Santa Fe First Judicial District Attorney Mary Carmack-Altwies and special prosecutor Andrea Reeb announced their decision this morning (January 19, 2023) in a written statement shared with media, that Alec Baldwin and armorer Hannah Gutierrez-Reed will each be charged with two counts of involuntary manslaughter for the October 21, 2021 fatal shooting of Halyna Hutchins, the cinematographer for the film, Rust. The district attorney also stated that no charges will be filed regarding Director Joel Souza, who was also injured in the shooting.
First assistant director David Halls has already agreed to plead guilty for the charge of negligent use of a deadly weapon.
Luke Nikas, Baldwin’s lawyer, has announced their intention to fight the charges. Similarly, attorney for Hannah Gutierrez-Reed, Jason Bowles stated that the charges were not unexpected, but that he suspects she will be found not guilty by a jury.
At this point, there is no announcement regarding a trial, but should that be the case, a jury would have to decide under which definition of involuntary manslaughter Baldwin and Gutierrez-Reed are guilty.
While the public debate rages on regarding gun safety on film sets, it is sad news for all those involved, having to relive this tragedy.
Robert Pattinson’s production company Icki Eneo Arlo which was founded in 2021, has teamed up with an independent production company named Spacemaker Productions. Icki Eneo Arlo which is a Los Angeles based production company. They have both combined to join in the with filming team for a new film which will be premiering at the Sundance Film Festival called Rotting In The Sun. Sebastian Silva’s outrageous black comedy will be starring Silva as himself and comedian Jordan Firstman.
Courtesy of the Sundance Film Festival
What is the film about?
In the film, Sebastián Silva will be playing himself as a depressed insomniac. The filmmaker will be taking absurd amounts of ketamine and searching the internet for painless suicide methods. In an attempt to snap him out of it, his manager sends him on vacation to a nude gay beach. There, he almost dies trying to save social media influencer Jordan Firstman from drowning. The over-the-top Jordan wants to collaborate on a series, but Sebastián is resistant until a network shows interest. When Jordan arrives in Sebastián’s Mexico City studio to get to work but can’t find him anywhere, he begins to suspect that the put-upon housekeeper, Vero (Catalina Saavedra, The Maid, World Cinema Special Jury Prize for Acting, 2009 Sundance Film Festival), knows more than she’s letting on.
The film was produced by Hidden Content, The Lift, and in association with Caffeine Post, will have its world premiere at Sundance, 2023 in the Premieres section. This is Silva’s fifth time back at Sundance. He has won the World Cinema Grand Jury Prize and Directing Award. Range Select is handling domestic sales.
Spacemaker Productions was founded in 2020 as an a production company and financier. Their most recentl project was the film How to Blow Up a Pipeline which premiered at TIFF. There it was sold to Neon for a 2023 Release. They also had two official selections at Cannes which were James Gray’s Armageddon Time. Which has been put on many 2022 Top 10 lists and awards buzz. Their next and Lotfy Nathan’s Harka which won “Best Actor” in Un Certain Regard. This will be Icki Eneo Arlo first film collaboration.
Via a statement made to Deadine the producer of Rotting In The Son, and co-founder of Hidden Content, Jacob Wasserman said “We’re beyond thrilled to welcome Icki Eneo Arlo and Spacemaker Productions to the incredible team who made this wild film possible. We can’t wait to premiere at Sundance.”
Who else is involved with Pattinson’s Production Company?
Another person who is apart of Pattinson’s production company is Marie-Louise Khondji. She is the founder of Le Cinéma Club which is a free, curated streaming platform presenting one film a week, with an emphasis on short formats. Prior to Le Cinéma Club, she worked in film production and distribution. She was an associate producer of Josh and Benny Safdie’s film Heaven Knows What in 2014 and Antonio Campo’s film Simon Killer in 2012. For Sundance Film Festival, she will be one of the jury members. She is also the daughter of the famous cinematographer, Darius Khondji, who also just worked with Pattinson on the film, Mickey 17 which will be released in March, 2024 by Warner Bros Discovery.
Rotting in the Sun will be premiering at the Sundance Film Festival on Jan. 22, 2023 at 11:15PM EST in the Library Center Theatre. You can buy your tickets here.
One of the best films that I have seen on the mother-daughter relationship is the late Rituparno Ghosh’s Unishe April (19th April). In Bengali, it begins with Aditi (played superbly by Debashree Roy, whose role in 36 Chowringhee Lane was highly lauded as was Jennifer Kapoor’s performance as an ageing school teacher) returning home after a long rift with her mother, Sarojini (played to perfection by Aparna Sen, who directed 36 Chowringhee Lane). The mother is a classical dancer and the daughter a doctor. When the two meet, the atmosphere brilliantly captured by Ghosh, is unimaginably tense.
Of course, there have been other movies about mother-daughter ties/father-daughter as well. And Netflix’s miniseries of six short episodes, Masaba Masaba, thus loses out on the originality front. It is a fictionalised version of actress Neena Gupta’s and her own daughter, Masaba’s life, a part of it. The mother-daughter duo is interesting to watch, certainly in some places.
The film narrates the many moods of the temperamental Masaba (Masaba Gupta), who is a fashion stylist. And when the plot begins to roll, we see Masaba trying to put together a show – and with her investors breathing down her neck, she is having a hard time. She is stuck in a creative block and to add to her woes, her husband is divorcing her.
On the other side, her mother, Neena (Neena Gupta), is finding herself lonely and abandoned in the cinema world, having been a great actress for years. Now at 60, nobody wants her. None would write a role for 60-year olds! To make things murkier, she is fooled by a director (Zoya Akhtar), who promises her a meaty role, but never keeps her word. It is like a depiction of how Bollywood operates. However, later she lands a part in Baadhaai Ho, where she is a 50-something wife who gets pregnant much to the embarrassment of her two sons (one of them is Ayushmann Khurrana). In fact, there is a small scene from the movie as well.
The best part is that there is a third character in Masaba Masaba – Instagram, which appears to drive the world we live in. Masaba announces her divorce on that. Much later, it is the Instagram that rescues her from a disastrous show she puts up.
There are some endearing details, like how little Masaba had it rough at school (because of her colour and hair/her father is West Indies cricket legend, Viv Richards) and how as a grown up, her lack of clarity comes in the way of being creative. The mother, on the other hand, lacks self confidence, and she tries fighting this by learning, among other things, how to drive.
But Nair does not go beyond these, and she could have used her characters much better, had she gone deeper into their lives. Instead, what we see is Masaba trying to dress up celebrities and even their dogs. We have seen all this in Madhur Bhandarkar’s Fashion. The tantrums, the gay guys and models whose self-esteem is at ground level! Even though Masaba Masaba does try to lift off by laughing at itself (read Bollywood, and there are a few witty scenes), it does not go beyond the rich trying to grapple with their own fancy problems. The mother-daughter relationship has its moments, but falls short of touching one’s heart the way Ghosh had once done with Sen and Roy.
