what you wanted to do for a living or what you wanted—or expected—your adult life would look like?

Nematollahi: I have always been critical of Iran’s education system and teaching methods. Growing up, I wanted to be an educator to provide quality education to the next generation. As an athletic and energetic kid, I decided to study PE and Sports Science and became a teacher and sports instructor. In that misogynistic environment, the sports scene for women was horrifying. My next shot was becoming a flight attendant to travel outside Iran. Another disappointment! In searching for my future career and with my husband’s encouragement, I produced some of his short films. We got accepted at the SFSU Cinema department through those films and moved to the US.

About Nematollahi’s film ‘My Body Your Soul’

As a storyteller, what drew you toward nonfiction film and documentary?

Nematollahi: We moved to the US in 2015. I did all sorts of service jobs to meet our financial needs. A few years later, I returned to school and studied Social Justice and Equity in Education to satisfy my passion for advocating for the next generation as an educator and policymaker. During my time in grad school, I gathered that even in a first-world country like the US pushing for more equitable educational access is so complicated and not even on the horizon, and my gravitation toward documentaries stems from this issue. I decided to use the media as a more impactful platform to voice educational problems that I detect. I already had a great grasp of the documentary world and advanced my filmmaking skills by reading and participating in filmmaking gatherings and seminars, as well as making student film projects. I knew I had important stories to share, and I put energy and effort into telling those stories.

When did you first become aware of Film Independent as an organization? For you, what has been the most value part of being a Film Independent Member?

Nematollahi: In searching for organizations that support independent and emerging storytellers, I found Film Independent. It was one of the first organizations I contacted and asked for support. When I wrote about my story to Film Independent, they welcomed me and offered their resources for future support. I attend Film Independent film screenings and gatherings and felt their embracing environment. You know, finding a community and building a network is crucial for someone coming from other countries and lacking support and a network. I’ve been working on two feature documentaries, and I am excited to be part of the Film Independent’s excellent programs to advance my filmmaking skills and build a network of creative souls.

What did the transition to the US meant for you as an artist?

Nematollahi: We moved to the US without knowing a single person. The transition was so challenging in terms of language and cultural barriers and financial difficulties. As an artist, I had to find my footing and overcome my fear of pitching my ideas. However, I am grateful to be able to exercise my freedom of expression. The filmmaking world in the US is so competitive and navigating the right path is so challenging for a newcomer. I am a hardworking person by nature, and I am trying to find seasoned mentors and be part of fellowship programs to receive guidance and feedback.

‘Tehran MoCA’

I understand you have two nonfiction features underway that have been greatly impacted by current events. Please describe what’s happening.

Nematollahi: My projects illuminate the profound human rights issues in Iran. As an artist, I have the duty of raising awareness and shedding light on issues I have hands-on experience with. The trauma and anxiety around the recent turmoil in Iran have been hunting my soul for the past few months. All my family members are in Iran and protesting on the streets. Due to the internet shutdown, I couldn’t communicate and learn about their safety for almost three weeks at the beginning of the crackdown. I suffered from several panic attacks during these three months. I was about to lunch a crowdfunding campaign for one of my projects, Tehran MoCA, but I had the challenge of maintaining even my emotional health, let alone thinking about my project. My other project, My Body Your Soul, is about two female Iranian artists and their quest for bodily autonomy while challenging mandatory hijab. This project is experiencing a groundbreaking advancement due to the current event, as the project’s protagonists are heavily involved with the recent movement. I am adding more related material to this project and hope to finish the project by summer. This timely and crucial project can shed light on why this women-led revolution is happening in Iran.

What resources are available for people who are interested in helping or learning more about the situation in Iran?

Nematollahi: Many human rights advocates devote their time and energy to raising awareness about this movement. Iranians inside Iran are voiceless and under the massive attack by the regime. To be their voice, please share their bravery in your social media accounts, contact your local officials, support human rights advocates and artists who facilitate a conversation about the movement, and sign petitions. The regime has started the mass incarcerations and executions of bright young Iranian to spread fear among the protestors. International abandonment and silence are forms of violence. To keep the regime accountable, there is no other way of holding the government responsive on the international scene. Be sensitive to the systematic oppression and marginalization of women and ethnic, religious, and sexual minorities in Iran and the Middle East.

Follow @amnestyIran, @nazaninboniadi, @middleeastmatters, @iraniandiasporacollective, and amplify the stories they share with the hashtag #Woman.Life.Freedom

Why do you think it’s important for people to engage with and support arts organizations like Film Independent?

Nematollahi: Supporting and engaging with organizations such as Film Independent is incredibly important. These organizations are working hard to support and provide opportunities for underprivileged talents. Film Independent, with the support of donors and members, provide an opportunity for the new generation of storytellers to find their footing and be bold. Become a member and partake in the future of the media industry.

 

Film Independent promotes unique independent voices by helping filmmakers create and advance new work. To become a Member of Film Independent, just click here. To support us with a donation, click here.

More Film Independent…

(Header: Tehran MoCA)

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Militant unions are causing chaos across Europe as workers are led out of the workplace and on to the street.

The UK is grappling with ongoing strike action, with a walk-out taking place almost every day last month, and more NHS, teacher and rail strikes scheduled for the coming weeks.

But the mayhem isn’t unique to Britain. From a nationwide strike in France over a controversial pension system reform – which has led to violent action – to trade union strikes in Italy and Spain, industrial action is gripping Europe’s economies.

Trade unions are leading workers out in droves to demand better pay and working conditions.

FRANCE: People gather to demonstrate against pension reform in Paris, France on January 19, 2023

SPAIN: Doctors and other health sector workers, who have been on strike for almost two months, gather in front of the Ministry of Health for a demonstration demanding a raise in wages on January 15, 2023

SPAIN: Doctors and other health sector workers, who have been on strike for almost two months, gather in front of the Ministry of Health for a demonstration demanding a raise in wages on January 15, 2023

PORTUGAL: Thousands of teachers from across the country demonstrate after several days of a partial strike at Praca do Comercio in Lisbon on January 14, 2023

PORTUGAL: Thousands of teachers from across the country demonstrate after several days of a partial strike at Praca do Comercio in Lisbon on January 14, 2023

GREECE: Protesters flee from tear gas as they clash with riot police during a demonstration marking a 24-hour general strike in Athens, Greece, November 9, 2022

GREECE: Protesters flee from tear gas as they clash with riot police during a demonstration marking a 24-hour general strike in Athens, Greece, November 9, 2022

ITALY: Hundreds of workers from the former Ilva in Taranto protest outside the Ministry of Enterprise, to get answers on the Acciaierie d'Italia group, on January 19, 2023

ITALY: Hundreds of workers from the former Ilva in Taranto protest outside the Ministry of Enterprise, to get answers on the Acciaierie d’Italia group, on January 19, 2023

In France, nationwide strikes are taking place to protest Emmanuel Macron’s proposed pension reforms and to increase the official retirement age from 62 to 64.

More than a million people marched in France yesterday as part of the national workforce protest, disrupting public transport, school and much of the country’s civil service.

Some of the strikers clashed with police, with the worst trouble taking place in Paris around Bastille Square. Demonstrators hurled bottles, bins and smoke grenades at police who responded with tear gas and charged to disperse the troublemakers.

The far-Left CGT union said there had been closer to two million-plus people at protests across France, and 400,000 in Paris alone.

Militant unions have planned another day of strike action on January 31.

The current retirement age of 62 in France is among the lowest in the EU, and workers would need to spend a further two years contributing to receive a full pension under the new plans. 

Demonstrators march against pension reform in Paris, France on January 19, 2023

Demonstrators march against pension reform in Paris, France on January 19, 2023

President Macron said he welcomed 'democratic protest' but said any rioting would be met with 'the full force of the law'

President Macron said he welcomed ‘democratic protest’ but said any rioting would be met with ‘the full force of the law’

Anarchists calling themselves 'Black Bloc' were blamed for infiltrating a planned march and then turning on officers

Anarchists calling themselves ‘Black Bloc’ were blamed for infiltrating a planned march and then turning on officers

There is also strike mayhem in Spain, where some healthcare workers have been on strike since November.

Doctors, nurses and others in healthcare are protesting conditions and facilities, privatisation policies, and demanding higher pay.

Just like in the UK, the interruptions to the healthcare service mean that patients are having appointments cancelled as industrial action continues.

Throughout January, the already protracted striking ramped up as thousands of demonstrators chanting slogans cascaded through the streets of Madrid.

Unions demanded that Spain’s conservative government increase investment in the healthcare sector and cut plans to privatise parts of the system in favour of a universal service.

The militant unions have announced further dates across the country where healthcare professionals will again walk out later this month.

Strikes are sweeping across sectors in Spain, with aviation and travel industrial action also hitting the Spanish economy hard.

Despite a year of ongoing talks, hundreds of air traffic controllers are set to strike for five days, bringing the tourism sector to a standstill across 16 airports in Spain.

With tourism being such a significant part of the country’s economy, the continued industrial action is set to cause even more mayhem in Spain.

Doctors and other health sector workers gather in front of the Ministry of Health for a demonstration demanding a raise of wages, Madrid, Spain on January 15, 2023

Doctors and other health sector workers gather in front of the Ministry of Health for a demonstration demanding a raise of wages, Madrid, Spain on January 15, 2023

Doctors and nurses protest in Madrid, Spain, January 15, 2023

Doctors and nurses protest in Madrid, Spain, January 15, 2023

Unions demanded that Spain's conservative government increase investment into the healthcare sector and cut plans to privatise parts of the system in favour of a universal service, Madrid, Spain, January 15, 2023

Unions demanded that Spain’s conservative government increase investment into the healthcare sector and cut plans to privatise parts of the system in favour of a universal service, Madrid, Spain, January 15, 2023

Across the border in Portugal, strike action has also surged.

This week, unions led teachers out of the classrooms to begin 18 days of industrial action. Strikes will continue on working days until February 8.

Some eight militant unions have coordinated the industrial action together, with strike days rotating between different regions of the country consecutively.

Teachers part of the STOP union have been on strike since mid-December.

While school children are left without their teachers, unions are demanding that the Portuguese government abandon its education policy and remove the Education Minister, whilst also relieving teacher work load and increasing pay.

Thousands of teachers from across the country demonstrate to demand improved working conditions and higher salaries in Lisbon on January 14, 2023

Thousands of teachers from across the country demonstrate to demand improved working conditions and higher salaries in Lisbon on January 14, 2023

Portuguese teachers stand under umbrellas as they protest in Rossio Square for better working conditions during the first day of an 18-day roving strike by districts called by teachers' unions on January 16, 2023

Portuguese teachers stand under umbrellas as they protest in Rossio Square for better working conditions during the first day of an 18-day roving strike by districts called by teachers’ unions on January 16, 2023

France’s violent nationwide strike mirrored something of the chaos that took hold of Greece in November.

Strikes brought Greece to a standstill as tens of thousands of people took to the streets to demand higher pay.

This was the second nationwide strike of last year, as disgruntled protesters led by militant unions marched to the Greek parliament in Athens. The demonstration was described as the largest since the Greek government debt crisis.

Some of the strikers clashed with riot police as they threw petrol bombs at officials.

Protesters shout slogans as they demonstrate during a 24-hour general strike, in Athens, Greece, November 9, 2022

Protesters shout slogans as they demonstrate during a 24-hour general strike, in Athens, Greece, November 9, 2022

Protesters run as others throw petrol bombs at riot police, during a demonstration marking a 24-hour general strike, in Athens, Greece, November 9, 2022

Protesters run as others throw petrol bombs at riot police, during a demonstration marking a 24-hour general strike, in Athens, Greece, November 9, 2022

Some of the strikers clashed with riot police as they threw petrol bombs at officials in Athens, Greece, November 9, 2022

Some of the strikers clashed with riot police as they threw petrol bombs at officials in Athens, Greece, November 9, 2022

Rather than the nationwide strikes seen in France and Greece, industrial action has remained local throughout Italy.

Rome’s public transport operator brought the capital to a halt while hundreds of steel workers in Taranto have been on strike over lay-offs at the part-state-owned steel company.

Around 750 current steel workers, as well as former staff who had been laid off after the company went into administration have been on strike in Taranto to demand that the Italian state protect their jobs.

Hundreds of workers from the former Ilva in Taranto protest outside the Ministry of Enterprise, to get answers on the Acciaierie d'Italia group, on January 19, 2023

Hundreds of workers from the former Ilva in Taranto protest outside the Ministry of Enterprise, to get answers on the Acciaierie d’Italia group, on January 19, 2023

Hundreds of steel workers in Taranto have been on strike over lay-offs at the part owned state steel company, Rome, Italy, January 19, 2023

Hundreds of steel workers in Taranto have been on strike over lay-offs at the part owned state steel company, Rome, Italy, January 19, 2023

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Militant unions are causing chaos across Europe




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Mike “The Situation” Sorrentino is finally addressing the question on every Jersey Shore fans’ mind. Will Ronnie Ortiz-Magro and Sammi Sweetheart Giancola ever return to the series? The answer isn’t simple. “He needs to, you know what I mean, and that would be up to him,” Mike told TooFab in a new interview.  “He needs to have relationships with everyone. It can’t just be once every couple months. I keep telling him that he needs to keep relationships with the cast and that would remain to be seen and that would be up to him.”

Sammi Giancola, Mike Sorrentino, and Ronnie Ortiz-Magro
Mediapunch/Andrew H. Walker/Scott Roth/Invision/AP/Shutterstock

Ronnie famously stepped away from the series in 2021 to formally seek treatment for “mental health issues that I’ve ignored for too long.” The move came after an arrest for intimate partner violence. His last episode was in January of 2022, though he briefly returned for an episode over the summer, during which he expressed a desire to reconcile with cast members. “Seeing him in the future is definitely a TBD,” Mike said. “I hope that he has taken this time off seriously … and I’m sure if he is in better place, there might be an opportunity in the future to see him again.” Mike added that the decision “wouldn’t be up” to him. 

As for Sammi, she opted not to join the enormously popular show’s reboot in 2018. “I have chosen not to join the show this season because I am at a completely different place in my life right now focusing on my businesses and my relationship,” she wrote via Instagram at the time. Mike also briefly addressed Sammi’s infamous decision to block Snooki on social media. “I don’t know why Sammi blocked Snooki,” he told the outlet. “I think she recently blocked her again, to be honest with you.”

And will Sammi return to the show? “I guess she’s happy with her significant other, but if I was here I would come back and I would tell my story,” he said. “But I guess that’s also a TBD as well.”

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View gallery Image Credit: Mediapunch/Andrew H. Walker/Scott Roth/Invision/AP/Shutterstock Mike

Netflix still spends a small fortune on content. But relatively speaking, the streamer in 2022 kept a lid on payments for TV shows and movies — underscoring that the days of runaway spending on programming are behind it.

Last year, the streamer paid out $16.84 billion on a cash basis for content, which was 4.9% less than in 2021, when it shelled out $17.70 billion, according to Netflix’s financial statements released Thursday for its fourth-quarter earnings report.

Netflix’s content obligations — payments for the acquisition, licensing and production of content over multiyear periods — also declined last year, dropping 5.7%, from $23.16 billion to $21.83 billion.

The steady-state in content spending, along with other cost reductions (including layoffs and slower hiring), led Netflix to project a “sustained” trajectory of growth in free cash flow. “Now that we are a decade into our original programming initiative and have successfully scaled it, we are past the most cash-intensive phase of this buildout,” Netflix said in its Q4 2022 letter to shareholders. “As a result, we believe we will now be generating sustained, positive annual free cash flow going forward.”

Netflix’s cash spending on content fell in 2020, when the COVID pandemic slammed the brakes on productions around the world, coming in at $11.8 billion that year (vs. $13.9 billion in 2019). But aside from that, its content spending has grown significantly every other year over the last decade, jumping nearly sevenfold from 2012 ($2.5 billion in cash content spending) to 2022.

In 2022, Netflix reported free cash flow of about $1.6 billion — $1 billion higher than it previously forecast — compared with negative FCF the prior year of -$159 million. In 2023, assuming “no material swings” in currency exchange rates, the company expects at least $3 billion of free cash flow.

At the same time, Netflix boasted that the Q4 content slate “outperformed even our high expectations.” That includes the Addams Family series “Wednesday,” which became its third most popular TV series to date; “Harry & Meghan,” its second most popular docu-series; Norwegian action-fantasy-adventure film “Troll,” its most popular non-English film; and “Glass Onion: A Knives Out Mystery,” its fourth most popular film. (All of those rankings are based on viewing hours in the first 28 days of release.)

Ted Sarandos, Netflix’s co-CEO alongside newly promoted co-chief Greg Peters, speaking on the Q4 earnings interview, boasted of the regular cadence of must-see TV shows and movies from the company.

Nearly without pausing for a breath, Sarandos cited a string of popular titles starting with “Stranger Things 4” last July, continuing to “Sea Beast,” its biggest animated film ever, “Purple Hearts” and “Gray Man,” two of Netflix’s most-watched films ever on Netflix. Those were followed by “The Sandman,” “Never Have I Ever” Season 3, “Cobra Kai” Season 5, “Empress,” “Cyberpunk,” “Narco-Saints,” Ryan Murphy’s “Monster: The Jeffrey Dahmer Story” and “Watcher,” “All Quiet on the Western Front,” “Enola Holmes 2” with Millie Bobby Brown, and later in January “You People,” starring Eddie Murphy and Jonah Hill.

“Any outlet would kill to have any one of those months as their entire year,” Sarandos said. “And it’s our ability to fire on those cylinders and create hits, but more than that, create the expectation that, as soon as you’re done with this one, there’s another one waiting for you.”

What’s key for Netflix at this point vis-à-vis content spending: It’s staying out of the super-pricey world of premium sports rights, so it doesn’t blow an NFL-size hole in the budget. On the Q4 interview Thursday, Sarandos was asked yet again about Netflix’s interest in sports. He reiterated that “our position has been the same, which is we’re not anti-sports, we’re pro-profits” — repeating a line he’s used recently — “and we have not been able to figure out how to deliver profits in renting big league sports in our subscription model.”

In Q4, Netflix operating income was above expectations (although it was lower than in the same period in 2021), which the company chalked up to slower-than-forecast hiring.

CFO Spencer Neumann said on the earnings interview that Netflix is “continuing to manage our cost structure with increasing discipline. You saw that in the back half of ’22 with our slowing expense growth, and we’ll carry that through similarly in ’23.” 

Pictured above: Jenna Ortega in Netflix’s “Wednesday”

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Netflix still spends a small fortune on

Sundance: Phoebe Dynevor and Alden Ehrenreich shared depraved chemistry in Chloe Domont’s debut that’s about to go off like a bomb.

All is not fair in love and war and finance. In fact, it’s ugly, cruel, sexy, and trashy.

Writer/director Chloe Domont’s vicious assault on ambition, attraction, masculinity, and you-go-girl feminism, “Fair Play” goes off like a bomb laced with the explosive and dually depraved chemistry of leads Phoebe Dynevor and Alden Ehrenreich. They play a New York couple who can’t keep their hands off each other. They also both work in finance. They also happen to work at the same investment firm, yet none of their colleagues knows about their elaborate and longstanding violation of company policy. What starts as one movie on the surface, a sort of refresh on the psychosexual thrillers of the 1980s spearheaded by the likes of Adrian Lyne and since all but dead in Hollywood, then slithers into another perhaps more reminiscent of HBO’s finance episodic “Industry,” then another, and another. By the final jaw-dislocating cut to black, you’ll have no idea what just thwacked you.

When we first meet Emily (Dynevor) and Luke (Ehrenreich), they’re at a wedding of his relatives and decide to sneak off to the bathroom to discretely fuck. Here’s something you’ve never seen before in a mainstream American movie: After Luke goes down on Emily and passionately kisses her, they both realize she’s on her period, and suddenly their formalwear is slathered in menstrual blood. “We look like we slaughtered a chicken.” But there’s more. An engagement ring has fallen out of Luke’s pocket, and so he gets down on his knees, slathered in her blood, and asks her to marry him. She says, of course, I do.

That’s just the beginning of Emily and Luke’s fucked-up odyssey, and it sets the stage for the twisted relationship arc that follows and even for a much-later scene also set in a bathroom during the movie’s cracked coda. If you don’t have a head for finance, the heady machinations of a cutthroat financial firm may leave you in the cold, but no matter: Stay for the loopy power games between Emily and Luke. They’re both analysts at Crest Capital, ensconced in a gleaming, glassy financial district Manhattan high-rise that’s mainly a boys’ club, but one where grown men cry. During a mandatory workplace conduct training session, one poor analyst who’s seemingly lost the company millions has a breakdown in the next office, wailing into the void as he destroys his computer and desk with a golf club. So much for his certificate of compliance.

When Emily overhears a rumor that Luke is up for a promotion to take his place, she doesn’t appear to be threatened at all. Instead, she literally showers him with love and attention and sex and champagne. (These two haven’t found a surface on which they couldn’t get it on.) But that’s all spun upside down when, after being summoned to a dark bar at 2 A.M. by firm president Campbell (a brilliantly insidious Eddie Marsan), it turns out Emily is the one who’s being promoted to PM, or portfolio manager. (You’ll be forgiven for not keeping up with all the film’s zippy jargon, as Domont is less trying to pull one over you than fully embed you in this meticulously researched world.)

This news sends their relationship hurtling toward a crashing breaking point, as Luke fails to hide just how emasculated he is by the turn of events. Ehrenreich is skillful at eliciting our sympathies for Luke in ways that, even for the writer/director, surprise: He’s not the easily-projected-upon silhouette of a toxic man but instead more complicated, pathetic, at times hot, sniveling, unctuous, and sad. Emily, electrified by her new status, now swans into the office on a company black car, calls the shots, and even picks the strip clubs where she and her finance-bro colleagues party hard. (That bunch is a perfectly cast gaggle led by Sebastian De Souza, Rich Sommer, Sia Alipour, and Jamie Wilkes.) But life on the homefront is shifting out from under her. Her harping mother won’t stop calling about planning an engagement party, and Luke has stopped having sex with her.

Luke starts to fuck up at work, risking big on a portfolio that winds up costing the company $25 million, only for Emily to swoop in with a money-making unicorn of her own. The epic degradation of Luke’s masculine artifice that follows — Ehrenreich has such perfectly creepy “Jack Nicholson in ‘The Shining’ eyes” — defies easy explanation. And the sexual fumes Emily seems to huff off his despair are, well, very much aligned with the Luke and Emily mid-coitus we saw in the film’s first scene.

Emily is capable of getting nasty too, and she may look nice-girl, porcelain-doll on the outside, but that’s soon shattered.  “You dress like a fucking cupcake,” Luke hurls, but she has far more devastating arrows in her quiver. That said, Domont’s direction and script never parallel our sympathies to one over the other — and, in fact, often at once we are repulsed, confounded, turned on by the messy manipulations bubbling between them. “Fair Play” argues that ambition and desire are one in the same, and equally capable of destruction. You might find yourself rooting for Emily and Luke in the same sentence — until, of course, you aren’t. And when Emily spews at Luke lines like, “I’ll save your career if you eat my pussy,” you don’t know whether to laugh, cheer, wince, or duck under your seat because you know what’s coming.

The filmmaking is slickly brutal to match Domont’s ever-shifting allegiances, with the austere outsides photographed by Menno Mans matching the cold insides of the people onscreen. Yet for all its moments set in corporate spaces and places devoid of all life, there’s hot blood running under “Fair Play,” which has at least one more profoundly debasing sex scene to match the not-so-cold open. By the end of this steamy, razor-wired, barking-mad movie — you’ll understand that last bit once you see it — you realize that these two deserve each other, and we’re more than happy to merrily go to hell with them.

Grade: A-

“Fair Play” world-premiered in the U.S. Dramatic Competition at the 2023 Sundance Film Festival. It is currently seeking U.S. distribution.

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Sundance: Phoebe Dynevor and Alden Ehrenreich shared

Poland’s Jakub Piątek returns to Sundance with his new doc, “Pianoforte,” taking on the cutthroat Chopin Piano Competition. Held every five years since 1927 — and famous for discovering new pianists trying to qualify for its prestigious finale — it can make or break a promising career. Film premieres Jan. 20.

“It’s like ‘Game of Thrones’: everyone has one goal,” he tells Variety. “Every few days, half of them go home. It’s brutal, but great for a film.”

Piątek’s feature fiction debut, “Prime Time,” starring “Corpus Christi” breakout Bartosz Bielenia, premiered at Sundance in 2021. Now, he is hoping that the festival’s stamp of approval will help him reach more people than just music aficionados.

“It’s not like I used to listen to classical music either. I am a bit of a barbarian in this world, but this ‘civilian’ perspective can be helpful. I can ask the most basic questions,” he says. “Also, during the actual competition, even cab drivers in Warsaw are making their bets. They talk about it like it’s a football tournament.”

The event, and its high stakes, has already been tackled in the likes of 1971’s “The First. The Sixth” and 2011 short “The Contest,” but Piątek decided to focus on less-glamorous moments. 

“When we were watching archival footage with my editor, it seemed the cameras always appear at the beginning and then again when they are crowning the winners. But that’s already included in the price of the ticket!,” the director says. “There are many, many people who obsessively follow the competition. It crossed my mind I was taking on something sacred, but I wanted to go beyond polished album covers. To me, the most interesting things happen before and after they play.” 

Shot during the pandemic, the film follows the likes of competitors Alexander Gadjiev and Eva Gevorgyan, as well as “underdog” Hao Rao. But Piątek — also behind Netflix’s new offering “Dead End,” co-directed with Grzegorz Jaroszuk — wasn’t trying to focus on the favorites, like Canada’s Bruce Liu. 

“We asked 160 people to make a self-tape. I was interested in their story, not in whether they can actually win,” he notes.

“Some refused. One person said: ‘I will do it, but only if it will be a film about me.’ The thing is, we didn’t set out to produce somebody’s showreel. We wanted to tell a coming-of-age story, because for many of them, it’s their first ‘adult’ competition. It’s also the last time you can see them being so raw and so honest.”  

His crew would visit them in their homes in China, Italy or Russia, talk to their parents and teachers. 

“We were the crazies who were interested in everything,” jokes Piątek, underlining that while they were cheering them on, they also had to stay vigilant. 

“I couldn’t imagine that someone from our team would infect someone [with COVID] and exclude them from the competition. Also, the first rule was that when they are on stage, we don’t interfere.”

But backstage, emotions ran high. 

“In the film, you can see us hugging someone who is going back home. Sometimes, we were the only people they knew in Warsaw! Finding out who was going to make it to the next stage was stressful for everyone,” he says.

With its slew of young pianists, isolated from the rest of the world, “Pianoforte” echoes the claustrophobia of Piątek’s hostage drama “Prime Time,” centered around a man who takes over a TV studio on New Year’s Eve. 

“I guess I am just interested in that kind of confinement,” he notes, admitting there might be another ensemble film in his future.

“I keep thinking of making something else about a group of musicians. Like Fellini’s ‘Orchestra Rehearsal’!” 

Produced by Telemark, “Pianoforte” was co-funded by the Polish Film Institute and co-produced by HBO Max with BBC Storyville acquiring U.K. rights. Sales are handled by Submarine. 

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Poland’s Jakub Piątek returns to Sundance with

Last Updated: August 29, 2020, 09:40 IST

Sadak 2, Mahesh Bhatt’s grand return to direction after two decades, is a big letdown, at least this is what Twitter believes. The film started trending on Twitter after it was streamed by Disney+ Hotstar on Friday evening.

While a couple of trade analysts gave the film 1-star rating, other netizens also didn’t seem very impressed with the film, which stars Alia Bhatt, Sanjay Dutt and Aditya Roy Kapur in the lead roles.

Related: Alia Bhatt and Mahesh Bhatt’s Sadak 2 Becomes Lowest-rated Film of All Time on IMDb With 1.1 Score

Sadak 2 has been facing a barrage of dislikes since some days, especially in the aftermath of Bollywood actor Sushant Singh Rajput’s death. After June 14, when the actor was found dead at his Bandra apartment, many believed in the theory that he was not treated well in the film industry because he was an ‘outsider’. Later, this turned into a strong campaign against many actors and filmmakers whose relatives are also in the film business.

Released on August 12, the trailer of Sadak 2 has been at the receiving end. It currently holds the record for being the most-disliked video on YouTube, with a staggering dislike ratio of 95%. The close second spot belongs to Swedish YouTuber PewDiePie who has a dislike ratio of 93% on his video titled “Can this video get 1 million dislikes?” with nearly 5 million “dislikes”.

Here’s how Twitter reacted to the film:

However, these are just the first reactions. With more publications coming out with detailed reviews, the general opinion might change.

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Last Updated: August 29, 2020, 09:40 ISTSadak

Puss in Boots-The Last Wish, Review: It’s not yet the time to hang up your boots

A cat-sized cat in boots, with a cat-sized sword, taking on mighty villains and evading arrest by a Sherriff and his posse, is surely the stuff that fairy tales are made of. Just to remind you, there is a title card and a line on the posters that tells you, “This is a fairy tale”. That, technically, refers to the visual style of narrative employed by the film, which is very story-book in nature. Puss in Boots-The Last Wish is the sixth instalment in the Shrek series, and the second spin-off featuring the feline. It comes eleven years after the first one, which was released in 2011. A sequel was planned in 2012 itself, but materialised ten years later. Its India release is happening a month after its USA release. Although it has plenty of action, hundreds of flying leaps and a good dose of humour, it becomes repetitive in the second half. Nevertheless, it will hold appeal for children while adults might find it a bit overdone.

Renowned Spanish hero and legally an outlaw, Puss in Boots takes on a sleeping giant, and then hosts a party. However, in the midst of the celebration, he gets crushed by a huge bell. When he regains consciousness, he finds himself in a hospital. The doctor tending to him is a man of many professions, including a pediatrician. He tells Puss that he is almost dead. Puss cannot believe this, since he, a cat, has nine lives. But it turns out that he has used up eight of them already. The doctor suggests that he take it easy and retire from adventuring, and seek shelter with a cat-lady called Mama Luna. Puss cannot think of retirement as an option. Later, in a pub, he meets an eerie, black-hooded wolf, who gets into a duel with him, apparently to claim the bounty on his head. Puss loses and has to escape. He goes to the cat-lady’s place to seek refuge. Before entering, he buries his attire, feather, boots and his sword, outside the house of Mama Luna. Mama Luna is a black woman who has given shelter to dozens of cats, is spite of the orders that this is illegal. She takes him in. A cat-sized dog named Pedro or Perrito, who was nearly killed by his hateful siblings, makes friends with Puss, although Puss is acerbic towards him. In fact Puss is acerbic towards everybody and everything there.

‘The crime family’ of Goldilocks and the Three Bears arrive at Mama Luna’s place, searching for Puss. They are unable to find Puss there, for without his gear, Puss does not look like Puss at all. But one of the bears is able to smell out his ‘grave’. Puss overhears them speaking of the Wishing Star, a magical fallen star that hit the earth and can grant any single wish. The map of its location is going to be delivered that night to Jack Horner—not Little Jack Horner, but a man-mountain who runs a bakery, and, is, in reality, an evil collector of magical artefacts. Puss sees in the Wishing Star an opportunity to regain his lost eight lives, and heads for the Horner bakery, to steal the map. There, he unexpectedly meets his unforgiving ex-fiancée, Kitty Softpaws, whom he had deserted at the altar. She, too, is seeking the Star. Perrito, who has followed Puss, joins forces with him, and, after a several bouts of verbal sparring, Kitty agrees to hunt together with Puss and Perrito.

If you are wondering where the Spanish tag came from and why is the dialogue peppered with that language, you will have to keep wondering, for the original story-writer’s name is Giovanni Francesco Straparola, and he was Italian. Incidentally, there is a funny scene where Puss denies that he can speak English, in English, and denies that he can speak Spanish, in Spanish. Straparola is most well-known for his short story collection, The Nights of Straparola, also known as The Pleasant Nights, or The Facetious Nights, among which are considered the first (known) printed versions of a number of European fairy tales. Straparola (also known as Zoan/Zuan Francesco Straparola da Caravaggio) was active in the 1500s, introducing roughly 20 traditional fairy tales into European literature. The stories we know today first appear in recognisable forms within The Nights of Straparola. So, we are watching a character created 500 years ago, updated by Paul Fisher, Tommy Swerdlow and Tom Wheeler. Swerdlow is an actor-writer who has been writing since 1993, and has even directed a film. Wheeler worked on the first part of Puss in Boots. Not to be confused with Paul Fischer, also a screenwriter, Paul Fisher’s CV includes The Croods: A New Age and The LEGO Ninjago movie.

It was the brief of these three adults and director Joel Crawford (a story-board artist who reunites with his Croods: A New Age partner Paul Fisher) to think like children and create fairy-tale settings and characters that can engage them. They have milked the mythical belief that a cat has nine lives in an imaginative way, but a good thing is pushed too far. Likewise, the search for the Wish Star takes on epic proportions. Firstly, if a falling star were to hit the earth, as it is shown, there would be widespread disaster. Instead, what we see is the star getting invisible and appearing only to its seekers, that too in myriad forms and colours. One wonders why the messenger of death, embodied as a cold-blooded wolf, goes about his task in a roundabout way and takes ages to get to the point.