David Crosby, one of the architects of the 1960s’ folk-, psych-, and country-rock scenes as a founding member of both the Byrds and Crosby, Stills & Nash, and one of the most influential singer-songwriters of all time, has died. The two-time Rock & Roll Hall of Fame inductee was 81 years old.
“It is with great sadness after a long illness, that our beloved David (Croz) Crosby has passed away,” read a statement released Thursday by Crosby’s wife of 36 years, Jan Dance. “He was lovingly surrounded by his wife and soulmate Jan and son Django. Although he is no longer here with us, his humanity and kind soul will continue to guide and inspire us. His legacy will continue to live on through his legendary music. Peace, love, and harmony to all who knew David and those he touched. We will miss him dearly. At this time, we respectfully and kindly ask for privacy as we grieve and try to deal with our profound loss. Thank you for the love and prayers.”
David Van Cortlandt Crosby was born Aug. 14, 1941, in Los Angeles, into a privileged family that included his father, Oscar-winning cinematographer Floyd Crosby. In 1964, he formed seminal folk-rock band the Byrds with Gene Clark, Michael Clarke, Chris Hillman, and Roger McGuinn; while his tumultuous time in the group only lasted three years, his alternative guitar tunings, angelic harmonies, and unique phrasings established the template for a classic California sound that influenced countless musicians for decades, including Tom Petty, Robyn Hitchcock, Big Star, and R.E.M. Among the Byrds songs Crosby co-wrote were “Eight Miles High,” “Renaissance Fair,” “Mind Gardens,” “Lady Friend,” “Everybody’s Been Burned,” “Dolphin’s Smile,” “Why,” “I See You,” and “It Happens Each Day.”
In 1968, Crosby met Stephen Stills and the pair started jamming together. They were soon joined by Graham Nash to form Crosby, Stills & Nash, selling millions of copies of their first two albums: their self-titled debut in 1969, and – joined by Neil Young – Déjà Vu the following year. Crosby, Stills, Nash and Young disbanded in 2016 after years of rivalry and tension.
Nash released a statement acknowledging the issues between them, but honors Crosby’s legacy. “It is with profound sadness that I learned that my friend David Crosby has passed. I know people tend to focus on how volatile our relationship has been at times, but what has always mattered to David and me more than anything was the pure joy of the music we created together, the sound we discovered with one another, and the deep friendship we shared over all these many long years,” he continued, “David was fearless in life and in music. He leaves behind a tremendous void as far as sheer personality and talent in this world. He spoke his mind, his heart, and his passion through his beautiful music and leaves an incredible legacy. These are the things that matter most. My heart is truly with his wife, Jan, his son, Django, and all of the people he has touched in this world.”
One of their most beloved songs is “Our House,” which you can watch below:
Crosby discovered Joni Mitchell playing in a Florida club in 1967, helping her get a record deal and producing her first album, Song to a Seagull. The pair were romantically involved. He recently described Mitchell as “the best singer-songwriter … I don’t think anybody comes close”.
Crosby’s first solo album came out in 1971, If I Could Only Remember My Name. He released a few more solo records through the 80s and 90s, before a 20-year break and a prolific late-life period, with five coming out since 2014.
His most recent, For Free, was produced and co-written with James Raymond, a son Crosby didn’t know he had until Raymond was 30, after he was given up for adoption by his mother after birth. Raymond had been a musician for 20 years before he discovered who his father was, and tracked him down. The pair also released albums with the Lighthouse Band.
“He gave me a chance to earn my way into his life … by making music with him,” Crosby told the Guardian. “Imagine how I feel about my son being that good a writer. I wear it like a garland of flowers on my head. It’s just fucking wonderful.”
Eight months ago Crosby agreed to be interview by a journalist class at a high school in Colorado. He made headlines after answering a student’s question about whether he would tour again, replying: “No. I’m not, because I’m 80.” He also pointed to his age to explain his recent spate of solo albums: “I’m 80 years old so I’m gonna die fairly soon. That’s how that works. And so I’m trying really hard to crank out as much music as I possibly can, as long as it’s really good.”
Crosby was famously inducted into the Rock & Roll Hall of Fame twice and five albums to which he contributed were included in Rolling Stone’s 500 Greatest Albums of All Time.
Crosby is survived by his wife, Jan Dance; James Raymond, his son with Celia Crawford Ferguson; his two daughters from respective relationships with Jackie Guthrie and Debbie Donovan, Erika and Donovan Crosby; and his son with Dance, Django Crosby.
Michael Bay is getting back to his bad-boy roots with Ambulance. No wildly-looking transformers here. It’s about driving around L.A. with two criminals who stole a hospital (ambulance) and simultaneously have to keep a man in the back alive after they shot him. Jake Gyllenhaal and Yahya Abdul‑Mateen II take Eiza González, an innocent EMT, on the ride of her life against her will. Hopefully, she doesn’t get attached to the patient she has to keep alive, a cop, because that would be any EMT’s nightmare. Does this bring Micheal Bay back to his glory days?
But the actual plot of this podcast is, Mike and Ethan are two criminals who steal a podcast and have to keep the listener interested while explaining a Micheal Bay movie.
David Crosby’s contemporaries like The Beach Boys’ Brian Wilson and younger musicians who were influenced by the Byrds and Crosby, Stills & Nash co-founder paid their tributes to the “American icon” on Thursday after hearing that he died at age 81 after a long illness.
“I don’t know what to say other than I’m heartbroken to hear about David Crosby. David was an unbelievable talent – such a great singer and songwriter. And a wonderful person. I just am at a loss for words,” Wilson wrote on Twitter.
“I can’t begin to say how influential Crosby, Stills and Nash were for me. I’m grateful David Crosby lived, and so very sad he’s gone,” tweeted Roseanne Cash.
I don’t know what to say other than I’m heartbroken to hear about David Crosby. David was an unbelievable talent – such a great singer and songwriter. And a wonderful person. I just am at a loss for words. Love & Mercy to David’s family and friends. Love, Brian pic.twitter.com/Hjht7LeGiv
Skid Row frontman Sebastian Bach tweeted, “As much as I loved his music I loved his thoughts on Twitter as well. Rest In Peace David Crosby. Thank you for the lifetime of inspiration.”
“I was just listening to CSN the other night and was always blown away by his voice and sense of harmony. Huge loss,” wrote Canadian singer-songwriter Ron Sexsmith.
Musician Michael Des Barres wrote that Crosby was “a difficult and gifted man whose talent and taste was immense. His harmonious voice still echoes in Laurel Canyon. A proud man who said what he said, and felt what he felt with no apology. A brilliant songwriter, and an American icon.”
“Sometimes I pinch myself when I look back at the people I worked with who I admired as a kid,” tweeted publicist Danny Deraney. “I repped David Crosby on different occasions. He was his own man. He could be cantankerous, he could be a pussycat. That was Cros. About as real as you could get.”