Granted this is a sequel, but the original was released over a decade ago, and the audience needs to know why Puss, the Favourite Fearless Hero of the masses, as the song in the movie goes, is wanted by the law. The Favourite Fearless Hero wakes up in hospital with only a quack doctor by his bedside, whereas one would have expected half the town to be there. A cat can leap, for sure, but here again Puss and Kitty leap so high and so many times that they become leaps of faith. Incredibly, Puss can slice of a big piece of iron armour with his minuscule sword. There is a very adult track of Puss getting cold feet on his wedding day and not showing up at the church and a lot of talk around it that might not be meaningful to kids who really dig this kind of film. Also, the entire track of the messenger of death coming in the shape of a ruthless wolf and repeatedly attacking Puss with giant sickles might not be the average Indian kid’s idea of fun.

Computer animated characters speak courtesy, Antonio Banderas, Salma Hayek Pinault, Harvey Guillén, Florence Pugh, Olivia Colman, Ray Winstone, Samson Kayo, John Mulaney, Wagner Moura and Da’Vine Joy Randolph. Music by Heitor Pereira goes well with the visuals. Editing by James Ryan is unevenly paced, which works well for the film, since it needs to pause and reflect before the next bunch of fast-cutting chases and encounters is unleashed. Part of the long-drawn climax could have faced the delete button, to make the film crisper than the 102 minutes it reads.

Overall, this made-for-children movie does have adult content, as detailed above, but it is the children who are likely to enjoy it much, much more. I am assessing it with my adult sensibilities, trying to put on a kiddy hat, on film-making parameters, not being swayed by the innocent charm of a fairy tale. So, if you have young children who dig fairy-tales and nursery rhymes, like Little Jack Horner and Goldilocks, and more so if they love cats, don’t go by my rating, go and watch Puss in Boots: The Last Wish.

Rating: ** ½

Trailer: https://www.youtube.com/watch?v=tHb7WlgyaUc

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Puss in Boots-The Last Wish, Review:

The Deadline Studio at Sundance Film Festival runs January 20-23 at Hotel Park City, where the cast and creatives behind the best and buzziest titles in this year’s lineup sit down with Deadline’s festival team to discuss their movies and the paths they took to get to Park City.

MURDER IN BIG HORN
Section: Premieres
Directors: Razelle Benally, Matthew Galkin

Logline: Within the last decade, dozens of young Indigenous women and girls from the Crow and Northern Cheyenne Nations have been murdered or have gone missing from Montana’s Big Horn County and its surrounding area. Arrests are rare in these cases; convictions, virtually non-existent. When grieving Native families press law enforcement for answers, they are met with either indifference or silence. 

This harrowing three-part docuseries examines the circumstance around each disappearance, the searches for the missing, the details of these deeply problematic law enforcement responses, and the challenges with bringing perpetrators to justice. The series also reveals the historical forces at play that make Native American women some of the most vulnerable people in the country as a whole. Told solely through the perspectives of those involved – Native families, local Native journalists and local law enforcement – what emerges is a powerful portrait of tribal members and their community battling an epidemic of murdered and missing Indigenous women (MMIW) that was set in motion almost 200 years ago.

Panelists: Razelle Benally (director-producer), Matthew Galkin (director-EP), Luella Brien (Journalist, Four Points Press), Lucy Simpson (Executive Director, National Indigenous Women’s Resource Center)

Distributor: Showtime
Premiere Date: February 5
First Screening: January 22, 11:25 a.m. MST, Egyptian Theatre

Key Quotes: “When I was first brought on the project, I initially was hesitant because so oftentimes, there’s this issue within media itself of extractive storytelling. So, [I agreed to take part] after talking with Matthew and really hearing him explain that this was going to be a collaboration. Because I myself had always felt so strongly about this issue, being a Native girl growing into a Native woman, this fear of being stolen, disappearing or being murdered has always been my reality. And I have always included an element of social justice in my work. So, to be part of directing this documentary series was just an extension of something I was already doing as a director and filmmaker.” — Razelle Benally

“I think it’s about building relationships, which is part of why the families that are in this docuseries were able and willing to tell their story. For us as Native people in our communities, that’s what we are. We’re relatives. We treat each other as relatives; we’re families. Building relationships is foundational, so when you have people coming in for 18 months, dedicating their lives to telling this story, that’s not just telling a story. That’s building a relationship with this community, and we don’t see that very often in Indian Country.” — Lucy Simpson

Click above to watch the panel video, and track all of our Deadline Studio content here.

RELATED: Sundance Film Festival U.S. Dramatic Grand Jury Prize Winners Through The Years – Photo Gallery

The 2023 Sundance Film Festival takes place from January 19-29. Follow Deadline’s complete coverage of the deals and the doings in Park City here.

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The Deadline Studio at Sundance Film Festival

Insecure is headed to basic cable.

Reruns of Issa Rae’s Emmy-winning HBO comedy have been acquired by OWN. Back-to-back episodes will air every Tuesday night at 9/8c, beginning Feb. 7.

For the uninitiated: Insecure was derived from Rae’s web series Awkward Black Girl, and centers on best friends Issa (Rae) and Molly (Yvonne Orji) as they navigate the Black female experience in Southern Los Angeles.

The series aired for five seasons (and 44 episodes), between 2016 and 2021. All episodes remain available to stream on HBO Max.

Ready for more recent newsy nuggets? Well…

* Prime Video has announced that Invincible will return for Season 2 in late 2023. The animated superhero series, which completed its first season in April 2021, was previously renewed through Season 3. Watch a teaser:

* Last Week Tonight With John Oliver Season 10 will premiere Sunday, Feb. 19 at 11 pm on HBO.

* Cable network REELZ will become the official U.S. broadcast home for Major League Westling, Deadline reports. Flagship series MLW Underground Wrestling will air Tuesdays, beginning Feb. 7 at 10 pm.

Which of today’s TVLine Items pique your interest?

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Insecure is headed to basic cable. Reruns of

Academy Award winner Riz Ahmed and “M3GAN” star Allison Williams will announce the nominees for the 95th Oscars on January 24.

It’s officially Oscars season!

The 2023 nominees for the 95th Academy Awards will be announced Tuesday, January 24 via livestream. Oscar winner Riz Ahmed (“Sound of Metal,” “The Night Of”) and Allison Williams (“M3GAN,” “Get Out,” “Girls”) will jointly list off the nominees for this year’s tight Oscar race.

The announcement will take place 8:30 a.m. ET/5:30 a.m. PT from the Academy’s Samuel Goldwyn Theater and will air live on “Good Morning America” on ABC. Ahmed and Williams will also be livestreaming on Goodmorningamerica.com, ABC News Live, Disney+, Oscars.org, Oscar.com, and the Academy’s social media platforms, including Twitter, Facebook and YouTube.

The 95th Academy Awards will take place Sunday, March 12 at the Dolby Theatre in Los Angeles. Jimmy Kimmel is set to return as the host, with the telecast streaming on ABC.com, Hulu Live TV, and YouTubeTV in addition to broadcast.

Anticipated Best Picture favorites include “Top Gun: Maverick,” “Everything Everywhere All at Once,” “The Fabelmans,” and “TÁR.” The Best Actress race is proven to be one of the toughest categories this year, with Cate Blanchett (“TÁR”) and Michelle Yeoh (“Everything Everywhere All at Once”) cornering the title. It’s Colin Farrell vs. Austin Butler vs. Brendan Fraser with them being poised to continue their Best Actor sweeps following their respective Golden Globes wins for “Elvis” and “Banshees of Inisherin” and Fraser’s Critics Choice win for “The Whale.”

Big blockbuster films like “Avatar: The Way of Water,” “Black Panther: Wakanda Forever,” and “Top Gun: Maverick” are also expected to be recognized by the Academy. IndieWire’s Anne Thompson additionally speculated that “Glass Onion: A Knives Out Mystery,” BAFTA-favored “All Quiet on the Western Front,” “Babylon,” and “She Said” could be Best Picture contenders.

The 2023 Oscars takes place two weeks earlier than the 2022 ceremony. This year also marks the return of a fully-live broadcast after the Academy received backlash for choosing to air pre-recordings of eight categories throughout the telecast — documentary short, film editing, makeup and hairstyling, original score, production design, animated short, live-action short, and sound.

An internal poll was reportedly circulated among Academy members in May 2022 soliciting feedback on the pre-recorded rollout, which edited portions of the winners’ acceptance speeches into the live presentation. The poll hopes to assess the influence — whether positive, negative, or neutral — the 2022 creative changes had on viewers, attendees, and voters overall. The survey also reportedly polls members if the 2023 ceremony should continue the widely debated Oscars Fan Favorite award via Twitter voting.

Bill Kramer, the CEO of the Academy of Motion Picture Arts and Sciences, announced in November 2022 that “all categories will be included in the live telecast.”

“We are committed to having a show that celebrates the artisans, the arts and sciences and the collaborative nature of moviemaking,” Kramer said. “This is very much what the mission of the Academy is, and I am very hopeful that we can do a show that celebrates all components of moviemaking in an entertaining and engaging way.”

He added, “All I will say right now is that our anniversary, the 95th Oscars, is extremely important to us. I think it sets a really interesting rhythm for our 100th. You see this in the museum, I think we are able to celebrate our legacy while bringing the Academy into the future and the show will reflect that.”

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Academy Award winner Riz Ahmed and "M3GAN"

Welcome to our weekly rundown of the best new music — featuring big singles, key tracks from our favorite albums, and more. This week is full of big returns with singles from Fall Out Boy and boygenius. Plus, A$AP Rocky delivers a tribute to fallen hip-hop heroes, as well as great tracks from Boys World and Nicky Jam. Check out the list, or cue it up on Spotify.

A$AP Rocky, “Same Problems” (YouTube)

Fall Out Boy, “Love From the Other Side” (YouTube)

Ruston Kelly, “The Weakness” (YouTube)

Libianca, “People (Check On Me)” (YouTube)

The National, “Tropic Morning News” (YouTube)

boygenius, “True Blue” (YouTube)

boygenius, “Emily I’m Sorry” (YouTube)

boygenius, “$20” (YouTube)

Ice Spice, “Princess Diana” (YouTube)

Kim Petras, “Brrr” (YouTube)

Trippie Redd feat Lil Durk, “Muscles” (YouTube)

Gatlin, “Still Not Me” (Youtube)

Boys World, “Mantrum” (YouTube)

Allstar JR and Babyface Ray, “Empty” (YouTube)

Kel-P, “One More Night” (YouTube)

Rebecca Black, “Sick to my Stomach” (YouTube)

Loyal Lobos, “Sleeper” (YouTube)

Nicky Jam, “Toy a Mil”  (YouTube)

Naomi Sharon, “Another Life” (YouTube)

Trending

The Rocket Summer, “Stuck Inside Your Light” (YouTube)

Metallica, “Screaming Suicide” (YouTube)

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Welcome to our weekly rundown of

BAFTA EE Film Awards Nominations

On Thursday, January 19th, BAFTA announced the nominees for the 2023 EE Film Awards. 45 feature films received nominations; among the nominees receiving acknowledgement for their performance, 14 of the 24 nominees are first-time nominees for a BAFTA award. This includes Ana De Armas (Blonde); Angela Bassett (Black Panther: Wakanda Forever); Austin Butler (Elvis); Colin Farrell (The Banshees of Inisherin); Brendan Fraser (The Whale); Paul Mescal (Aftersun), and Ke Huy Quan (Everything Everywhere All At Once).

BAFTA/Thomas Alexander

Highlights:

  • 14 nominations for All Quiet on the Western Front
  • Ten nominations for The Banshees of Inisherin and Everything Everywhere All At Once
  • Nine nominations for Elvis
  • Five nominations for Tár
  • Four nominations for Aftersun; The Batman; Good Luck to You, Leo Grande; Top Gun: Maverick and The Whale
  • Three nominations for Babylon; Empire of Light; Guillermo del Toro’s Pinocchio; Living and Triangle of Sadness
  • Two nominations for Avatar: The Way of Water; Decision to Leave; The Quiet Girl; Roald Dahl’s Matilda The Musical; She Said and The Woman King
  • One nomination for each of the following: All That Breathes; All The Beauty and the Bloodshed; Amsterdam; Argentina, 1985; Black Panther: Wakanda Forever; Blonde; Blue Jean; Brian and Charles; Corsage; Electric Malady; The Fabelmans; Fire of Love; The Good Nurse; Marcel the Shell with Shoes On; Moonage Daydream; Mrs. Harris Goes to Paris; Navalny; Puss in Boots: The Last Wish; Rebellion; See How They Run; The Swimmers; Till; Turning Red and The Wonder

The following British shorts were nominated: The Boy, The Mole, The Fox, and The Horse; Middle Watch; Your Mountain Is Waiting; The Ballad of Olive Morris; Bazigaga; Bus Girl; A Drifting Up and An Irish Goodbye

Full List of Nominees

Earlier this month, the longlist for the BAFTA EE Awards was revealed, and below is the full list of nominees for 2023.

Categories:

BEST FILM

ALL QUIET ON THE WESTERN FRONT Malte Grunert

THE BANSHEES OF INISHERIN Graham Broadbent, Pete Czernin, Martin McDonagh

ELVIS Gail Berman, Baz Luhrmann, Catherine Martin, Patrick McCormick, Schuyler Weiss

EVERYTHING EVERYWHERE ALL AT ONCE Daniel Kwan, Daniel Scheinert, Jonathan Wang

TÁR Todd Field, Scott Lambert, Alexandra Milchan

 

OUTSTANDING BRITISH FILM

AFTERSUN Charlotte Wells, Producer(s) TBC

THE BANSHEES OF INISHERIN Martin McDonagh, Graham Broadbent, Pete Czernin

BRIAN AND CHARLES Jim Archer, Rupert Majendie, David Earl, Chris Hayward

EMPIRE OF LIGHT Sam Mendes, Pippa Harris

GOOD LUCK TO YOU, LEO GRANDE Sophie Hyde, Debbie Gray, Adrian Politowski, Katy Brand

LIVING Oliver Hermanus, Elizabeth Karlsen, Stephen Woolley, Kazuo Ishiguro

ROALD DAHL’S MATILDA THE MUSICAL Matthew Warchus, Tim Bevan, Eric Fellner, Jon Finn, Luke Kelly, Dennis Kelly

SEE HOW THEY RUN Tom George, Gina Carter, Damian Jones, Mark Chappell

THE SWIMMERS Sally El Hosaini, Producer(s) TBC, Jack Thorne

THE WONDER Sebastián Lelio, Ed Guiney, Juliette Howell, Andrew Lowe, Tessa Ross, Alice Birch, Emma Donoghue

OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER

AFTERSUN Charlotte Wells (Writer/Director)

BLUE JEAN Georgia Oakley (Writer/Director), Hélène Sifre (Producer)

ELECTRIC MALADY Marie Lidén (Director)

GOOD LUCK TO YOU, LEO GRANDE Katy Brand (Writer)

REBELLION Elena Sánchez Bellot (Director) Maia Kenworthy (Director)

FILM NOT IN THE ENGLISH LANGUAGE

ALL QUIET ON THE WESTERN FRONT Edward Berger, Malte Grunert

ARGENTINA, 1985 Santiago Mitre, Producer(s) TBC

CORSAGE Marie Kreutzer

DECISION TO LEAVE Park Chan-wook, Ko Dae-seok

THE QUIET GIRL Colm Bairéad, Cleona Ní Chrualaoí

DOCUMENTARY

ALL THAT BREATHES Shaunak Sen, Teddy Leifer, Aman Mann

ALL THE BEAUTY AND THE BLOODSHED Laura Poitras, Howard Gertler, Nan Goldin, Yoni Golijov, John Lyons

FIRE OF LOVE Sara Dosa, Shane Boris, Ina Fichman

MOONAGE DAYDREAM Brett Morgen

NAVALNY Daniel Roher, Diane Becker, Shane Boris, Melanie Miller, Odessa Rae

ANIMATED FILM

GUILLERMO DEL TORO’S PINOCCHIO Guillermo del Toro, Mark Gustafson, Gary Ungar, Alex Bulkley

MARCEL THE SHELL WITH SHOES ON Dean Fleisher Camp, Andrew Goldman, Elisabeth Holm, Caroline Kaplan, Paul Mezey

PUSS IN BOOTS: THE LAST WISH Joel Crawford, Mark Swift

TURNING RED Domee Shi, Lindsey Collins

DIRECTOR

ALL QUIET ON THE WESTERN FRONT Edward Berger

THE BANSHEES OF INISHERIN Martin McDonagh

DECISION TO LEAVE Park Chan-wook

EVERYTHING EVERYWHERE ALL AT ONCE Daniel Kwan, Daniel Scheinert

TÁR Todd Field

THE WOMAN KING Gina Prince-Bythewood

ORIGINAL SCREENPLAY

THE BANSHEES OF INISHERIN Martin McDonagh

EVERYTHING EVERYWHERE ALL AT ONCE Daniel Kwan, Daniel Scheinert

THE FABELMANS Tony Kushner, Steven Spielberg

TÁR Todd Field

TRIANGLE OF SADNESS Ruben Östlund

ADAPTED SCREENPLAY

ALL QUIET ON THE WESTERN FRONT Edward Berger, Lesley Paterson, Ian Stokell

LIVING Kazuo Ishiguro

THE QUIET GIRL Colm Bairéad

SHE SAID Rebecca Lenkiewicz

THE WHALE Samuel D. Hunter

LEADING ACTRESS

CATE BLANCHETT Tár

VIOLA DAVIS The Woman King

DANIELLE DEADWYLER Till

ANA DE ARMAS Blonde

EMMA THOMPSON Good Luck to You, Leo Grande

MICHELLE YEOH Everything Everywhere All At Once

LEADING ACTOR

AUSTIN BUTLER Elvis

COLIN FARRELL The Banshees of Inisherin

BRENDAN FRASER The Whale

DARYL McCORMACK Good Luck to You, Leo Grande

PAUL MESCAL Aftersun

BILL NIGHY Living

SUPPORTING ACTRESS

ANGELA BASSETT Black Panther: Wakanda Forever

HONG CHAU The Whale

KERRY CONDON The Banshees of Inisherin

DOLLY DE LEON Triangle of Sadness

JAMIE LEE CURTIS Everything Everywhere All At Once

CAREY MULLIGAN She Said

SUPPORTING ACTOR

BRENDAN GLEESON The Banshees of Inisherin

BARRY KEOGHAN The Banshees of Inisherin

KE HUY QUAN Everything Everywhere All At Once

EDDIE REDMAYNE The Good Nurse

ALBRECHT SCHUCH All Quiet on the Western Front

MICHEAL WARD Empire of Light

ORIGINAL SCORE

ALL QUIET ON THE WESTERN FRONT Volker Bertelmann

BABYLON Justin Hurwitz

THE BANSHEES OF INISHERIN Carter Burwell

EVERYTHING EVERYWHERE ALL AT ONCE Son Lux

GUILLERMO DEL TORO’S PINOCCHIO Alexandre Desplat

CASTING

AFTERSUN Lucy Pardee

ALL QUIET ON THE WESTERN FRONT Simone Bär

ELVIS Nikki Barrett, Denise Chamian

EVERYTHING EVERYWHERE ALL AT ONCE Sarah Halley Finn

TRIANGLE OF SADNESS Pauline Hansson

CINEMATOGRAPHY

ALL QUIET ON THE WESTERN FRONT James Friend

THE BATMAN Greig Fraser

ELVIS Mandy Walker

EMPIRE OF LIGHT Roger Deakins

TOP GUN: MAVERICK Claudio Miranda

EDITING

ALL QUIET ON THE WESTERN FRONT Sven Budelmann

THE BANSHEES OF INISHERIN Mikkel E. G. Nielsen

ELVIS Jonathan Redmond, Matt Villa

EVERYTHING EVERYWHERE ALL AT ONCE Paul Rogers

TOP GUN: MAVERICK Eddie Hamilton

PRODUCTION DESIGN

ALL QUIET ON THE WESTERN FRONT Christian M. Goldbeck, Ernestine Hipper

BABYLON Florencia Martin, Anthony Carlino

THE BATMAN James Chinlund, Lee Sandales

ELVIS Catherine Martin, Karen Murphy, Bev Dunn

GUILLERMO DEL TORO’S PINOCCHIO Curt Enderle, Guy Davis

COSTUME DESIGN

ALL QUIET ON THE WESTERN FRONT Lisy Christl

AMSTERDAM J.R. Hawbaker, Albert Wolsky

BABYLON Mary Zophres

ELVIS Catherine Martin

MRS. HARRIS GOES TO PARIS Jenny Beavan

MAKE UP & HAIR

ALL QUIET ON THE WESTERN FRONT Heike Merker

THE BATMAN Naomi Donne, Mike Marino, Zoe Tahir

ELVIS Jason Baird, Mark Coulier, Louise Coulston, Shane Thomas

ROALD DAHL’S MATILDA THE MUSICAL Naomi Donne, Barrie Gower, Sharon Martin

THE WHALE Anne Marie Bradley, Judy Chin, Adrien Morot

SOUND

ALL QUIET ON THE WESTERN FRONT Lars Ginzel, Frank Kruse, Viktor Prášil, Markus Stemler

AVATAR: THE WAY OF WATER Christopher Boyes, Michael Hedges, Julian Howarth, Gary Summers, Gwendolyn Yates Whittle

ELVIS Michael Keller, David Lee, Andy Nelson, Wayne Pashley

TÁR Deb Adair, Stephen Griffiths, Andy Shelley, Steve Single, Roland Winke

TOP GUN: MAVERICK Chris Burdon, James H. Mather, Al Nelson, Mark Taylor, Mark Weingarten

SPECIAL VISUAL EFFECTS

ALL QUIET ON THE WESTERN FRONT Markus Frank, Kamil Jafar, Viktor Müller, Frank Petzold

AVATAR: THE WAY OF WATER Richard Baneham, Daniel Barrett, Joe Letteri, Eric Saindon

THE BATMAN Russell Earl, Dan Lemmon, Anders Langlands, Dominic Tuohy

EVERYTHING EVERYWHERE ALL AT ONCE Benjamin Brewer, Ethan Feldbau, Jonathan Kombrinck, Zak Stoltz

TOP GUN: MAVERICK Seth Hill, Scott R. Fisher, Bryan Litson, Ryan Tudhope

BRITISH SHORT ANIMATION

THE BOY, THE MOLE, THE FOX AND THE HORSE Peter Baynton, Charlie Mackesy, Cara Speller, Hannah Minghella

MIDDLE WATCH John Stevenson, Aiesha Penwarden, Giles Healy

YOUR MOUNTAIN IS WAITING Hannah Jacobs, Zoe Muslim, Harriet Gillian

BRITISH SHORT FILM

THE BALLAD OF OLIVE MORRIS Alex Kayode-Kay

BAZIGAGA Jo Ingabire Moys, Stephanie Charmail

BUS GIRL Jessica Henwick, Louise Palmkvist Hansen

A DRIFTING UP Jacob Lee

AN IRISH GOODBYE Tom Berkeley, Ross White

EE RISING STAR AWARD

AIMEE LOU WOOD

DARYL McCORMACK

EMMA MACKEY

NAOMI ACKIE

SHEILA ATIM

About BAFTA

BAFTA – the British Academy of Film and Television Arts – is a world-leading independent arts charity that brings the very best work in film, games and television to public attention and supports the growth of creative talent in the UK and internationally. Through its Awards ceremonies and year-round programme of learning events and initiatives – which includes workshops, masterclasses, scholarships, lectures and mentoring schemes in the UK, USA and Asia – BAFTA identifies and celebrates excellence, discovers, inspires and nurtures new talent, and enables learning and creative collaboration. For more, visit www.bafta.org. BAFTA is a registered charity (no. 216726).

About EE

EE runs the UK’s biggest and fastest mobile network, offering superfast connections in more places than any other operator. EE brought the first 4G network to the UK in October 2012 and launched the UK’s first 5G network in May 2019.

EE has received extensive independent recognition, including being named the UK’s no.1 5G network by RootMetrics® in 2020 and being named the UK’s best network every year since 2014 for the following awards: The Mobile Choice Awards, The Mobile Industry Awards and by RootMetrics®.

As well as offering mobile services to consumers and small and medium businesses, EE also provides home and business broadband using both 4G and fixed line connections.

EE is committed to being number one for service in the industry and has nearly 600 shops across the UK. EE remains the only mobile provider to answer 100% of customer calls in the UK and Ireland and was recognised as the UK’s Best Large Contact Centre by the UK Customer Experience Awards 2018 and Welsh Contact Centre Awards 2019. EE was awarded The Sunday Times’ Best 100 Companies to Work for in 2018 and 2019, as well as being named Best Employer 2018 by the European Contact Centre & Customer Service awards.

EE is part of BT’s Consumer business unit which provides products and services to all of BT’s consumer customers in the UK. Follow us on:

Facebook at: www.facebook.com/ee

Twitter at: www.twitter.com/ee

YouTube at: www.youtube.com/ee

LinkedIn at: www.linkedin.com/company/ee-uk

BAFTA EE Film Awards Nominations On Thursday, January

Some straight cis artists become beloved in the LGBTQIA+ community because of the style of music they make or the ways their lyrics can be broadly applied, because of their visual language and aesthetics, and/or because they particularly embrace their LGBTQIA+ fans.

For Roberta Flack, it always went deeper.

At the very beginning of her career, when she was still a schoolteacher moonlighting as a musician, she’d had a regular gig at the Tivoli, an opera restaurant in the Georgetown neighborhood of Washington D.C. This eventually ended:

“The Tivoli had closed down and I had decided that I didn’t want to work there anymore anyway, but it had turned me on to another whole world, because it was basically an underground place frequented by a lot of gay people, and these were, of course, very sophisticated people, lovers of opera and fine things—it just opened up a whole new world for me, because they appreciated me so much,” Flack told Chris Albertson for Routes in 1978.

Roberta Flack at Constitution Hall, courtesy of Roberta Flack.

This led her to a new regular appointment at the gay bar Mr. Henry’s on Capitol Hill; she was booked so frequently (“five nights a week, three sets per night,” she told Washingtonian in 2017), that she could finally quit her day job. Other musicians and entertainers, regardless of sexuality, frequently came through Mr. Henry’s—it was on the D.C. map as a cultural hot spot and the place for jazz. This is where pianist Les McCann first heard Flack play; newly signed to Atlantic Records, he tipped off then-Atlantic VP Joel Dorn, who would go on to produce Flack’s classic recordings for the label, and the rest was history.

Flack dedicated her gorgeous version of “Ballad of the Sad Young Men” from her debut album, 1969’s “First Take” to her gay audience. (“A strictly heterosexual reading of [‘Ballad of the Sad Young Men’] would be very anti-feminist, and that’s not where I was coming from at all—it was all gay, straight down the line, I mean that’s the way I did it,” she told Albertson.) Others—from folk singer Davy Graham to Soft Cell’s Marc Almond—have taken on the song over the years. It was written by Tommy Wolf and Fran Landesman for “The Nervous Set,” a now-largely-forgotten musical about the Beat Generation. In its vagueness, it speaks to multiple audiences; Elizabeth Nelson, in a recent review of “First Take” for Pitchfork, mentions its resonance to those returning from Vietnam, and, of course, it was originally about the nihilism and self-destructiveness of the Beats. But it is with gay men that the song has had the longest relationship, no doubt because of both Flack’s version and the centrality of the gay bar to LGBTQ+ history (not to mention the intertwined histories of homosexuality and the theater).

“‘Ballad of the Sad Young Men’ was a staple in Flack’s live concerts,” writes Jason King in his essay “The Sound of Velvet Melting: The Power of ‘Vibe’ in the Music of Roberta Flack”:

“As early as 1971, she openly discussed its meaning in her stage act, lest its impressionistic lyrics be misunderstood. Flack sang songs of substance that had meaning for gay audiences throughout her career. ‘Jesse,’ an ambiguously titled love song by Janis Ian, likely had resonance for Flack’s audiences. In 1982, Flack sang the theme song to ‘Making Love,’ Arthur Penn’s groundbreaking and highly controversial film depicting homosexual love between two men.”

Quoted in The Guardian, Flack herself said:

“I sang [‘Ballad of the Sad Young Men’] about soldiers, then, later, about gay men. It touches me deeply every time. I used to perform this song at Mr. Henry’s and people would be totally silent. I knew it moved them.”

As King notes, though Flack’s music—particularly on her early recordings—was uncompromisingly political, and she took care to frame that in live performances, she’s not broadly read as a protest artist. This is because her music sits somewhere in between soul, folk and pop, bridging all of it with a style of jazz that had been specifically whitewashed and commercialized for the last few decades prior to Flack’s arrival on the scene. Flack’s work, though, calls back to the earlier days of jazz as a politicized and specifically Black art form; throughout her career, she’s always been clear about this.

A particularly poignant quote from the Albertson interview—which is full of them, honestly—sticks out. She’s discussing the structural barriers for Black artists, and the ways in which Black artists have specifically opened doors for one another—whenever you can get access to any kind of power, it behooves you to open it up to those who, like you, are shut out by structural discrimination. And she says: “You see, one of the reasons Black people are not as far ahead in any area in this country, particularly in this country, as we perhaps could be with the talents that we have, is because we are so desperate; once you get there, it’s very hard for you to really open up your heart, your mind, and your soul, and to reach back and bring in everybody that you can—white people do it all the time.”

Flack’s work is both intensely personal and intensely universal, and it is the ability to bring both to bear on a song at once that sets a pop superstar apart from someone who’s merely competent. She consciously includes the most marginalized at all times, connecting along that line of outsiderdom and systemic, multi-generational trauma. And when you hear her sing and play, her technical mastery is always balanced by a direct emotionality.

Nowhere is that more apparent than on her performance of “Ballad of the Sad Young Men.” In other hands the tune can read as maudlin, campy, or just straight up uncool. When Flack sings it, it comes alive with genuine grief and empathy, its smoothness belying the pain that lurks just beneath the surface. She knows how that speaks to us as queer people, and she recognizes that with simple grace. The people’s artist, through and through—who knows that ‘the people’ must include us all, and that her LGBTQIA+ audience has been with her since the beginning and will see her through long past the end.

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Some straight cis artists become beloved in

Two days after a warrant was issued for a suspect wanted in connection with the sexual assault of a woman at a social-sector agency in Calgary, Edmonton police arrested the man.

The Edmonton Police Service arrested 40-year-old Papi Muyembi Chiyombo on Jan. 18. He faces two charges.

On Jan. 16, the Calgary Police Service said it issued a warrant for the man’s arrest after multiple attempts to locate him.

Muyembi Chiyobmo faces a charge of sexual assault in relation to an incident reported at a social-sector agency in downtown Calgary on Sep. 20, 2022.

He also faces another sexual assault charge in connection with a woman reporting she was touched sexually without consent in a separate incident near Calgary City Hall on Sep. 5, 2022.

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Muyembi Chiyombo is due to appear in court on Feb. 21.

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Two days after a warrant was issued

There have been plenty of Bachelor Nation couples that stemmed from contestants hooking up with stars from different seasons — and Tenley Molzahn and Ben Higgins are no different.

“We definitely flirted and talked on a daily basis. And I was hopeful that he would end up not being the Bachelor so that we could continue to pursue something,” the Bachelor season 14 alum, 38, said on the “She’s All Bach” podcast on Thursday, January 19. “I felt pursued by him. I felt like we had a really good friendship, but that it was definitely borderline could be something else.”


Tenley Molzahn and Ben Higgins.
Shutterstock (2)

Molzahn, who also appeared on season 1 of Bachelor Pad and season 2 of Bachelor in Paradise, noted that “there was a chemistry” when she met Higgins, 33, at the Men Tell All for Kaitlyn Bristowe’s season in 2015. They subsequently hung out in Colorado with a group of Bachelor Nation alums.

“The first thing he said to me in the car … was ‘Hey, so I know that I’m kind of putting this out there that we might be pursuing something, but I also want you to know that I am up for being the Bachelor.’ And I said, ‘I know, I’ve heard everybody talking about it and I’m excited for you,’” she recalled. “But then, yeah, we hung out. We continued to hang out for a little while, and then came back to California and we just continued to talk. And he continued to keep me a part of his journey and kind of telling me what was going on. It was very much back and forth thing in my mind. … I don’t think that he was necessarily playing me or a ton of other women at that time. It was a very emotional thing. And I felt like we walked through it together.”

ABC ultimately picked Higgins to lead season 20 of the series — and the idea of Molzahn being one of the contestants was floating around.

“I had a lot of, like, weird text messages from [some producers] … during the time of Ben’s season, like, in the middle, like, ‘Hey, what are you doing?’ And I think they were teasing me. I don’t know,” she explained, “But Ben had asked me. … I can’t remember if he asked me, like, a ‘don’t come on’ [kind of way] or [if] he just said, ‘Will you be coming on my season?’ And I said, ‘No, actually, if you and I are going to hang out later, after the show because it doesn’t work out for you, then you can pursue me then. But I don’t want to pursue you. I’m not going back on the show to pursue you.”

Molzahn said the last time they communicated “intentionally” was just before Higgins was officially named the Bachelor on After Paradise. They ran into each other again post-filming when he was secretly engaged to Lauren Bushnell.

“We ended up sitting next to each other at a meal and I just wanted to respect wherever it ended. I figured he would tell me like, ‘I’m not with anybody,’ if he wasn’t with anybody,” she said. “And I just remember saying, ‘Are you good?’ And [he said] like, ‘Yeah, I’m really good.’ And I took that for what it was. And then I remember driving with my dad back to our family member’s house where we were staying and crying and being like, ‘OK, Dad, I need to move on.’”

Back in 2016, Molzahn told Us Weekly that she had a “special relationship” with Higgins.

“It was definitely more casual,” she told Us at the time. “We got to get to know each other really, really well, and he became a close friend, and I feel like he supported me through Bachelor in Paradise airing, and then I was supporting him along his road to being the Bachelor.”