David Crosby stuck to his guns. A difficult and gifted man. Whose talent and taste was immense. His harmonious voice still echoes in Laurel Canyon. A proud man who said what he said, and felt what he felt with no apology. A brilliant songwriter, and an American Icon, RIP. pic.twitter.com/lwL5emAdQ3
Another live TV streaming service is getting a price hike next month. After raising the price of its ad-supported and ad-free plans in October, Hulu is now raising the price of its live TV package which comes with Disney+ and ESPN+.
The bundle with Hulu + Live TV (with ads) ESPN+ (with ads) and Disney+ (no ads) will increase from $70 per month to $75 per month.
The premium bundle with Hulu + Live TV (no ads), ESPN+ (with ads), and Disney+ (no ads) will increase from $75.99 per month to $82.99 per month.
Hulu customers are receiving emails that look like this:
The price of Hulu (No Ads) + Live TV, Disney+ (No Ads), and ESPN+ (With Ads) will increase from $75.99/month to $82.00/month beginning 12/08/22.
The price adjustment will be reflected in your first billing cycle on or after December 8. Your payment method on file will be charged the new price unless you cancel before the start of your first billing cycle on or after December 8.
As always, it’s easy to switch back and forth between our subscription plans. Explore all of our plan options to find the one that best fits your viewing needs, or to cancel, visit your Account page.
On October 10, the price of most of Hulu’s basic plans went up. The ad-supported tier increased from $6.99 to $7.99, or $79.99 per year. Hulu (No Ads) increased from $12.99 to $14.99. The price of Hulu (No Ads) with Live TV also increased to $82.99. Those increases were first announced in August when Disney shared news about an ad-supported tier of Disney+ launching in December.
Pencils down. Nomination voting for the 95th Academy Awards ended on January 17, and now we await the nominations announcement on Tuesday morning, January 24. On this episode of the award-winning Variety Awards Circuit Podcast, it’s a mega Roundtable edition, as we dissect final predictions for key categories.
That includes predictions for best picture, best director, best actor, best actress, the supporting categories and then, of course, the best song field. Film frontrunners remain “Everything Everywhere All at Once,” “The Banshees of Inisherin,” “The Fabelmans” and “Top Gun: Maverick,” with other projects including “Elvis,” “Tár,” “Women Talking,” “The Whale,” “All Quiet on the Western Front,” “Triangle of Sadness” and “Avatar: The Way of Water” also in the hunt.
Variety’s Clayton Davis, Jenelle Riley, Jazz Tangcay and Michael Schneider go through those key categories and catch you up on the ongoing headlines coming out of the campaign trail. Also check out the 2023 Oscars Hub: Awards Predictions, Columns and News Archives for Davis’ up-to-date predictions on key races.
Also on this episode: Crafting the sequel to “Black Panther,” the biggest challenge Ryan Coogler and the team behind “Black Panther: Wakanda Forever” faced was how to return to the franchise star Chadwick Boseman passed away in 2020.
The podcast recaps Variety’s recent “Black Panther: Wakanda Forever” Artisans Screening Series conversation, in which senior artisans editor Jazz Tangcay talked to Coogler, producer Nate Moore, screenwriter Joe Robert Cole, composer Ludwig Goransson and cinematographer Autumn Durald Arkapaw.
“Chadwick would’ve wanted us to go back to Wakanda and revisit the place that he helped to put on the map,” Moore said. “He helped to breathe life into that because to some degree, I think Chadwick more than all of us knew what Wakanda meant for especially kids.”
Variety’s “Awards Circuit” podcast, produced by Michael Schneider, who also co-hosts with Clayton Davis, is your one-stop listen for lively conversations about the best in film and television. Each week “Awards Circuit” features interviews with top film and TV talent and creatives; discussions and debates about awards races and industry headlines; and much, much more. Subscribe via Apple Podcasts, Stitcher, Spotify or anywhere you download podcasts. New episodes post weekly.
So you want to write for the screen? I hope you have your story worked out, your characters are competing and your screen dialogue sparse and filled with double meaning. But how to start your screenplay?
The start of your screenplay is where you define the mood, the atmosphere and introduce the main characters. the beginning should also let us know which social stage your story is set in. the beginning should also be dripping in emotion, and ask a question that the reader of your script will want to find an answer in the rest of your script. So, no pressure. Right from the very first age of your script.
Britton Perelman has identified 7 Ways You Can Start A Screenplay. When I was researching this article I found that he has some great ideas, along with the ever prolific and talented William C. Martell.I have combined their wisdom with a few tips of my own!
How To Start Your Screenplay – 7 Techniques
Surely one of these great techniques will fit your story. Have a scan and see which one fits your vision for the all-important start of your script.
1. Paint the emotion
Do you want your audience to wriggle and squirm? Or do you want their attention focused directly on your story? The easiest way to do that is to paint emotion. Take this opener from Bill Martell’s script:
2. Start with a quote
You want the sell? Do what brand marketeers do, and start with a quote, ideally one that deals with the emotion of your story. If you follow me on Twitter, I often have a famous quote. The trick is to find a relevant quote.
Here’s the trick. Find a quote that elicits emotion, and which relates to your story, and open your screenplay with that quote. It will at least get the reader past the first couple of pages.
We often see title cards at the start of a movie. In fact, the famous quote are title cards. But if you address the audience directly, your opening might have added impact.
At Raindance we often get films that open with “Based on a true story.” Useful, or even as truthful as this might seem, why not add some extra to your opening.
Basically, when you address the audience directly, you break the fourth wall – the imaginary wall between the characters on the dscreen, and the audience – in this case the reader.
The old adage: A picture says a thousand words. A great way to start your screenplay is to paint a compelling word picture that will captivate your reader.
A black screen with sound can throw an audience directly into the screenplay. It could be a song, the sound of waves breaking, or a narrator setting the mood. The sounds you use need to relate to and amplify your story.
Voiceover can be done to death. Some use the V.O. as a third person narrator. Others as the voice of one of the character in the movie (so technically not a true voiceover). Either way, it can add drama and anticipation to your script
Professional script reader hate reading! They usually scan down the dialogue, and when they get lost, they scroll up to the description tosee what is going on, anjd then move on.
Imagine yourself as a lowly intern at a film production office. If the big cheese slapped this script on your desk as said “Red it!” what would you think? An entire page of description?
If you choose this opening, you would need to make certain your opening page or two tell a visual so compelling, a story that elicits emotion, that you would be compelled to turn the page.
Dana Walden, chairman, Disney General Entertainment Content, has restructured another area of the division she took over last summer, bringing back together publicity and communications years after they had been split. She laid out the changes in the company memo, which you can read at the bottom of the story.
Naomi Bulochnikov-Paul, most recently EVP, Publicity for ABC & General Entertainment, has been promoted to the newly created role of EVP, Publicity, and Head of Communications for Disney General Entertainment.
Charissa Gilmore, a Disney veteran of more than 30 years who most recently served as SVP of Corporate Communications for Disney General Entertainment, will be leaving as her position is being eliminated.
In her new post, Bulochnikov-Paul will oversee all external and internal communications for DGE and serve as its main spokesperson while also continuing to lead publicity for ABC Entertainment, ABC News, Freeform and Onyx Collective. She will be joining Walden’s leadership team and reporting to Shannon Ryan, President of Marketing, Disney General Entertainment, for publicity, and to Kristina Schake, Senior EVP and Chief Communications Officer, The Walt Disney Company, for communications.
With Bulochnikov-Paul taking on the DGE Head of Communications role, Candice Ashton, currently SVP, Publicity, Events and Talent Relations for Hulu Originals, will add oversight of the Disney Television Studios publicity team, which Bulochnikov-Paul previously oversaw, reporting to Ryan.
Disney TV Studios is still in the process of hiring a new Head of Communications, succeeding Chris Alexander, a position that now will report to Ashton.
Gilmore, a respected veteran communications executive, was promoted to SVP of Corporate Communications for Disney General Entertainment last May by then-DGE chairman Peter Rice.
She had been in the role for awhile prior to the title bump, overseeing external and internal corporate communications strategies and execution across DGE’s portfolio of content brands including 20th Television, ABC Entertainment, ABC News, ABC Signature, Disney Branded Television, Freeform, FX, Hulu Originals, National Geographic and Onyx Collective.
Gilmore also served as VP, Digital Media for Disney|ABC Television, overseeing program management, product strategy and marketing for the division’s suite of streaming apps. Prior to that, she was chief of staff for Anne Sweeney, then co-chair, Disney Media Network, and president, Disney|ABC Television Group, managing day-to-day operations and spearheading strategic initiatives for the group. She started at The Walt Disney Company in the marketing team at Buena Vista International Television, overseeing publicity, promotions and synergy for film and television international distribution.
Bulochnikov-Paul has been rising fast through the ranks at Disney. Prior to today’s promotion, as EVP, Publicity for ABC & General Entertainment, she oversaw publicity campaigns for all scripted and unscripted content across ABC Entertainment, ABC News, Disney Television Studios, Freeform and Onyx Collective.
She was promoted to SVP, Communications for ABC Entertainment in 2019 from cable sibling Freeform, where she served as VP, Communications, overseeing strategic communications efforts, program publicity, awards and talent relations.
She joined Freeform two years earlier, on the heels of the company’s rebrand from ABC Family, and quickly made a name for herself with her work on the first-ever Freeform Summit. She left for a brief stint at Netflix as director of original series publicity before returning to Freeform.
Bulochnikov-Paul also has served as VP, media and talent relations for Crackle and director of corporate communications & program publicity for Current TV. She began her career in communications at MTV Networks.
As SVP, Publicity and Events, Hulu Originals, Ashton oversaw media relations and publicity campaigns for Hulu Originals across award-winning scripted, unscripted and documentary programming, in addition to talent relations and events.
Ashton joined Hulu in 2016 and was elevated to oversee the Publicity department two years later. Since then, the Talent Relations and Events teams have folded under her purview.
Prior to Hulu, Ashton spearheaded publicity efforts at ABC Entertainment across the network and ABC Studios. Like Bulochnikov-Paul, Ashton also began her career at MTV Networks.
Here is Walden’s memo:
Team,
I wanted to share some news. After more than 30 years of service across multiple brands, and in support of numerous grateful executives like myself, Charissa Gilmore will be leaving the company. We are so thankful to Charissa for her dedication, her many contributions, as well as her steady hand that helped navigate our teams over the years.
Effective immediately, Naomi Bulochnikov-Paul, who has worked closely with so many of you, will be expanding her purview in the newly created role of Executive Vice President, Publicity, and Head of Communications for Disney General Entertainment. In this position, Naomi will oversee all external and internal communications for DGE and serve as its main spokesperson. She will also continue to lead publicity for ABC Entertainment, ABC News, Freeform and Onyx Collective. She will be joining my leadership team and reporting to Shannon Ryan for publicity and Kristina Schake for communications.
Naomi is a respected communications leader and sharp strategist who has built strong relationships with press, talent and executives. She has an incredible track record and her commitment to excellence will serve us well during this exciting and pivotal moment in our Company, and in the years ahead.
In light of this news, Candice Ashton, currently SVP, Publicity, Events and Talent Relations for Hulu Originals, will now assume oversight of the Disney Television Studios publicity team. Candice has established herself as a thought leader at Hulu Originals, where she has overseen publicity campaigns for some of our most successful shows and helped position Hulu as a top streaming platform. Her expertise and creativity are valued by her team and will be a perfect fit for Disney Television Studios.
Please join me in wishing Charissa the very best as she embarks on her next chapter and in congratulating Naomi and Candice.
YouTube will return for its second presentation during Upfronts week at Lincoln Center’s David Geffen Hall, taking over the longtime home of Disney and during a time slot closely following Netflix’s first advertiser showcase.
David Geffen Hall will be a major upgrade for YouTube’s second Brandcast during Upfronts, which has long been an advertiser marketplace typically dominated by legacy TV networks. Last year, the Google-owned video giant hosted its first presentation at Imperial Theatre in midtown, which seats just under 1,460 people. David Geffen Hall will expand YouTube’s audience capacity to 2,200.
Last year, YouTube Brandcast — which featured performances from Jon Batiste and Lizzo — promoted YouTube Shorts, the company’s TikTok competitor, and live shopping. This year’s presentation is also expected to hone in on Shorts and YouTube TV, which recently nabbed the rights to the NFL Sunday Ticket package.
YouTube Brandcast will take place on the Wednesday of Upfronts, May 17, at 7 p.m. ET, followed by an afterparty. The timing may be less ideal for advertisers also attending Netflix’s first Upfront presentation at the Paris Theater, which is happening that same day at 5 p.m. ET and is also followed by an afterparty.
NBCUniversal will kick off Upfronts week on May 15 at Radio City Music Hall. Disney has not yet announced a date or venue for its Upfront presentation, and Paramount Global is skipping the event entirely in exchange for a series of gatherings in April.
Like last year, YouTube will still have a presence at the digital-focused IAB NewFronts with a morning presentation on May 1.
Amazon Freevee has given a straight-to-series order to “The Pradeeps of Pittsburgh,” starring Emmy nominee and SAG Award winner Naveen Andrews (“The Dropout”), comedian Sindhu Vee (“Starstruck”) and Tony nominee Megan Hilty (“Smash”). The original comedy is inspired by the personal experiences of Emmy-nominated Vijal Patel (“Black-ish,” “The Middle”), who serves as writer, showrunner and executive producer.
The series’ logline follows the Pradeep family and “the humorous events of their first few months after moving to America from India.” Told through hilarious (and often conflicting) flashbacks from an interrogation room, the Pradeeps quickly find themselves embroiled — romantically, personally and professionally — with a polar-opposite neighborhood family, leading to a predicament with many surprising twists.