Higgins ultimately got engaged to Bushnell during his finale. After less than two years together, the twosome called it quits. While she went on to marry Chris Lane, welcoming two sons with the country singer, Higgins wed Jessica Clarke in November 2021.

Molzahn, for her part, married Taylor Leopold in 2018.

“Ben had set a new standard,” she noted on Thursday. “And I’m so grateful for that because some of the characteristics and qualities that Ben had became something I added to [my] list. … And then my husband, Taylor, walked into my life. And I was like, ‘Oh, you have the whole package.’”

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There have been plenty of Bachelor Nation

Thats the end of the round for “Cobra Kai“.

Get ready to say goodbye Karate Kid fans, for real this time, because the story that began almost 40 years ago, back in 1984 is coming to an end, as the beloved Netflix series and sequel to the Karate Kid franchise Cobra Kai is ending with its upcoming season 6. Which promises to be The BIGGEST and The BADDEST.

Updated for a new generation, Cobra Kai continues the original Karate Kid story decades after the tournament that c

Courtesy of Netflix

hanged their lives, the rivalry between Johnny and Daniel reignites in this sequel to the “Karate Kid” films. “Cobra Kai” takes place over 30 years after the events of the 1984 All Valley Karate Tournament with the continuation of the inescapable conflict between Daniel LaRusso (Ralph Macchio) and Johnny Lawrence (William Zabka).
Cobra Kai is written and executive produced by Josh Heald, Jon Hurwitz and Hayden Schlossberg via their production company, Counterbalance Entertainment. Will Smith, James Lassiter and Caleeb Pinkett executive produce for Westbrook Entertainment along with Susan Ekins in association with Sony Pictures Television. Ralph Macchio and William Zabka also serve as executive producers. This Emmy nominated series quickly became a fan favourite.

In an open letter to fans, creators Josh Heald, Jon Hurwitz, and Hayden Schlossberg wrote, “Reacquainting the world with ‘The Karate Kid’ universe has been our humble honor. Making Cobra Kai has allowed us to join the same hallowed dojo once inhabited by the great Robert Mark Kamen, John Avildsen, Jerry Weintraub, and all the amazing original cast members. It has also enabled us to play sensei, expanding the original storylines and birthing a new generation of underdogs. We’ve never once taken this opportunity for granted.”

They then talk about why they decided to end the show show now, simply why drag it on, when it’s at its peak. “Our day one goal with Cobra Kai has always been to end it on our own terms, leaving the Valley in the time and place we’ve always imagined. So it is with immense pride and thankfulness that we are able to
announce that achievement,” A smart decision on behalf of the showrunners.

They go on to acknowledge the fandom by saying “While this may be a bittersweet day for the fandom, the Miyagiverse has never been stronger. This fandom is the BEST on the planet and we hope to be telling more Karate Kid stories with you down the line. Because as we all know, Cobra Kai Never Dies.”

When last we left Daniel Larusso (Ralph Macchio) and Johnny Lawrence (William Zabka) in “Cobra Kai” Season 5, their dojos Miyagi Do and Eagle Fang had both earned a spot in the international karate tournament known as Sekai Taikai that Terry Silver (Thomas Ian Griffith) had been fighting his way towards all these years. Meanwhile John Kreese (Martin Kove), Johnny’s ex sensei had escaped from prison by faking his death, and Silver was arrested for beating Stingray to death in the previous season. With one final battle ahead, the question remains, can Daniel and Johnny lead the Miyagi-Do and Eagle Fang students to victory?

Netflix released a teaser that highlights the past 5 seasons and is full of nostalgia, as “Cobra Kai” always is and teasing the new and final season.

The series also stars Xolo Maridueña, Courtney Henggeler, Tanner Buchanan, Mary Mouser, Jacob Bertrand, Peyton List, Vanessa Rubio, Dallas Dupree Young, Alicia Hannah-Kim, and Gianni DeCenzo. As well as the return of familiar faces including Yuji Okumoto, Elisabeth Shue, Sean Kanan, Robyn Lively, and Tamlyn Tomita and others.

All five seasons of Cobra Kai are streaming now on Netflix.

For more on Cobra Kai, visit the Netflix Media Center and the official social pages:

Twitter: www.twitter.com/CobraKaiSeries

Facebook: www.facebook.com/CobraKaiSeries

Instagram: www.instagram.com/cobrakaiseries

Thats the end of the round for

“I will put it out there into the world,” Rami Malek shared. “I love the idea of playing Buster Keaton. I hope that one day, it comes to fruition. I think it will.”

Rami Malek has always dreamed of bringing American Actor Buster Keaton to life on screen, during a press tour for his film “The Little Things”, he mentioned his fantasy role was playing Keaton, and now, he is finally about to add that to his filmography.

The Oscar and Emmy winner is best known for his roles as Freddie Mercury in Bohemian Rhapsody and Elliot Alderson in Mr Robot. He also stars in James Bond’s “No Time To Die”, “Papillion” and “The Pacific”. Now Malek takes on a limited series about Keaton, a role he has longed to play, with “The Batman” Director Matt Reeves set to helm the project.

Reeves’ 6th & Idaho Productions, Malek and David Weddle are producing. Three-time Emmy winner Ted Cohen (Friends, Succession, Veep) is in negotiations to write and serve as an executive producer on the project. James Curtis’ Buster Keaton: A Filmmaker’s Life is being eyed as the source material for the series, with negotiations underway by the studio to secure the book.The project is primed for streaming and Networks.

Keaton, who lived from 1895 to 1966 was known as one of the greatest male stars of classic Hollywood and the silent film era, aside from Charlie Chaplin, keaton was an actor, comedian, and filmmaker. He got his start as a child in vaudevile acts alongside his parents, who were traveling performers, before transitioning into film. He is best known for his silent film work, in which his trademark was physical comedy accompanied by a deadpan expression that earned him the nickname “The Great Stone Face”. He starred in films such as The Playhouse, Cops, The Electric House, Sherlock Jr and The General and many more. Keaton went through many ordeals in life behind the camera, with the failure of his marriage and the loss of his independence as a filmmaker, Keaton descended into alcoholism, he was briefly institutionalized.

Filmmakers such as Mel Brooks, Martin Scorsese and Orson Welles were inspired by Keaton, considering him to be an artist who was ahead of his time.

The title of the series has yet to be revealed and Warner Brothers declined to make a statement.

Malek will next be seen in Christopher Nolan’s “Oppenheimer”, premiering July 21st alongside a star studded cast. He recently starred in the film “Amsterdam” alongside Margot Robbie, Christian Bale, John David Washington and Anya Taylor-Joy.

Malek is already working with the same motion coach who prepped him for his role as Freddie Mercury Polly Bennet. If anyone can recreate Buster’s stoic expressions, its him. Malek has a wide range when it comes to his acting, and we have seen him bring multiple true stories to life with great detail for each character he plays. Being a big Keaton fan himself, we can expect a special performance. Now Rami Malek, time to make Buster Keaton proud.

 

“I will put it out there into

Is a free, ad-supported streaming service in Netflix’s future? The company’s top executives seem quite open to the idea.

Asked on the company’s Q4 earnings call whether Netflix would pursue a so-called “FAST” service, newly minted co-CEO Greg Peters smiled and passed the question onto his colleague Ted Sarandos.

“We’re open to all these different models that are out there right now,” Sarandos said, adding that “we’re keeping an eye on that segment, for sure.”

However, don’t get your hopes up for any imminent free Netflix option. Sarandos noted that “we’ve got a lot on our plate this year, both with the paid sharing” — i.e., the password sharing crackdown — “and with our launch of advertising.”

In other words, they plan to deal with those things before leaning into FAST.

With regard to its current advertising tier, the executives were light on specifics (the service only got into the business two months ago).

Peters said that in a promising sign, subscribers to the ad tier are engaging with content at a similar level to that of standard tier users.

“That’s really a promising indication. It means we’re delivering a solid experience and it’s better than we modeled and that’s, you know, a great sort of fundamental starting point for us to work with,” Peters said, adding that they have a “long list” of improvements and changes they hope to make to its ad business over time.

Peters, at the prodding of Hastings, said that Hulu’s success with advertising served as a guide for them, and that Netflix’s 230 million subscribers and global scale (and with Hulu U.S.-only), the company thinks it will be able to overtake Hulu in the ad space.

“I just want to emphasize it’s a multiyear path,” Peters said. “So we’re not going to be larger than Hulu in year one, but hopefully over the next several years we can be at least as large, and we wouldn’t be getting into this business if it couldn’t be a meaningful portion of our business.”

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“9-1-1: Lone Star” is kicking off its Season 4 premiere with a time-sensitive rescue of a drowning man, as seen in an exclusive clip shared with TheWrap, which you can check out above.

In the minute-long video, Rob Lowe’s Captain Strand searches for a man trapped in a body of water with the help of dispatcher Grace (Sierra McClain). Eventually, he and the team identify the victim in a Porta Potty that’s been submerged in a dunk tank. When the firefighters chainsaw through the ceiling and pull the man out, the scene cuts to the attempt to revive him, with a flatline sounding in the background.

“9-1-1: Lone Star,” the spinoff to the popular Angela Bassett-starring “9-1-1,” centers on the New York-hailing Strand and his son, T.K. (Ronen Rubinstein), as they fight to save lives in Austin amid battling their own personal problems.

The fourth season premiere episode logline reads: Captains Strand and Tommy Vega (Gina Torres) along with the members of the 126 are called into action to a county fair when a “Derecho,” a series of fast-moving group of severe thunderstorms hit Austin, causing hurricane- and tornado-like winds, heavy rains, flash floods and a wide path of destruction. Owen’s newfound passion for motorcycling puts him on a potentially dangerous path. Tommy has the potential for a romance when she meets an attractive single father (guest star D.B. Woodside). And as T.K. and Carlos (Rafael L. Silva) prepare for their wedding, a secret from Carlos’ past may stand in their way to happiness.

The episode, titled “The New Hotness,” airs Tuesday, Jan. 24 8 p.m. ET/PT on Fox.

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“9-1-1: Lone Star” is kicking off its

In what’s an early frontrunner for the silliest lawsuit of 2023, music giant BMG has sued a toymaker alleging that a parody song based on the Black Eyed Peas’ “My Humps” — titled “My Poops,” and used in the marketing for a line of slime-shitting unicorns — infringes on the copyright of the 2006 hit.

BMG Rights Management filed the lawsuit at the U.S. District Court in Manhattan, claiming that MGA Entertainment, the makers of the Poopsie Slime Surprise toys, displayed “willful copyright infringement” and “exploited, without authorization” when the toy company turned “My Humps” into “My Poops” to advertise their product line over two years ago.

Here is what all the fuss is about:

“My Humps,” as the lawsuit obtained by Rolling Stone notes, “won Best Hip Hop Video at the 2006 MTV Video Music Award,” and coupling that with its 700 million views on YouTube and hit single status, the defendants “clearly had access” to the song. Following the release of “My Humps,” BMG alleges that the toymaker “created a product line called Poopsie Slime Surprise,” which featured “a unicorn doll that excretes sparkling slime.”

To promote that product, “Defendant created a song called My Poops that clearly copies from, and is substantially similar to, My Humps,” the lawsuit states while asserting comparisons between the two songs’ lyrics, bass line, and the Fergie-like inflection in which “My Poops” is delivered.

(BMG’s lawyers do not refer to “My Poops” as parody in the entirety of the lawsuit, as parody is technically protected under the First Amendment. The parody-ness of the offending song will likely be the most contentious argument if and when the lawsuit goes to trial.)

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Lawyers for BMG did not respond to Rolling Stone‘s request for comment at press time.

BMG, in arguing that “My Poops” “devalued future licenses” for “My Humps” — Will.i.am’s ode to having too much junk inside one’s trunk and all that ass inside one’s jeans — is seeking $10 million in damages, as well as demanding that the toymaker “destroy all copies” of “My Poops.”

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Last Updated: January 20, 2023, 22:07 IST

SS Rajamouli talks about RRR at Oscars, Rashmika Mandanna talks about Rakshit, Rishab Shetty.

SS Rajamouli reacting to RRR not being chosen as India’s Oscar entry. Meanwhile, Rashmika Mandanna makes a rare comment about Rakshit and Rishab Shetty.

SS Rajamouli is seemingly upset with the fact that his massively successful film RRR was not chosen as India’s official entry to Oscars 2023 in the Best International Feature Film category at the 95th Academy Awards. Director Pan Nalin’s Gujarati film Chhello Show or The Last Film Show was chosen over RRR for India’s Oscar entry this year. Speaking with The Hollywood Reporter, the RRR director said he was “happy” for Chhello Show, but “everyone knew RRR had a much bigger chance” at the Oscars.

Read more: SS Rajamouli ‘Disappointed’ Over India’s Oscar Entry, Says ‘Everyone Knew RRR Had Much Bigger…’

While we are all eagerly waiting to watch Pathaan, a fan of Shah Rukh has taken his obsession to the next level. The fan, named Riyan, has been posting tearful videos on social media, seeking monetary help to buy a ticket for the first day show of Pathaan. He says that he wanted to meet SRK, and also watch the film, but he is unable to do so due to lack of money. He points at the pond behind him and says he will jump into it if he is unable to watch the film on January 25.

Read more: Shah Rukh Khan Fan Says He Will ‘Kill’ Himself if He Can’t Watch Pathaan on Jan 25, Posts Tearful Video

Sushant Singh Rajput’s sister Shweta Singh Kirti has been sharing fond childhood memories of the late actor as his birth anniversary inches closer. In her latest reel, she greeted her followers and SSR’s fans with a warm ‘Namaste’ before walking down memory lane to divulge some funny secrets. Shweta pointed out that they were born only one year apart from each other and the entire family used to call them ‘Gudiya Gulshan.’

Read more: Sushant Singh Rajput’s Sister Recalls Their Childhood Memories, Says ‘We’d Hide in Garage…’

Amitabh Bachchan met and shook hands with Kylian Mbappe, Lionel Messi, Neymar Jr, Cristiano Ronaldo, and other ace footballers at the exhibition match between Riyadh XI and PSG (Paris Saint-Germain) in Riyadh. He was also captured interacting with them during the rendezvous. Amitabh Bachchan shared a video of the meet and wrote, “An evening in Riyadh…” what an evening…Cristiano Ronaldo, Lionel Messi, Mbappe, Neymar all playing together…and yours truly invited guest to inaugurate the game…PSG vs Riyadh Seasons…Incredible!!!”

Read more: Amitabh Bachchan Meets Messi, Shakes Hand With Ronaldo, Mbappe; Fans Say ‘They’re Lucky to Meet You’

Rashmika Mandanna has finally credited Rakshit Shetty and Rishab Shetty for the success of the film Kirik Party and for helping her enter the industry. Speaking with film journalist Prema Malini, Rashmika said, “I feel like they actually (Rakshit and Rishab) showed this path to me because getting the first film when you couldn’t think you have it in you to be an actor, (and) them trusting you and giving this opportunity to you… Honestly speaking, Rakshit and Rishab showed me the path into the industry.

Read more: Rashmika Mandanna Credits Rakshit, Rishab Shetty for Kirik Party Success After Backlash, Says ‘They Showed..’

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Last Updated: January 20, 2023, 22:07 ISTSS

Daveed Diggs has signed with CAA for representation.

Diggs originated the dual role of Thomas Jefferson and Marquis de Lafayette in the Broadway production of “Hamilton,” which won him a Tony and Grammy award. For his performance in Disney+’s 2021 filmed production of “Hamilton,” Diggs was also nominated for an Emmy award for outstanding supporting actor in a limited or anthology series or movie and a SAG award for performance by a male actor in a TV movie or miniseries.

He co-wrote, produced and starred opposite Rafael Casal in Lionsgate’s critically acclaimed feature “Blindspotting” and co-wrote and executive produced the Starz television spinoff, starring Jasmine Cephas Jones.

Diggs earned an Independent Spirit Award nomination for his performance, while the series — which has been renewed for a second season — garnered a Gotham Award nomination and an Indie Spirit Award nomination.

More recently, he’s taken his talents to Disney. Diggs is scheduled to appear as Sebastian alongside Halle Bailey and Melissa McCarthy in Rob Marshall’s live-action adaptation of “The Little Mermaid.” Javier Bardem and Awkwafina will also star in the film. He also starred in Pixar’s “Soul.”

His additional film credits include Lionsgate’s “Wonder” opposite Julia Roberts, Netflix’s “Velvet Buzzsaw” opposite Jake Gyllenhaal and “The Starling” opposite Melissa McCarthy. He also starred for three seasons on HBO Max’s “Snowpiercer” opposite Jennifer Connelly, and will next be seen in Apple TV+’s “Extrapolations” from showrunner Scott Burns.

Diggs is also a member of the West Coast-based experimental hip-hop trio, Clipping.

He continues to be represented by Brookside Artist Management, The Lede Company and Johnson, Shapiro, Slewett and Kole.

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Daveed Diggs has signed with CAA for



Accused Season 1 will premiere January 22nd, 2023 on FOX.


ACCU-S1-1_SCN17_SW0009_webres.th.jpg


“Based on the BBC’s BAFTA-winning British crime anthology, comes a provocative series that takes you on the journey of the defendant. Each episode opens in a courtroom on the accused, with viewers knowing nothing about their crime or how they ended up on trial. Told from the defendant’s point of view through flashbacks, ACCUSED holds a mirror up to the current times with evocative and emotional stories.

In ACCUSED, viewers discover how an ordinary person gets caught up in an extraordinary situation, ultimately revealing how one wrong turn leads to another, until it’s too late to turn back. Emmy and Golden Globe winner Michael Chiklis (“The Shield”) guest-stars in the premiere episode, as Dr. Scott Corbett, a successful brain surgeon with a seemingly perfect family. He faces the limits of unconditional love when he discovers his teenage son may be planning a violent attack at school. Later in the season, Marlee Matlin, Billy Porter and Michael Chiklis each direct episodes of the anthology crime drama. ACCUSED is co-produced by Sony Pictures Television and FOX Entertainment.

The series is executive-produced by Howard Gordon (“24,” “Homeland”), Alex Gansa (“24,” “Homeland”) and David Shore (“The Good Doctor,” “House”). Emmy Award winner Michael Cuesta (“Homeland”) will direct the program’s premiere episode, reuniting with “Homeland” executive producers Gordon and Gansa.”

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[embed]https://www.youtube.com/watch?v=PZ9kn5iUpy0[/embed] [embed]https://www.youtube.com/watch?v=guuwmcUj_60[/embed] Accused Season 1 will

Magnolia Pictures has scored worldwide rights to “Little Richard: I Am Everything,” which held its world premiere at the Sundance Film Festival on Thursday evening. The distributor plans to release the film in April.

Directed by Lisa Cortés, the documentary explores the black queer origins of rock ‘n’ roll through the life and career of Richard Penniman. Drawing from performance footage and interviews with family and friends, scholars and fellow musicians, “I Am Everything” reveals how, as the synopsis puts it, Little Richard “created an art form for ultimate self-expression, yet what he gave to the world he was never able to give to himself.”

The film was selected to play at Sundance’s opening night, kicking off the festival’s U.S. Documentary program.

“Little Richard is the true king of rock and roll, the alpha and omega of wild, rhythm-based music,” said Magnolia Pictures President Eamonn Bowles in a press release. “Lisa Cortés does the legend proud, getting the true story that celebrates this icon who shook the culture in so many ways.”

Said Cortés, “Rock n’ roll, race, and queerness are core to our culture – and our culture wars. Little Richard changed America’s notions of all three. I’m thrilled that Magnolia Pictures is bringing this raucous, revolutionary icon to the world at this moment, when his journey could not be more relevant.”

Along with Cortés, the documentary was produced by Robert Friedman, Liz Yale Marsh, and Caryn Capotosto. Bungalow Media + Entertainment produced for CNN Films and HBO Max, in association with Rolling Stone Films. Executive producers are Mike Powers, Anita May Rosenstein, and Dee Rees; Jason Fine and Gus Wenner for Rolling Stone Films; and Amy Entelis and Courtney Sexton for CNN Films. Exec producer HBO Max holds domestic and international SVOD streaming rights to the film.

The deal was negotiated by Magnolia executive vice president, Dori Begley, and senior vice president of acquisitions, John Von Thaden, with Stacey Wolf, senior vice president of business affairs, and Kelly MacLanahan, assistant general counsel, both of CNN Worldwide on behalf of CNN Films and the filmmakers. Magnolia head of international sales, Lorna Lee Torres, and international sales manager, Austin Kennedy, will introduce the film to buyers at EFM.

“Little Richard: I Am Everything” will have additional in-person and online screenings throughout the festival, which runs from Jan. 19 to Jan. 29.

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Magnolia Pictures has scored worldwide rights to

‘Sister Wives’ Star Gwendlyn Says Kody and Robyn Brown Are Not Vaccinated Despite Their Strict COVID Protocols | Entertainment Tonight
































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It’s safe to assume that a Valve Index 2 headset could be in development. While there’s been no verified confirmation yet, the success Valve’s seen in the VR space since 2019 says it all. However, we’re already seeing hints of what it could contain ahead of an official unveiling.

For example, it might be a wireless, standalone VR headset, and there’s mounting evidence that Valve is iterating on its next VR product. Right now, finding the best VR headset is hard. This isn’t like choosing a new phone or headphones – there aren’t many options available. But the Valve Index virtual reality headset is one of the top VR headsets you can buy – and one of the best VR experiences at home. 

According to official Steam Hardware Survey figures in October 2022, more than 17% of all Steam VR players use a Valve Index. That makes it the second most used VR headset right now behind the Oculus Quest 2. With that success, we’d expect Valve will want more with a follow-up that improves on the brilliant original. But given the original Valve Index is only two years old, we might have to wait a while.

Valve Index 2: Cut to the chase

  • What is it? A rumored follow-up VR headset from Valve
  • When can I play it? TBC
  • What can I play it on? TBC, but almost certainly on PC

Valve Index 2 release date

There is currently no official information as to when the Valve Index 2 could be released, so guesses are just stabs in the dark right now. 

We do know the original Valve Index came out in 2019, so given that other headset iterations have taken at least two years we could expect an announcement later this year. However, thanks to disruptions caused by Covid-19 in 2020, it’s more likely that an announcement would come in 2023. A release date next year also feels like the best we could hope for.

(Image credit: Valve)

Valve Index 2 price

Once again there isn’t anything solid about how much a Valve Index 2 would cost but we can make some educated guesses. Given that the Valve Index was priced at $999 / £919 (about AU$1,425), we’d expect an improved headset to cost at least as much – though we wouldn’t say no to a price drop if possible.

We also know that the Oculus Quest 2 – a much cheaper VR options – is the most popular headset on Steam. It’s current 41% share of the SteamVR market is one Valve likely wants to eat into, so we wouldn’t be surprised to see it release a budget competitor.

This could mean that Valve will release two separate headsets – one targeting the high-end, one a more accessible all-in-one mobile device. But while rumors suggest that isn’t out of the question, we won’t know what it is planning until an official announcement.

Valve Index 2 features: rumors, leaks, and official information

Valve Index controller in hand

(Image credit: Future)

Here is where we start to build a picture of what the Valve Index 2 and other Valve VR products could look like, based on patents and some SteamVR files that appear to reference a standalone VR headset.

Wireless capabilities

Patents filed in early 2021 show that the Valve Index 2 could be wireless, with wired capabilities becoming optional for some version of the headset. The patent shows three different headsets that explore different options between being wireless and standalone (like the Oculus Quest 2), or wirelessly connecting to a PC.

The patent also details new comfort options, such as new methods for distributing heat and weight more effectively for each design of VR headset.

With all patents we have to take the information with a pinch of salt – there’s no guarantee that it means Valve will produce a headset with these features – but it shows that the company is continuing to develop VR tech.

Evidence of an in-development model

The latest rumors come from VR reporter and YouTuber Brad Lynch (opens in new tab), who was tipped off as to ‘Deckard’ codename in some public SteamVR files, which seems to refer to an in-development VR headset at Valve.

Lynch points VR fans towards “a Lighthouse driver file” that cites a “Deckard POC-A” device in a file released back in January, with POC likely referring to ‘proof of concept’ – and a “POC-C” model cited in June documentation instead, suggesting Valve has been working on refined iterations of its device over the past six months, and ensuring SteamVR stays up to date with supporting it.

There are other tidbits to dive into in Lynch’s video, including a mysterious ‘Prism’ function and a VR Link file that points to a Wi-Fi 6 connection for a wireless headset – alongside VR headset patents we reported on back in March.

Valve Index 2: what we want to see

Side of Valve Index headset

(Image credit: Future)

While the Valve Index is a fantastic VR headset, it’s by no means perfect. Here are a few areas we’d like to see improved in a Valve Index 2.

Better game selection – straight from Valve’s teams

While this isn’t a direct issue with the last Valve Index headset, games are nonetheless an important factor for all gaming hardware. There are some fantastic VR games out there like Valve’s own Half-Life: Alyx, but a platform can’t be built on just a couple of titles.

If Valve wants to commit to VR we don’t just want to see a brilliant device, but we want them to make more games to play on it. Be that a Half-Life: Alyx sequel, a VR adaptation of another IP like Portal, or a completely new IP from the studio. The quality of the games will also be important, but a bit more quantity wouldn’t go amiss.

In an interview with TechRadar, the Half-life Alyx director Robin Walker mentioned wanting to make an XCOM VR game – so maybe we could have something like that to look forward to?

Hand tracking

Facebook recently unveiled its plans for a controller-less AR experience using hand tracking, and we’d like to see similar tech come to VR too. The hand tracking looks like it was ripped straight out of a sci-fi world and we’d love to see something like it be introduced in every VR headset going forward.

While it’s more likely that we’d see it in future Oculus devices – such as the rumored Oculus Quest 3 – Valve could be developing their own version of the tech for a future headset.

Oculus Quest 2

Could the Index 2 be a standalone headset like the Quest 2? (Image credit: Craig Russell / Shutterstock)

No more base stations

Base stations are devices that help the Valve Index, and other headsets like the HTC Vive, track users, their headset and their controller in a room-scale virtual environment. While they made the headset perform well in our review, we hope that a Valve Index 2 would drop them. 

Base stations aren’t the worst things in the world, but if you ever want to change up your room – or just dust it and you nudge one of the sensors – you have to go through the whole recalibration process again. It’s tedious and we could do without having to put up with them, especially as other headsets like the Oculus Rift S do fine without base stations thanks to inside-out tracking.

Higher-resolution screen

The Valve Index used two screens that have 1440 x 1600 pixels – one for each eye. While the image is ultra-crisp, better screens wouldn’t be unexpected, especially given that the Apple VR headset is rumored to be using dual-8K screens – that’s 7680 x 4320 pixels.

We feel like 8K is a bit overkill, but there’s a nice sweet spot between that and what we currently have which would be nice to see on a Valve Index 2.

Customizable headset size

All people are made differently, so a one size fits all headset is difficult to pull off and make comfortable. With that in mind, we’d like Valve to go deeper into the ergonomics of a Valve Index 2, adding new straps and features to make it more customizable. This would let everyone tweak the headset to their needs, and make sure more VR experiences can be enjoyed.

More Haptics

The Valve Index’s controllers included some haptic feedback and clever designs to make the virtual world feel more realistic. Though while it’s good we’d like to see it go further in the future. 

Apple has patented haptic socks that could be compatible with its VR and AR devices so we know that some companies are already thinking about this stuff. A few extra haptic peripherals for the Valve Index 2 could be an awesome way to dial the realism of VR up to 11.

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EXCLUSIVE: French actress Déborah Lukumuena broke out at home and internationally for her performance in 2016 Cannes Caméra d’Or winner and Netflix acquisition Divines.

The actress makes her English-language debut at Sundance in acclaimed U.K. writer and director Adura Onashile’s feature debut Girl.

Lukumuena stars opposite big-screen debutant Le’Shantey Bonsu as a conflict-traumatized woman who tries to create a safe haven for her eleven-year-old daughter in Scotland.

The pair take solace in their gentle but isolated world but as the daughter grows older, she wants to explore beyond its boundaries, forcing the mother to confront her past.

Warsaw-based New Europe Film Sales, which boarded sales on the title late last year, has released a touching clip encapsulating the mother and daughter’s relationship ahead of the film’s world premiere in Sundance’s World Dramatic Competition early next week.

Nick Shumaker at Anonymous Content is co-repping North America.

Established Glasgow-based theatre actress and director Onashile (Expensive Shit) wrote the screenplay and directs.

Rosie Crerar and Ciara Barry at Glasgow-based company barry crerar lead produce with the backing of the BFI, BBC Film and Screen Scotland.

The feature was developed by BBC Film, after initially being part of the iFeatures programme, supported by Creative England, BFI and BBC Film. BBC Film also previously co-financed Onashile’s award-winning short Expensive Shit. 

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EXCLUSIVE: French actress Déborah Lukumuena broke out

One of the paradoxes of the great early rock ‘n’ rollers is that they possessed a cathartic sexuality and bombs-away rockabilly-on-pep-pills energy that was unlike anything we’d ever seen, yet their revolution shook the world so profoundly that within a few years it was hard to imagine what the world was like before them. If you came along (as I did) after that earthquake, their fervor no longer looked shocking; it looked old-fashioned. When I was growing up, everything about Elvis Presley, including his hip-swiveling erotic brashness, seemed impossibly quaint. For the most part, it took years for me to be able to see past the wilder era I was living in and connect with the anarchic spirit of early rock ‘n’ roll.

But Little Richard was always another story. If Elvis and Jerry Lee Lewis were wild-ass country boys, teasing their audience with a grin of delinquent effrontery, Little Richard was something even more delirious and eruptive — a total stone freak, and a musical fireball of such insane vibrance that you felt he could light up a city. His voice sounded like a saxophone at full cry. The grit and blare of it was nearly superhuman, and you could make a case that the single most ecstatic sound in the history of rock ‘n’ roll was the high notes he would hit and hold with his micro vibrato. Those ecstatic notes echoed through the singing of Paul McCartney and a thousand others.

It didn’t stop there, of course. Little Richard had an image that was off-the-hook enough to match the iridescence of his sound. The pompadour that stood up as if the electricity coming out of his body had shot right through it, the super-skinny mustache that accessorized his pearly grin (which was like a parody of a grin), the face slathered with pancake makeup, and those androgynous Liz Taylor eyes, popped open in a madman frenzy — he was like the Joker reborn as a diabolical rock ‘n’ roll ringmaster. When Little Richard tore through a song like “Tutti Frutti” or “The Girl Can’t Help It” or “Rip It Up” or “Lucille,” he wasn’t just feeling the heat. He was lit. And he lit up anyone watching.

“Little Richard: I Am Everything,” directed with supreme love and insight by Lisa Cortés, is the enthralling documentary that Little Richard deserves. It’s a movie that understands, from the inside out, what a great and transgressive artist he was, how his starburst brilliance shifted the whole energy of the culture — but also how the astonishing radical nature of what he did, from almost the moment it happened, got shoved under the rug of the official narrative of rock ‘n’ roll. In a sense, you might say: Really? Didn’t Little Richard, in terms of how we think of him, find a place as one of the original heads on the Mount Rushmore of early rock?

Yes and no. He became a star, a legend, a walking myth of formative rock glory. But as “Little Richard: I Am Everything” argues, and quite convincingly, the qualities that Little Richard brought to rock ‘n’ roll — where those qualities came from, and what they meant — have been consistently underappreciated. He was regarded, in a certain way, as an “outrageous” novelty act, a flamboyant eccentric companion piece to Elvis Presley’s debonair dynamo next door. What “I Am Everything” holds up to the light, and invites us to contemplate with a new and clear-eyed understanding, is everything Little Richard invented. Not because he had a grand plan, but because he was a Black queer man who somehow, in the middle of the straitlaced 1950s, made the brave and genius decision that he was going to take everything he was inside and wear it on the outside. He was going to let it all hang out.

“Tutti Frutti,” as “I Am Everything” documents, was first sung by Richard as a song about anal sex. (The original lyrics: “Tutti Frutti, good booty,/If it don’t fit, don’t force it,/You can grease it, make it easy…”). The lyrics, of course, were changed to something more presentable, and you might say that whatever “Tutti Frutti” was about, its most important lyric was “A-wop-bop-a-loo-mop-a-lop-bam-boom!” But to say that is to misunderstand the mystery of how art works. The joyful, insurrectionary, world-wrecking fervor of “Tutti Frutti,” which Cortes channels in a dazzling psychedelic montage, was still about what it had been in Little Richard’s imagination. You could say that he was flaunting his own lust in a straight disguise.

“I Am Everything” celebrates the Little Richard whose megalomaniacal insolence anticipated — and in some ways set the tone for — the volcanic pride of Muhammad Ali. The film opens with Richard on the soundtrack saying, “I’m the emancipator and the architect! I’m the one that started it all!” Does he mean rock ‘n’ roll? We hear Billy Porter declare that Little Richard was Elvis. For it was Richard who lit the flame (even if Elvis, on a mass scale, fanned it into wildfire). But I also think that Little Richard’s I-am-everything exhortation is about something larger than rock ‘n’ roll. His stylized and sexually fluid presence, combined with the primal thrust of rock, kicked open a door that Elvis and Jerry Lee didn’t — the door to everything that happened in the ’70s and beyond, from glam rock to Led Zeppelin to the glitz splendor of Elton John to the erotic insouciance of Prince to the lyrical edge of Lil Nas X. Richard, more powerfully than anyone, was announcing a new way of being.