The eight-episode half-hour series is produced by Sony Pictures Television and Amazon Studios. Executive producers are Emmy nominee Sara Gilbert (“Roseanne”), Mandy Summers (“That ’90s Show”) and Emmy winner Tom Werner (“That ’70s Show”). Michael Showalter of Semi-Formal Productions is also an executive producer and will direct the pilot.
“This show is from a very personal place, and explores the many facets of the immigrant struggle,” Patel said in a statement. “As my parents say, the pain got funnier over time—like wine.”
Lauren Anderson, head of AVOD original content and programming at Amazon Studios, added, “The Pradeeps of Pittsburgh shines a comedic light on the centuries-old, universally relatable first-generation experience. We look forward to sharing Vijal’s personally inspired story—filled with heart, humility, and humor—with the Freevee audience.”
Jason Clodfelter, co-president of Sony Pictures Television, also said, “Vijal created not only a rich world, but a highly personal look at the immigrant experience, grounded in heart and the outrageousness of real-life families. We are thrilled to see his story come to life with our partners at Freevee.”
Below are the character descriptions for series regulars and recurring roles:
Series Regulars: Naveen Andrews as Mahesh Pradeep, the patriarch of the Pradeep family. A brilliant engineer who uprooted his family to America for a business opportunity.
Sindhu Vee as Sudha Pradeep. Intelligent and self-assured, Sudha is the matriarch of the Pradeep family, but her brewing feud with her neighbors is about to test her in new ways.
Sahana Srinivasan as Bhanu Pradeep, a rebellious teen trying to get out from under her mother’s thumb. Unfortunately, her rebellion gets her mixed up with the one person her mother can’t abide — the neighbor’s son.
Arjun Sriram as Kamal Pradeep, described as an “epic mama’s boy, he loves following rules and believes narcs are just heroes who tell the truth.”
Ashwin Sakthivel as Vinod Pradeep. He loves all things American and is excited for their new life in Pittsburgh. He’s quick to make friends, but in dealing with bullies he looks to the nonviolent tactics of his hero Gandhi.
Megan Hilty as Janice Mills, a sexy suburban Christian who loves to preach forgiveness, but rarely forgives others.
Ethan Suplee as Jimbo Mills, a gregarious “guy’s guy” who tries to befriend the guys in the Pradeep family.
Nicholas Hamilton as Stu Mills, the Pradeeps’ teenage neighbor who spends most of his time in the garage. His “flannel hottie” vibe ensnares the Pradeeps’ teenage daughter from the get-go.
Recurring roles:
Pete Holmes as Dark Suit, a rookie interrogator whose inexperience and innocence drives his partner nuts.
Romy Rosemont as Light Suit, the lead investigator in the Pradeep case. Ready for retirement, she’s uptight and ruthless in her tactics.
Going to Mars, directed by Joe Brewster and Michèle Stephenson, premieres Friday at the festival in U.S. Documentary Competition. It examines the life and work of Giovanni, who emerged in the 1960s as one of the nation’s foremost poets and a leader of the Black Arts Movement. She has won seven NAACP Image Awards and has been named one of Oprah’s 25 “Living Legends.”
“I’m thrilled to join Michèle and Joe in bringing Nikki’s remarkable work to life on screen,” Henson said in a statement. “Interpreting and giving voice to her powerful words was a revelatory and emotional process, and moved me completely. This film reflects Nikki’s vibrance and legacy in all its complexity, and I am honored to be a part of it.”
The filmmakers noted, “Taraji’s grace, generosity, and creative skills are legendary. We were swept away by her embrace and complex interpretation of Nikki’s poetry. Having her join us is truly the Universe at work!”
In addition to Friday’s premiere, the documentary will screen at Sundance on January 21, 22, 24 and 27. It will be available through the festival’s online portal from January 24-29. Going to Mars is an acquisition title at the festival, with Cinetic Media handling worldwide sales.
“With Going to Mars, Brewster and Stephenson craft a vision fit for the radical imagination of Nikki Giovanni,” the Sundance program observes. “Present-day Giovanni reckons with the inevitable passing of time, while an evocative melding of vérité and archival images act as openings into her mindscape, transcending time and place. The film is imaginative and dreamlike, akin to the way Giovanni’s words are hair-raising in their power to summon unrealized ways of seeing. The Afro-futuristic lens honors Giovanni’s complexity and transports us on a journey through Black liberation from the perspective of one of America’s most acclaimed and beloved writers, a profound artist and activist. Next stop, Mars.”
The film is produced by Joe Brewster, Michèle Stephenson, and Tommy Oliver, and executive produced by Codie Elaine Oliver and Taraji P. Henson. Going to Mars: The Nikki Giovanni Project features an original score by Samora Pinderhudges and Christopher Pattishall, cinematography by Greg Harriott, and is edited by Terra Jean Long and Lawrence Jackman.
Anant Ambani-Radhika Merchant’s engagement was a star-studded affair. (Photos: Viral Bhayani)
It was not just Deepika Padukone and Ranveer Singh who grabbed eyeballs, Katrina Kaif left everyone stunned too at Anant Ambani and Radhika Merchant’s engagement.
Deepika Padukone and Ranveer Singh are one of the most loved Bollywood couples for a reason. The two actors never fail to set relationship goals each time they share pictures online or are spotted in public. On Thursday too, Deepika and Ranveer grabbed everyone’s attention as they arrived for Anant Ambani and Radhika Merchant’s engagement.
DeepVeer posed for the paparazzi as they flaunted their respective traditional outfits and looked no less than royalty. Deepika wore a red and golden saree and accessorised her look with a pearl and emerald necklace with matching earrings. She also tied her hair into a bun and looked breathtakingly gorgeous. On the other hand, Ranveer Singh looked dapper as always in a shimmery black bandhgala which he over with a kurta and pants.
Deepika Padukone, Ranveer Singh look no less than royalty in traditional outfits. (Photo: Viral Bhayani)
Deepika Padukone and Ranveer Singh posed for the paparazzi at Anant Ambani-Radhika Merchant engagement. (Photo: Viral Bhayani)
It was not just Deepika and Ranveer who grabbed eyeballs, Katrina Kaif left everyone stunned too. She arrived for the grand ceremony alone and was seen sporting a heavily embroidered white outfit. Needless to say, she looked prettiest of all.
Katrina Kaif also won everyone’s heart with her white outfit. (Photo: Viral Bhayani)
Among others, Sara Ali Khan, Neetu Kapoor, Arjun Kapoor, Boney Kapoor, Meezaan Jaffrey, Aishwarya Rai, Kiran Rao, Shreya Ghoshal, Karan Johar, Akshay Kumar and John Abraham were also snapped as they arrived for Anant Ambani and Radhika Merchant’s engagement. Varun Dhawan was also papped as he arrived with his wife Natasha Dalal. Former cricketer Sachin Tendulkar also attended the ceremony with his wife. Janhvi Kapoor and Khushi Kapoor also arrived together.
Sara Ali Khan wore a heavily embroidered white and silver sharara and completed her look with a handbag of the same colour. (Photo: Viral Bhayani)
Filmmaker Karan Johar also looked dapper as always as he sported traditional outfit for Anant and Radhika’s engagement. (Photo: Viral Bhayani)
Anant is the son of Reliance Industries Chairman Mukesh Ambani and wife Nita. While Radhika is Encore Healthcare CEO Viren Merchant’s daughter.
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They say imitation is the most sincere form of flattery, but everyone knows, there’s no beating the original. The Gossip Girl reboot which aired on HBO Max in 2021, has been cancelled, and I don’t mean online.
“Gossip Girl” premiered on HBO Max on July 8th 2021 to mixed reviews, it had a lot of fans of the original series feom 2012 shall we say slightly annoyed that the beloved TV seried was being rebooted. After all, why fix what’s not broken? However the show went on to break the record for the most-watched HBO Max original series over its launch weekend and the series was renewed for a second season which premiered on December 1st, 2022.
Nearly a decade after the conclusion of the original series, a new cast of Manhattan private schoolers takes the lead under the watchful eye of Gossip Girl, the show demonstrating how much social media – and the landscape of New York City itself – has changed in the intervening years. “Gossip Girl” features more adult content than the original on The CW, owing to the relaxed standards of the HBO Max streaming service. The series is also more diverse, with non-white leads and LGBT characters. The story starts when the students return to school after the COVID-19 pandemic. A group of worn-out teachers create an Instagram account as the omniscient and anonymous “Gossip Girl” to take back power from their teenaged tormentors.
“We are very grateful to showrunner/executive producer Joshua Safran, and executive producers Stephanie Savage and Josh Schwartz for bringing us back to the Upper East Side and all the scandals at Constance Billard,” HBO Max said in a statement. “Although we are not moving forward with a third season of Gossip Girl, we thank them for the enticing love triangles, calculated backstabbing and impeccable fashion this series brought to a new audience.”
“Gossip Girl”’s cancellation is not believed to be a financial decision but a result of the show not being able to break out in the way HBO Max’s revival of another hit young adult series, Pretty Little Liars, Pretty Little Liars: Original Sin has done, for instance. The show never could live up to the elite drama of the OG Gossip Girl, there are even times in the show when characters mention they want drama like Serena and Blair.
Season 2 saw the addition of a familiar face from the original show, which brought forward the question, could we possibly see more old “Gossip Girl” characters? The season 2 finale of “Gossip Girl” (2021) will serve as the show’s series finale.
“It is with the heaviest of hearts that I have to announce Gossip Girl will not be continuing on HBO Max,” said Executive producer Joshua Safran in a message to fans Thursday morning. “Thank you for watching, and I hope you’ll tune into the finale next Thursday to see how it all comes together. xoxo”
The series is narrated by Kristen Bell, who reprised her role as the voice of Gossip Girl, an anonymous and omniscient blogger. The series features an ensemble cast led by Jordan Alexander, Whitney Peak, Tavi Gevinson, Eli Brown, Thomas Doherty, Emily Alyn Lind, Evan Mock, Zión Moreno, Savannah Lee Smith, and Grace Duah.
The series is executive produced by original series co-creators Josh Schwartz and Stephanie Savage, along with Safran, who was an executive producer on the first series and who also serves as showrunner.
Don’t worry Upper East Siders, if there’s one thing you should learn from all of this, it’s that, there’s no getting rid of me, not really.
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Swallowed is a 2022 American body horror film about two queer former childhood friends who must survive a horrific night in a backwoods hell of drugs, bugs, and obsessive intimacy.
Plot: Set in a remote township right on the border between Maine and Canada, Swallowed is a story about friendship and loneliness. About the extremes, we are willing to endure to protect the ones we love. The time has come for Benjamin to leave their tiny hometown for a place where he can be himself – and maybe find someone to love him back.
We meet them on their last, bittersweet night together. Benjamin’s heading to Los Angeles. He’s just got the lead in ‘Backwoods Boy Bang’. Dom’s being left behind. His plan is to send Benjamin off with a pocketful of cash. All he has to do is deliver a package over the border for a friend…
Release: Swallowed premiered at the 2022 Overlook Film Festival in New Orleans on June 5th before being shown at the Fantasia Film Festival in Montreal.
In the US, Momentum Pictures will release Swallowed On-Demand (VOD) on February 14, 2023.
Reviews: “Those expecting a more straightforward horror movie with gnarly body horror will likely come away disappointed. Smith merely uses it as a stepping stone for a profoundly personal, character-focused story of trauma and queer identity. Smith introduces many interesting ideas and concepts and a few stomach-churning moments but struggles to tie them all together seamlessly.” 2.5/5 Bloody Disgusting
“While Swallowed contains body horror, it isn’t brutal, especially compared to The Ruins. In fact, body horror is more of a trigger to explore the characters and queer identity. But fear not horror fans. There are still some gross-out moments and nerve-jangling scenes. Despite some tonal issues, Swallowed delivers the goods, with stellar performances by Malone and Patton and newcomers Colon and Koch.” 7 out of 10, Horror Buzz
“Filmed on location in Maine, Swallowed is a bold reminder that Carter Smith is a force to be reckoned with. All three lead actors are fantastic, with Cooper Koch emerging a bonafide hunky final boy. Low key body horror bliss and high key propulsive thriller, Swallowed gulps down a complete feast.” 4/5 Josh at the Movies
“Weirdly, the terrifying bugs inside our characters’ intestines are not the scariest part of the story. In fact, the strange creatures serve more as a McGuffin to demonstrate a lot of the horrors which happen to members of the gay community. Sexual exploitation, threats of physical violence, denial of medical care, and isolation all play major parts in making this the most frightening night of Ben and Dom’s life.” Nightmarish Conjurings
YouTube reviews:
Trailer 1 [1080p]:
Trailer 2:
Not to be confused with Swallow (2019) which stars Haley Bennett as a newly pregnant housewife who finds herself compelled to consume dangerous objects.
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STARZ announced today a renewal for an eighth and final season of its popular time-traveling fantasy drama, “Outlander,” and has greenlit the highly anticipated “Outlander: Blood of My Blood,” a prequel series from Matthew B. Roberts, Ronald D. Moore and Maril Davis, who also serve as executive producers of the original series.
The 10-episode prequel series, “Outlander: Blood of My Blood” will center on the lives and relationship of Jamie Fraser’s parents, Brian Fraser and Ellen MacKenzie.