We see how quickly he was co-opted. Here’s Elvis singing “Tutti Frutti,” and here, on TV in the ’50s, is Pat Boone doing a version of “Tutti Frutti” that’s wholesome enough to play in Sunday school. The system wasn’t just stealing from Little Richard — it was neutering him. And Richard, the showman-artist who had to sit back and watch this happen, turns out to have had his own complicated relationship with everything about himself that was dangerous.

Born Richard Penniman, he grew up in Macon, Georgia, one of 12 children; in the earliest photograph we see of him, he’s already got a grin that looks…ironic. One of his arms and legs were shorter than the others, and he took refuge in playing the piano, and in reveling in the cathartic music of Sister Rosetta Tharpe, who didn’t just belt the gospel; she played electric guitar like a rock star. (She hired Richard to open for her, which was his first gig.) But Richard’s father, when he figured out that Richard was gay, kicked him out of the house.

Richard played in rhythm and blues bands, sometimes in drag, and was highly influenced by the singer Billy Wright, from whom he took the pompadour, the makeup, the mustache. (Wright, too, was gay.) But the look would have meant little if Richard didn’t invest it with his own happy demons. He was also influenced by Ike Turner, whose piano playing on the 1951 single “Rocket 88,” which many consider to be the first rock ‘n’ roll record, set the template for what Richard did with his right hand — the choppy lightning improv, played over a boogie-woogie bass, that was nothing less than the sound of freedom.

Lisa Cortés weaves together one startling clip after another, so that the revelation of Richard’s majesty on stage, and in the recording studio, hits us like a tornado.  But she also tells the story of what an anguished man he was. We see clips of him talking about how he reveled in the rock-star life: the drugs, the orgies, the wretched excesses of fame. But he says he always had a Bible in the other hand. He was steeped in the church, and his guilt — not just about the sins he thought he lived, but the exuberant sin he channeled into his art — overwhelmed him.

So he ricocheted back and forth. By 1957, most of the songs he would become famous for had already been released, and he enrolled in Oakwood College in Huntsville, Alabama, to study theology. He wanted to go straight, in every way. He made a gospel album, on which he sounds like a completely different singer (more Perry Como than Sister Rosetta), and he got married to Ernestine Harvin, a secretary from Washington, D.C.

In a sense, you could say that Richard was masterminding his own conversion therapy. And, of course, it didn’t take. The real Little Richard kept bursting out; rock ‘n’ roll was the siren song that kept calling him. But he didn’t just crave the music, or the adulation. He wanted his due. That meant the royalties he never got (though the fact that he slinked out of his contract in 1957 didn’t help), but it really meant that he wanted to be recognized as the true wild godfather of rock ‘n’ roll. Not just because of his famous ego, but because he saw how essential it was within the saga of America’s racial and sexual politics. With Richard relegated to being a kind of high-camp mascot of rock, it was Black culture itself, and queer culture, that was being denied.

Richard got to know the Beatles before they were famous, spending time with them in Hamburg, and they, who idolized him, did what they could to give back. He continued to tour, going full glitter-glam in 1966 (he had one suit that was basically a mirrored disco ball), and he did the talk-show circuit, where he proved a mesmerizingly funny master of self-presentation as performance art. He singlehandedly popularized the term “Shut up!”

But Little Richard was fighting for something deeper. “I Am Everything,” in addition to eloquent testimonials from Billy Porter, John Waters, Nile Rogers, and others, includes the kind of heady commentary from cultural critics that too many of today’s music documentaries leave out. The queer scholars Zandria Robinson and Jason King provide one rich insight after another, like King’s observation that Richard “was way, way good at liberating other people through his example. He was not good at liberating himself.” A lot of transgressive artists are like that. Yet Little Richard worked hard to crack open perceptions and achieve his rightful place in history, and “I Am Everything” feels like a culmination of that. To watch this jubilant and essential documentary is to realize he had a talent that no one, least of all himself, could contain.

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One of the paradoxes of the great

His name was Edward Brezinski and you’ve probably never heard of him.

A once New York-based painter, he was intense, ambitious and clever. Passionate and rebellious, he wasn’t afraid to cause a scene and speak his mind, exuding a charm that softened a deep frustration in an art world that was far too linear.

Unacknowledged as he yearned to simply make it, Brezinski’s character both shaped and hindered his career, and until recently relegated him to an unclear place in the past. Now, he is the topic of a documentary called “Make Me Famous,” which is making its Canadian premiere Friday at Hot Docs.

Directed by Brian Vincent and produced by Heather Spore, the film explores Brezinski’s career and the mystery of what befell him, set against the backdrop of New York City’s East Village in the 1970s and 1980s.

“Edward was charismatic, handsome, iconoclastic, and he will surprise you,” said Vincent. “He was a conceptional neo-expressionist … But (it was his peers who) got the golden nail. They continued on and Edward was passed by. Partly that had to do with his behaviour. He couldn’t stand hypocrisy.”

Brezinski’s life has been central for Vincent and Spore for the last decade.

The work began in 2012 when Vincent, then a Juilliard-trained, struggling actor, met Lenny Kisko, an art collector who had been close with Brezinski. Kisko was a champion of Brezinski’s work and legacy, and shared his expansive collection of prints and paintings with Vincent.

“Brezinski had an angst and anger that pushed through in his demeanour and in his art work,” Kisko said. “He knew how to get people’s attention.”

Vincent’s new-found interest quickly morphed into a documentary in hand with his partner Spore, also an actor who spent 10 years as part of the cast of “Wicked” on Broadway. With time, plenty were ready to talk.

“People were used to hearing interest in Keith Haring or Jean-Michel Basquiat, but they couldn’t dream about (interest in) Brezinski,” said Vincent.

Vincent and Spore found that long unacknowledged artists were skeptical and protective of their stories, and it was up to the filmmakers to prove intentions and build trust.

“They wanted to know that we would tell the story as it truly was and not making it sparkly because that is not how the Lower East Side was,” said Spore.

Born in Detroit and trained at San Francisco Art Institute, Brezinski landed in the East Village in the late 1970s. It was then a neglected area in an almost bankrupt city that had crushing poverty, tent cities and rampant drug trade. But, its apartments and studios for as little as $80 per month were a draw for artists who had little.

Brezinski was one of a small circle of painters. He and other artists banded together, staging their own exhibitions in store fronts, small studios, the bathroom of fellow artist Gracie Mansion and in Brezinski’s fifth-floor walk-up space across from a shelter. Spore called it its own “ecosystem of DIY galleries.”

“It was a collective of artists and what was very distinguishing was that they supported each other, working together, trying to out-create one another,” she said.

Brezinski and others felt there was “no hope of becoming famous, but the drive was to have respect for each other and to create.” Their effort would shape what became Club 57, a hub for artists of all types. Madonna, Keith Haring, Cyndi Lauper, RuPaul, Ann Magnuson and Kenny Scharf would all have a place there.

While many of his contemporaries would find recognition, Brezinski was up against a stiff mainstream art world that at the time shunned his style and didn’t fully appreciate painters. He also lacked the business savvy needed to make relationships and sell himself. To him, it was inauthentic and a betrayal of his art.

“He gave in to his foibles,” said Spore. “He would drink too much, be too outspoken. He didn’t play the game, although he desperately wanted success.”

He could be over-the-top outlandish, a behaviour that only further alienated him. He once ate a piece of a fellow artist’s work, and threw wine in the face of an unappreciating art dealer.

An out gay man, he had no long-term lover, few intimate friendships and little life away from his palette. The little money he made was spent on alcohol, cigarettes, canvas and paint.

Brezinski’s biggest accomplishment would not come until 2017, when a few of his pieces (supplied by Kisko) were featured in a Club 57-themed exhibition at the Museum of Modern Art.

“Make Me Famous” includes interviews with many of Brezinski’s peers and archival footage that was taken on his direction as if he knew he would be studied.

The documentary touches on another element of the era. The HIV/AIDS epidemic took the lives of many and changed Brezinski’s entire world. Many venues and safe spaces closed, communities were fearful and homophobia was rampant. The unifying thread between Brezinski and his counterparts shifted from art to death. They lost count of the people they lost.

Brezinski painted away, but his anger and anxiety grew. Much of it was aimed at then-U.S. President Ronald Reagan, whose administration failed to acknowledge the crisis for years. His city was also changing so by 1988, he fled to Berlin where the cultural scene embraced the avant-garde. Success would still elude him, and he withdrew further into his art and alcohol, living hand to mouth on the fringes until eventually no one heard from him again.

When beginning the documentary, Vincent and Spore believed Brezinski to be dead but the couple felt it was entirely possible he faked his own death. Brezinski was smart enough to know many talents find recognition posthumously.

“Make Me Famous” premiered at NewFest LGBTQ+ Film Festival in New York and was the official selection at the 2022 Santa Fe Film Festival. After a run in Toronto, it heads to Bertha DocHouse in London and a special screening at the Museum of the City of New York.

“We’re all toiling away with our art,” said Spore. “If you devote your life to art, it means something. A life devoted to art is worth exploring.”

“Make Me Famous” will run at Hot Docs starting Friday until Feb. 1.

Brian Bradley is a Hamilton-based journalist who works for the Star’s Public Editor and podcast teams. Follow him on Twitter: @brianjbradley

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Rami Malek is in talks to play silent-comedy icon Buster Keaton in a new series from The Batman director Matt Reeves.

Deadline has reported that Rami Malek (No Time to Die) is set to play silent comedy icon Buster Keaton in a limited series for Warner Bros. Television.

Matt Reeves (The Batman) is set to produce the Buster Keaton series through his 6th & Idaho Productions banner, and Deadline understands that he will also helm the project. Ted Cohen (Succession) is in negotiations to write the series and serve as executive producer. The producers are also in negotiations to secure the rights to Buster Keaton: A Filmmaker’s Life by James Curtis, with the intention of using it as the source material. The project will soon be shopped to studios and streaming services. It’s hard to imagine any actor stepping into the shoes of The Great Stone Face, but Rami Malek definitely has the look and talent to pull it off, although I can’t imagine they’re going to let him pull off the death-defying stunts Buster Keaton was known for.

Buster Keaton was one of the biggest actors and directors of the silent movie era and his physical comedy and stunt work remains incredibly impressive even a hundred years later. After a series of two-reel comedies, Buster Keaton moved to feature-length films such as Sherlock Jr., The Cameraman, and The General, with the latter being regarded as his masterpiece.

The Buster Keaton series isn’t the only project about the actor in development. It was announced last year that James Mangold (Indiana Jones and the Dial of Destiny) was developing a Buster Keaton movie with 20th Century Studios based upon Buster Keaton: Cut to the Chase by Marion Meade. Mangold is expected to direct and produce the movie.

Rami Malek will next be seen in Christopher Nolan’s Oppenheimer. The star-studded biopic features Cillian Murphy as J. Robert Oppenheimer, one of the fathers of the atomic bomb, as well as Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, and more. The film is easily one of the most anticipated projects of the year, and in true Christopher Nolan fashion, he used real explosives to recreate the Trinity nuclear test instead of turning to CGI. Oppenheimer will hit theaters on July 21st.

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Rami Malek is in talks to play

Aubrey Plaza; Michael Chiklis in Accused
Photo: Theo Wargo/Getty Images; Steve Wilkie/FOX

Welcome to the weekend edition of What’s On. Here are the big things happening on TV from Friday, January 20, to Sunday, January 22. All times are Eastern. [Note: The weekly What’s On will publish on Sundays.]


1. Aubrey Plaza graces Saturday Night Live

Aubrey Plaza Was Tripping on Mushrooms with Meghann Fahy When They Got Lost on a Hike

NBC, 11:30 p.m.: SNL returns with its first episode of 2023, welcoming the perfect host—The White Lotus star Aubrey Plaza. Let’s just hope the writers can tap into the actor’s dry, unflinching humor. Sam Smith sits in as the musical guest. Check out The A.V. Club’s recap on Sunday.


2. Fox doles out another procedural with Accused

Accused | OFFICIAL TRAILER | FOX

Fox, Sunday, 9 p.m.: Accused, based on a BBC drama of the same name, is an anthology crime drama told from the defendant’s point-of-view. Each episode opens in a courtroom, ultimately peeling back on the complex case to reveal whether or not the, yes, accused is guilty. Here’s a bit from The A.V. Club’s review:

The show largely lives up to its billing as a promising freshman series, telling a diverse array of stories that illustrate the blurring divide between guilt and innocence in today’s world.


3. Israeli drama Fauda is back

Fauda: Season 4 | Official Trailer | Teaser | Netflix

Netflix, Friday, 3:01 a.m.: This actioner follows Commander Doron (played by series co-creator Lior Raz) as he pursues a Hamas terrorist known as the Panther. Season four continues to delve into the two-sided story of the Israeli-Palestinian conflict.


4. Octavia Spencer returns for another round of Truth Be Told

Truth Be Told — Season 3 Official Trailer | Apple TV+

Apple TV+, Friday, 12:01 a.m.: Each season of Truth Be Told, inspired by Kathleen Barber’s novel Are You Sleeping?, follows investigative reporter Poppy (Octavia Spencer) on a new case. In the third season, she looks into the disappearance of several Black girls whose disappearances were largely ignored by the media. Gabrielle Union joins the cast as an unorthodox principal who helps Poppy out, and the returning ensemble includes Mekhi Phifer, David Lyons, Ron Cephas Jones, Merle Dandridge, and Haneefah Wood.


5. The Legend Of Vox Machina expands its legend

The Legend of Vox Machina – S2 – Trailer (Red Band Trailer) | Prime Video

Prime Video, Friday, 12:01 a.m.: The Dungeons & Dragons-set animated series The Legend Of Vox Machina returns for a sophomore season. The show follows a band of eight unlikely heroes called Vox Machina who find themselves on a quest to save the realm of Exandria from dark magical forces. Season two consists of 12 episodes, and the voice cast includes Laura Bailey, Ashley Johnson, Taliesen Jaffe, Henry Winkler, Lance Reddick, Cree Summer, Alanna Ubach, Sendhil Ramamurthy, and Ralph Ineson.

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Aubrey Plaza; Michael Chiklis in AccusedPhoto: Theo


Did Walker and Cassie’s helping a hostage situation worsen things in town?


On Walker Season 3 Episode 9, there was plenty of action on the farm, but things took a turn when one of the criminals had a tie to a powerful person in town.


Meanwhile, August tried to smooth things over with his grandparents.


Elsewhere, Liam attempted to step up his responsibility within the family business.


Use the video above to watch Walker online right here via TV Fanatic.


Catch up on all your favorite shows and reviews and join in the conversations with other fanatics who love TV as much as you.


TV Fanatic is your destination for the latest news, spoilers, reviews, and so much more!

Paul Dailly is the Associate Editor for TV Fanatic. Follow him on Twitter.

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Did Walker and Cassie's helping a hostage

Judd Apatow will return to host the 2023 DGA Awards, which take place on Feb. 18 at The Beverly Hilton Hotel in Beverly Hills, Directors Guild of America Awards Chair Beth McCarthy-Miller announced on Thursday.

This will be Apatow’s fourth time hosting the annual awards show — he has previously hosted in 2018, 2020 and 2022.

“I am so honored to host the DGA awards for the fourth time,” says Apatow. “If I was ever nominated, I would stop.”

McCarthy-Miller adds: “I’m thrilled that we landed Judd for this special anniversary DGA Awards show 75 years in the making. Never underestimate the power of a Chipotle gift card. Judd’s a comedy genius that can be counted upon to keep things moving — and as host, he doesn’t have to worry about getting played off the stage.”

Apatow has directed, produced and written many of Hollywood’s biggest comedy films and TV shows of the last two decades. His directing, producing and writing film credits include The 40-Year-Old Virgin, Knocked Up, Anchorman: The Legend of Ron Burgundy, Talladega Nights: The Ballad of Ricky Bobby, Pineapple Express, Forgetting Sarah Marshall, Bridesmaids, This Is 40, Trainwreck, The King of Staten Island, Bros and his recent Netflix film, The Bubble. For television, his past projects include Freaks and Geeks, Funny or Die Presents, Girls, Love and Crashing.

Apatow’s upcoming project is Please Don’t Destroy’s buddy comedy starring Bowen Yang and Meg Stalter. It will be released on Aug. 18.

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Judd Apatow will return to host the

North West is to blame for Kim Kardashian’s latest makeup transformation.

On January 18, the reality star documented a new, over-the-top look to the tune of “M to the B” by British artist Millie Bracewell. In 2020, the BBC reported that the sound was used in TikTok’s most-watched video at the time, and it seems to be having a resurgence. Complete with overly drawn-on brows, intense contouring, pale pink overlined lips, and dramatic lashes, Kardashian applied a full face of Kylie Cosmetics to participate in TikTok’s popular “British chav” makeup trend. 