“‘Outlander: Blood of My Blood’ is, at its heart, a love story. It will explore what lengths a person will go to find love in a time when love is considered a luxury, and when marriages are made strategically, often for political or financial gain,” says Matthew B. Roberts, showrunner and executive producer. He continues, “the title is a nod to Jamie Fraser’s marriage vow to Claire and there will be several names and faces that ‘Outlander’ fans will know and recognize. Jamie and Claire’s TV story may be coming to an end with season eight, but Diana is continuing on with their literary journey in her wonderful book series and is working diligently on book ten. With Jamie and Claire, and now Brian and Ellen, there is still so much more to come in the ‘Outlander’ universe, and we cannot wait to continue sharing these stories with our dedicated fans.”
Check out video announcement below:
“For nearly a decade ‘Outlander’ has won the hearts of audiences worldwide and we’re pleased to bring Claire and Jamie’s epic love story to a proper conclusion,” said Kathryn Busby, President, Original Programming for STARZ. “But before we close this chapter there is plenty of their passionate story to tell over the course of 26 new episodes and even more to explore of this dynamic world and its origin story. We’re thrilled to continue to partner with Matthew, Maril and Ronald and can’t wait to see where their alluring storytelling takes us next.”
“Outlander” showrunner and executive producer Matthew B. Roberts is signed on to write “Outlander: Blood of My Blood” and will also serve as showrunner and executive producer of the prequel series. In addition to Roberts, Ronald D. Moore will also executive produce the prequel along with Maril Davis. Moore and Davis developed “Outlander” for television, under their production banner Tall Ship Productions. Story Mining & Supply Company will also executive produce, and Diana Gabaldon will serve as a consulting producer. “Outlander: Blood of My Blood” will be produced by Sony Pictures Television. STARZ’s Executive Vice President, Original Programming, Karen Bailey, will oversee the prequel on behalf of STARZ. “Outlander: Blood of My Blood” will be available across all STARZ platforms in the U.S. and Canada and on LIONSGATE+ in the UK, Australia, Latin America and Brazil.
The eighth season of the flagship series, “Outlander” will consist of ten episodes, following an extended 16-episode seventh season, which is currently filming in Scotland and will air this summer on STARZ.
“Outlander” stars Caitríona Balfe as “Claire Fraser,” Sam Heughan as “Jamie Fraser,” Sophie Skelton as “Brianna MacKenzie,” Richard Rankin as “Roger MacKenzie,” John Bell as “Young Ian,” David Berry as “Lord John Grey,” Caitlin O’Ryan as “Lizzie Beardsley,” Paul Gorman as “Josiah Beardsley” and “Keziah Beardsley,” and newcomers Charles Vandervaart as “William Ransom,” Izzy Meikle-Small as “Rachel Hunter” and Joey Phillips as “Denzell Hunter.”
Matthew B. Roberts, Ronald D. Moore, Maril Davis, Toni Graphia, Luke Schelhaas, Andy Harries, Jim Kohlberg, Caitríona Balfe, and Sam Heughan serve as executive producers on “Outlander,” which is produced by Tall Ship Productions, Left Bank Pictures and Story Mining & Supply Company, in association with Sony Pictures Television.
The “Outlander” television series is inspired by Diana Gabaldon’s international best-selling books, which have sold an estimated 50 million copies worldwide, with all nine of the books gracing the New York Times best-seller list. The “Outlander” television series has become a worldwide success with audiences, spanning the genres of history, science fiction, romance, and adventure in one amazing tale.
About STARZ
STARZ (www.starz.com), a Lionsgate company, is a leading global media streaming platform committed to delivering premium content that amplifies narratives by, about and for women and underrepresented audiences. STARZ is home to the highly rated and first-of-its-kind STARZ app that offers the ability to stream or download STARZ premium content, as well as the flagship domestic STARZ® service, including STARZ ENCORE, 17 premium pay TV channels, and the associated on-demand and online services. In 2018, STARZ launched its international premium streaming platform STARZPLAY, now LIONSGATE+, to provide subscribers access to bold, curated storytelling. LIONSGATE+, coupled with the STARZPLAY ARABIA joint venture in MENA and Lionsgate Play in South and Southeast Asia, has a footprint that extends across the globe. STARZ and LIONSGATE+ are available across digital OTT platforms and multichannel video distributors, including cable operators, satellite television providers, and telecommunications companies around the world. In February 2021, STARZ launched #TakeTheLead, a multi-faceted and innovative inclusion initiative expanding its existing efforts to improve representation on screen, behind the camera and throughout the company.
About Sony Pictures Television
Sony Pictures Television (SPT) is one of the television industry’s leading content providers, producing, distributing and carrying programming worldwide in every genre and for every platform. In addition to managing one of the industry’s largest libraries of award-winning feature films, television shows and formats, SPT is home to a thriving global content business, operating a robust portfolio of wholly-owned and joint-venture production companies across the U.S., Europe, Latin America, and Asia Pacific, as well as linear and digital channels around the world. SPT is a Sony Pictures Entertainment company, a subsidiary of Tokyo-based Sony Group Corporation.
On Tuesday, news broke that instead of going to FCI Marianna in Florida, which would have put her nearish her husband Todd, Julie Chrisley was to be housed at Federal Medical Center Lexington, a prison in Kentucky. This revelation led to rampant articles and speculation about possible medical treatment. Given Chrisley had a well-documented battle with breast cancer, the rumor mill ran a bit wild, but we’ve learned the sudden prison shift reportedly had nothing to do with the reality star’s health.
On Tuesday, news broke that instead of going to FCI Marianna in Florida, which would have put her nearish her husband Todd, Julie Chrisley was to spend her sentence at Federal Medical Center Lexington, a prison in Kentucky. When the news broke it led to rampant articles and speculation about whether Julie was sick, perhaps prompting the change in location.
Those who were following the Chrisley Knows Best couple before the recent trial and sentencing may already know that Julie Chrisley was fighting breast cancer for an extended period of time. First diagnosed back in 2012, she took medication for the condition for nearly a decade. It was only last year that docs said she could wean off the medication and move forward with her life.
Chrisley had admitted during an episode of “Chrisley Confessions” that taking medication for so long had led to medical issues, mainly weight gain, pain and brain fog. She had trouble remembering things while taking the breast cancer meds and found that lack of control to be “scary.” She ultimately announced she came off the medication in March of 2022.
It’s been a direct result of having the hysterectomy and the medication. I remember season one of Chrisley Knows Best, I literally spent the entire season searching for my phone, because I would lay it down, and I couldn’t find it. It was so scary to me.
Still, given her past history with cancer, I suppose it’s easy to see why people might have been curious about the prison shift.
What’s Actually Going On With Julie’s Prison Stint
According to a new report at TMZ, however, the matriarch of the Chrisley clan is doing just fine. The prison in question in Lexington does have the medical and mental health unit, but the outlet also reports it has a regular minimum security prison, where the reality star will be housed. The outlet did not determine why the move occurred, but it does seem that Julie will not be getting treatment at this time.
For his part, her husband Todd will still be spending his prison sentence at FPC Pensacola. Chrisley may have to “scrub toilets” or do other chores during his decade-plus stay.