According to Merriam-Webster dictionary, chav is British slang used to describe a person who displays “aggressively loutish behavior” and dresses in a “flashy” manner. The term has been described as classist and misogynistic, as it’s largely levied against working-class women. Still, Kardashian’s video was largely well-received by commenters, who were surprised to see a gum-smacking Kardashian participate in the trend. “Loving this side of Kim,” one user commented, while another wrote, “I did not expect to open the app to this but it’s iconic.”

Other TikTok users guessed that Kardashian’s nine-year-old daughter put her up to it. “I know North made her do this y’all,” one fan commented, while another asked, “Kim did North force you?”

The answer is yes. In response to one Twitter user who described the video as “the last thing I thought Kim Kardashian would do on TikTok,” the Skims founder replied, “Me too! The bribes and bet losing I have going on with North is unreal.”

I’ll say. Earlier this month Kardashian faced backlash for posting a TikTok with her daughter made up to look like her father, Kanye West. In the clip, the pair recreated a scene from his 2013 “Bound 2” music video, which many viewers found “inappropriate.” 

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North West is to blame for Kim

Vienna-based Autlook Filmsales, one of the leading sales agents for documentaries, has acquired the feature-length documentary “Smoke Sauna Sisterhood,” ahead of its world premiere at Sundance Film Festival.

The film portrays the Estonian smoke sauna tradition, known as “savvusanna kombõ.” As well as telling the history of the smoke saunas as a place to give birth, director Anna Hints focuses on the women nowadays who come together in the saunas to share their secrets and intimate experiences.

“ ‘Smoke Sauna Sisterhood’ is a unique screening experience, best to watch with friends,” said Autlooks’ director of sales, Salma Abdalla. “Composed for the big screen, Anna Hints crafted a narrative that feels both extremely intimate and inclusive. The esthetically beautiful setting of a smoke sauna in the Estonian forests is filled with humanity, authenticity and humor.”

“No story too shameful, no burden too heavy to carry, when you share it with your sisterhood, and having Salma and Autlook team feels like we’ve added to our sisterhood,” Hints said.

The film is produced by Marianne Ostrat of Alexandra Film. The co-producers are France’s Juliette Cazanave, Iceland’s Hlín Jóhannesdóttir and Estonia’s Eero Talvistu. The film will be released theatrically in Estonia in March by ACME Film.

The film is produced by Alexandra Film, Kepler22 Productions and Ursus Parvus, with participation from Estonian Film Institute, The Cultural Endowment of Estonia, Tartu Film Fund, CNC, Sacem, Icelandic Film Centre and Sundance Institute Documentary Fund.

Autlook’s Sundance slate also include Ido Mizrahy’s “The Longest Goodbye” and Lin Alluna’s “Twice Colonized.”

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Vienna-based Autlook Filmsales, one of the leading

Ticket to slide! Paul McCartney’s ex-wife Heather Mills is crowned the fastest disabled female skier of all time after clocking up an incredible 102mph in France

  • Amputee Heather Mills has been recognised as the fasted disabled female skier
  • She clocked in a staggering speed of 102.5mph (164.95) down the slope
  • Mills lost her left leg after a traffic collision with a police motorcycle in 1993

Heather Mills, ex-wife of Sir Paul McCartney, has been officially recognised as the fastest disabled female skier on the planet.

Mills, 55, who has one leg, clocked in a staggering speed of 102.5mph (164.95 km/h) in an attempt in Vars, southeast France, in 2015.

The successful attempt for the former model and amputee has finally been announced in the Guinness Book of World Records.

Mills could now snatch another two record-breaking crowns with two more announcements set to follow for her attempts in the skeleton and ski-jump.

Mills clocked in a staggering speed of 102.5mph (164.95 km/h) in an attempt in Vars, southeast France, in 2015

The successful attempt for former model and amputee Heather Mills has finally been announced in the Guinness Book of World Records

The successful attempt for former model and amputee Heather Mills has finally been announced in the Guinness Book of World Records

Mills lost her left leg after a traffic collision with a police motorcycle in Kensington, London in 1993. Her left leg was amputated below the knee, and she has used a prosthetic limb ever since. 

Mills then began her competitive skiing career in 2010 at the age of 42, two years after her divorce from the legendary Beatle Sir Paul McCartney.

Despite her advanced age, she went on to win 4 gold medals at the Skiing World Championship in Aspen in 2012 for the super giant slalom and downhill racing events.

Skiing is the fastest non-motorised sport, and professionals can accelerate faster than most road cars.

In her attempt, Mills went from a standing start to over 60mph in less than three seconds.

On her record-breaking achievement, Mills said: ‘I’m delighted to have finally made it into the book!’

‘I just hope that this goes a little way to providing inspiration to those out there that have suffered similar injuries to my own and that they are able to use it as a source of inspiration to go on and achieve their own dreams and goals, whatever they may be.’

Heather Mills, ex-wife of Sir Paul McCartney, has been officially recognised as the fastest disabled female skier on the planet by the Guinness Book of World Records

Heather Mills, ex-wife of Sir Paul McCartney, has been officially recognised as the fastest disabled female skier on the planet by the Guinness Book of World Records

Mills then began her competitive skiing career in 2010 at the age of 42, two years after her divorce from the legendary Beatle Sir Paul McCartney. Pictured: Sir Paul McCartney and Heather Mills at the Vanity Fair Oscar Party in 2002

Mills then began her competitive skiing career in 2010 at the age of 42, two years after her divorce from the legendary Beatle Sir Paul McCartney. Pictured: Sir Paul McCartney and Heather Mills at the Vanity Fair Oscar Party in 2002

Heather Mills at the Sports Aid Ski for Gold VIP Race during the FIS World Cup Alpine Skiing, Schladming, Austria, January 19, 2012

Heather Mills at the Sports Aid Ski for Gold VIP Race during the FIS World Cup Alpine Skiing, Schladming, Austria, January 19, 2012

Amputee Mills uses a specially designed prosthetic leg to withstand the stresses on the ski slope, which she teamed up with the London Prosthetic Centre to create.

Heading down a mountain slope with a gradient of 48 degrees at such blistering pace, it was crucial that Mills had a prosthetic to cope under the pressure.

London Prosthetic Centre chief Abdo Haidar, who worked with Mills to construct the heavy-duty prosthetic, commended Mills. ‘I have been a prosthetist for many years and made limbs for cycling and horse riding to Paralympic running challenges but nothing compares to skiing. It is the most difficult sport for an amputee.’

Mills said: ‘I am so so happy, ecstatic is an understatement !!! I love to challenge people’s perception of disability and to inspire those in doubt of their abilities, disabled or not, to get off the sofa and do something that will fuel them with the will needed to live this roller coaster of a life.

‘We must not let life fade away before it’s over, we only have a finite amount of seconds, let’s live them.’

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Most documentaries about pioneering musicians are celebrations that exhibit the performer’s greatness right off the bat through electric concert footage and testimonials. Lisa Cortés’ “Little Richard: I Am Everything” does that, of course, with Little Richard ripping it up onstage and on screen, and Mick Jagger, Tom Jones, and John Waters testifying to his power. “He’s everything,” says Mick, in the first of a few nods to the film’s title.

But “Little Richard: I Am Everything” does something else: It gets complicated right off the bat. As part of the opening sequence, we see footage in which latter-day Little Richard tells David Letterman that he came out as gay early in his life, “but God made me know that he made Adam to be with Eve, not Steve.”

That’s the first hint that there’s a thorny side to this rock ‘n’ roll pioneer, a flamboyant showman who came out of Macon, Georgia promising release and freedom as he shouted “a-wop-bop-a-loo-bop-a-wop-bam-boom!” He wasn’t the only early rocker to be tortured by thoughts that he was playing the devil’s music, but his status as a gay icon hardly sits comfortably with the way he dismissed that status on and off throughout his life.

So while there’s plenty of celebration in “I Am Everything,” it’s more textured and troubled than that; it’s a doc that loves its subject without denying his messy contradictions.

But what would you expect? As told by friends, fans, family, and by Little Richard himself via a number of different recordings and interviews (including one with Donny and Marie Osmond), the story is an odd one. Richard Penniman grew up in Georgia in the Jim Crow South, where Sundays included a trip to a Baptist church with his mother and then an A.M.E. church with his father. At the same time, he was a gay and effeminate boy with a flair for performing and a love for transformational figures like Sister Rosetta Tharpe, a gospel singer who also played a mean electric guitar on anthems like “Strange Things Happening Every Day.”

Tharpe spotted 14-year-old Little Richard and hired him to perform, leading to a teenage career touring through the South in everything from medicine shows to drag acts. The gay singer/blues singer Billy Wright influenced his look and the frenetic R&B showman Esquerita was key in his piano playing; in a show headlined by “Sugar Foot Sam from Alabam,” Little Richard appeared in drag and was billed as Princess Lavonne.

On the circuit and on the street it was no secret that he was gay. In the film, singer Lee Angel says she was 16 when she was told Little Richard wanted to meet her and her response was immediate, “I said, ‘Does he know I’m a girl?’”

He was a blues singer until he was something else entirely. During a break in an unsatisfying 1955 recording session, he went into a local bar, spotted a piano and bashed out a song he’d written called “Tutti Frutti.” The original lyrics were essentially about anal sex, but a local songwriter cleaned them up by making them nonsense and his career was launched at the dawn of rock ‘n’ roll.

But as spectacular as the launch was, Little Richard didn’t sustain it, by his own choice. On a flight to Australia in 1957, he hallucinated that the engines were on fire and angels were holding up the plane; during a subsequent show, he saw a fireball in the sky that he interpreted as another message from God. (Apparently, what he’d seen was the launch of Sputnik.) “I’m gonna stop singing,” he announced. “I’m going to the Lord.”

In a way, it didn’t stick. By 1962, he was back playing rock ‘n’ roll on a British tour, nearly causing riots in the process and also teaching a young group called the Beatles a thing or two, taking them to Hamburg, Germany for a crucial stint. (The movie doesn’t mention that it was actually the Beatles third stint in that rough seaside town; they’d already had lengthy engagements there in 1960 and ’61, when Little Richard was an idol but not a pal.)

For a while, he was an utter madman on stage again, and just as wild offstage. “Honestly, there were times when I went to sleep in the bathtub because the rest of the suite was full of naked people,” says one of Little Richard’s musicians in the film.

But religion kept coming back and Little Richard kept turning to gospel music and condemning homosexuality. This is a conflict at the heart of “Little Richard: I Am Everything,” and one alluded to in the title: He was a gay icon who was also homophobic, who inspired gay people and then, to some minds, betrayed them.

“He was very good at liberating other people through his example,” says one friend. “He was not good at liberating himself.”

Career-wise, the movie doesn’t have anywhere to go after a while because Little Richard’s career never really recovered its heat. Even when he had chances, he blew them: He fell asleep at the wheel, wrecked his car, and wound up in the hospital when he should have been going to New York for the first Rock and Roll Hall of Fame induction ceremony, a presumably grand moment of recognition for his influence and impact.

That gives the film a different kind of third act. It’s not about a comeback or a late-career resurgence but about cultural appropriation and the abandonment of an iconic star who helped create the music. Again and again we see Little Richard giving speeches in which he rails against the fact that the industry has never given him his due – and when he does “receive his due” it’s with a lifetime achievement award from Dick Clark’s bargain-basement American Music Awards. The movie tries to make that feel as if it’s a triumphant moment, but it’s a muted one at best.

But that fits the story that “Little Richard: I Am Everything” tells. Where Ethan Coen’s recent “Jerry Lee Lewis: Trouble in Mind” took another tortured piano-playing rock ‘n’ roll wildman and delighted in his raucous excess, Cortés’ film is more measured, sadder, and bitter.

You can leave it shouting “a-wop-bop-a-loo-bop-a-wop-bam-boom!” but you’ll know that those glorious nonsense syllables came with a price.  

 

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Sundance: The “Star Wars” star shows wonderful range in Rachel Lambert’s often very funny, if low-key character study.

Sometimes, Fran pictures herself, laying in a quiet forest, dead. Sometimes, Fran imagines herself being lifted up, probably by the neck, by a massive crane, dying. Sometimes, there’s a big snake or a desolate beach. Sometimes, yes, Fran thinks about dying. And that’s OK, because Rachel Lambert’s whimsical “Sometimes I Think About Dying” and the complicated woman at its center also think about other things, good things. Like, well, not dying. Maybe even, perhaps, living. For a film about the pull of death, there sure is a lot of life in this low-key charmer. 

Lambert’s initially mannered style suits the film’s wonderfully funny first act, as we’re introduced to Fran (Daisy Ridley, getting a chance to show off the kind of nuanced acting that didn’t really have a place in her “Star Wars” turns), her dreams of dying, and the spectacularly boring life that might make anyone ponder the great beyond. Fran’s days are mostly spent in the distant company of her sweet, if banal co-workers (really, aren’t the people you work with the people you spend the most time with? and how horrifying is that?). An office drone at the port authority of a tiny Oregon sea town, no one seems to notice Fran much, just the way she’d like it. Or, does she?

Fran flinches when other people talk to her, lingers at the periphery of most gatherings, and seems convinced that she’s just not that interesting. But her inner life certainly is fascinating, and saying she “thinks about dying” gives short shrift to the multitude of thoughts swirling in her head at all times. Ridley does fine work with even the smallest of movements, all the better to key us into what Fran is thinking: a tiny shake of the head here, a too long blink there, all zeroed in on care of close-ups shots, we can’t help but be part of her world.

But Lambert doesn’t skimp on the more overt clues about Fran’s life, like her seemingly nightly routine of chugging a glass of wine before she even takes her coat off. (The film’s screenplay comes from Kevin Armento, partially adapting his play “Killers” as well, plus Stefanie Abel Horowitz, who directed the original short, and Katy Wright-Mead). Ridley, even when she’s matched with other strong talents like the hilarious Meg Stalter (as a yappy boss) or the always-emphatic Marcia DeBonis (who doesn’t look a day removed from her turn in “13 Going on 30”), shines brightest here. You cannot help but root for her, and that means you can’t help but root for Fran.

The eventual twist that sets Fran on a new life path, one maybe not so interested in contemplating suicide, concerns the arrival of a new co-worker, the similarly just slightly weird Robert (Dave Merheje), who piques Fran’s interest when — during one of many painfully funny and terribly honest — office meetings, he introduces himself by noting that he likes “uncomfortable silences.” Oh, you too? His dry humor soon moves to Slack messaging with Fran, who sees a kindred spirit, or at least the kind of person she might want to go to the movies with. For Fran, that’s a big step, and Lambert treats it with the kind of gravitas and respect it deserves. When we laugh in “Sometimes I Think About Dying,” it’s never at Fran. That also feels big.

Set over the course of just eight days, Fran and Robert are soon whipping through a series of maybe-kind-of dates. But Fran is her own worst enemy, and her continued belief she’s just not that interesting — even as chatty Robert seems happiest shooting her rapid-fire questions about her life — stands in the way of her being actually interesting to another person. Still, she’s routinely pushed beyond her comfort zone, whether that means wearing more color after exclusively sporting muted tones, or emerging as the star of a murder mystery party in which, yes, she actually gets to say out loud one of her death fantasies, to other people’s delight.

If that sounds like a thin-ish premise, it is, and the film’s somewhat scattered final act gives itself over to less humor and more scary sequences, more probable death scenarios, and Fran falling headlong into what may be true depression (she literally lays on her own living room floor for over 24 hours after a particularly bad interaction with Robert). And yet Lambert’s snappy sense of humor and Ridley’s game spirit never fully fade (after said living room floor experience, Robert asks Fran what she did for the rest of the weekend, to which she replies, “oh, laid around”).

And, again, there’s that deep affection for Fran: even as we’re watching her at her lowest point, Lambert stealthily reveals more of her world, like a healthy and happy assortment of plants dotting her apart. They want to live, and Fran has helped them to do that. Can she do the same for herself? The end result might be expected, but that doesn’t mean Ridley and Lambert don’t do winning work to get us there. Life is hard, being a person is almost impossible, and sometimes we all have to take the chance to think about what’s coming next.

Grade: B

“Sometimes I Think About Dying” premiered at the 2023 Sundance Film Festival. It is currently seeking distribution. 

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2022 was a great year for rom-coms, and while I enjoyed many of the new movies to grace the genre, none came close to beating Bros as my favorite. The queer rom-com features a cast made up of entirely LGBTQ+ actors led by Billy Eichner and Luke MacFarlane. Eichner plays Bobby, a podcaster and museum director who is content with the lack of romantic relationships in his life — until he meets hot-but-boring Aaron (MacFarlane), a lawyer who Bobby has an instant connection with. Rom-coms often live or die by the chemistry between the leads, and Eichner and MacFarlane have it in spades. It jumps off the screen in the über-romantic moments and the more mundane moments equally. Watching Bobby and Aaron’s relationship play out over the course of nearly a year, complete with nods to some classic 90’s rom-coms is a journey I’m happy to take over and over again. While it doesn’t completely reinvent the genre, Bros is romantic, heartfelt, and laugh-out-loud funny. 

Universal

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