In a recent interview, director Calmatic considered his House Party a “remix” of the 30-year-old original. Whether they are called “reboots,” “reimagining,” or “resets,” when any work of art is dusted off, polished up, and reintroduced to the masses, the driving question should be “why?” What makes this version compelling enough to use a familiar IP and share it with audiences, and why should they care?
When the original House Partywas released in 1990, the musical act Kid n’ Play was at the pinnacle of their popularity. Their second album, Funhouse, ushered in more of their New Jack Swing brand of hip-hop to the world, and they starred in a Saturday morning cartoon. Their notable feature film starring turn went on to spawn four (!) sequels and featured a laundry list of talents such as Martin Lawrence, Tisha Campbell, John Witherspoon, and Robin Harris. It also marked the debut of director Reginald Hudlin. This latest incarnation is Calmatic’s first feature-length movie. He had directed a number of music videos prior to this and was able to call in his musical connections to appear in the never-ending list of cameo appearances.
The original’s foundation remains intact: two buddies scheme to hold a celebration to boost their reps, realize their dreams, and elevate their social status. The two leads may not be as ubiquitous as 90s-era Christopher (“Kid”) Reid and Christopher (“Play”) Martin. And while leads Jacob Latimore (as Kevin) and Tosin Cole (as Damon), do well enough with their material, they don’t share the baked-in chemistry and camaraderie that existed with the former leads.
“…two buddies scheme to hold a celebration to boost their reps…”
Kevin and Damon are two broke house cleaners who find themselves tidying the estate of one LeBron James (who serves as producer) and decide it would be the perfect spot to throw a banger. They also find access to all the basketball star’s celebrity connections and, in an effort to impress their friends, decide it’d be ideal to invite them to the bash as well. The expected hijinx ensues, and given the celebrity setting for this version, the blowout has the potential of amping up the festivities to another level. However, writers Jamal Olori and Stephen Glover not only fail to mine that potential, but their script for House Party also pushes our leads to the side in favor of the next “big name” to walk through the door.
The original’s leads were just two mischievous kids who loved to party, while Hudlin slipped in subtle social commentary throughout. Here, it’s two young men who are old enough to know better the consequences of their illegal actions. Even worse is that any critique of celebrity culture rings hollow when the movie is happy to trot out the next recognizable face to the show. The filmmakers seem to value fame over fun, recognition over reliability. This subsequently lowers the story’s stakes in the process, as we are never provided leads with whom we can connect and support.
House Partyputs out quite the spread and has put effort into its lights and music. But nothing that happens will give us any inspiration to accept an invite to future festivities.
Swedish climate activist Greta Thunberg slammed business and political leaders attending the World Economic Forum in Davos on Thursday, saying it was ‘absurd’ to listen to them while they fuelled ‘the destruction of the planet’.
Two days after police briefly detained her at a protest against a coal mine in Germany, Thunberg and other young campaigners took part in a debate on the sidelines of the summit of global investors, CEOs and political leaders in the Swiss Alps.
‘We are right now in Davos where (there are) basically the people who are mostly fuelling the destruction of the planet,’ the 20-year-old said, explaining that the world should not rely on them ‘for solving our problems’.
She added that it was ‘absurd … we seem to be listening to them rather than the people who are actually affected by the climate crisis’.
Swedish climate activist Greta Thunberg (pictured in Davos today) slammed business and political leaders attending the World Economic Forum in Davos on Thursday, saying it was ‘absurd’ to listen to them while they fuelled ‘the destruction of the planet’
Climate activist Greta Thunberg of Sweden, speaking next to (L-R) Fatih Birol, Head of the International Energy Agency, and Climate activists Luise Neubauer of Germany, Helena Gualinga of Ecuador, Vanessa Nakate of Uganda
Two days after police briefly detained her at a protest against a coal mine in Germany, Thunberg and other young campaigners took part in a debate on the sidelines of the summit of global investors, CEOs and political leaders in the Swiss Alps
‘Without massive public pressure from the outside, these people are going to go as far as they possibly can… They will continue to throw people under the bus for their own gain,’ she said.
The Swede spoke on the sidelines of the WEF with fellow activists Helena Gualinga of Ecuador, Vanessa Nakate of Uganda and Luisa Neubauer of Germany at a CNBC panel that included International Energy Agency head Fatih Birol.
The Swede made a splash when she attended the forum as a teenager in January 2020, warning that ‘our house is still on fire’ and complaining that her demands had been ‘completely ignored’.
Then-US president Donald Trump used his speech at the same forum to bash ‘the perennial prophets of doom’ as Thunberg looked on stony-faced from the audience.
This week, she and Gualinga, Nakate and Neubauer launched an online petition demanding that energy firms stop any new oil, gas or coal extraction projects – or face possible legal action.
More than 900,000 people had signed the petition by Thursday.
Thunberg arrived at Davos only shortly after being released by German police after protesting the expansion of a coal mine in Germany
‘We are taking a very dangerous path. We are already seeing how people are suffering on the ground,’ Gualinga said.
‘It’s completely insane that we are allowing this and we have people here in Davos that are enabling that, through government, through investing in fossil fuel and at some point there needs to be a stop. This is criminal behaviour,’ she said.
Birol, as head of a multilateral energy agency that advises mostly Western governments, said that his presence alongside activists was ‘a very important signal that I want to give the world’.
‘We have to see that the climate change needs to get more attention. Unfortunately, the attention to climate change is sliding down,’ he said.
The energy sector had to be transformed or ‘we have no chance whatsoever to reach our climate targets’.
The IEA said in a report in October that the energy crisis triggered by Russia’s invasion of Ukraine was causing changes that could hasten the transition to a ‘more sustainable and secure energy system’.
Thunberg was among a group of people hauled away by police on Tuesday during a protest near the German village of Luetzerath, which is being razed to make way for a coal mine expansion. They were not formally arrested.
Her actions were praised in Davos by former US vice president Al Gore, who won a Nobel Peace Prize for his work on climate change.
‘I agree with her efforts to stop that coal mine,’ Gore told a panel discussion on global warming, adding that young people around the world despaired of efforts by leaders to tackle the climate crisis.
‘We are not winning’ the fight against global warming, he said.
Climate change is a major topic at the World Economic Forum, where businesses and governments have come under pressure to do more to ensure that the world meets the increasingly elusive goal of limiting warming to 1.5 degrees Celsius.
In a speech on Wednesday, United Nations chief Antonio Guterres drew a parallel between the actions of oil companies and those of tobacco firms, which were eventually hit by costly lawsuits over the harmful effects of cigarettes.
Guterres pointed to a study published in the journal Science last week that said ExxonMobil had dismissed the findings of its own scientists, who had accurately predicted global warming due to fossil fuels as far back as the late 1970s.
‘Some in Big Oil peddled the big lie,’ he said. ‘And like the tobacco industry, those responsible must be held to account.’
Josh Duhamel, 50, had his wife Audra Mari, 29, by his side at the Shotgun Wedding premiere on January 18. The newly-married couple cozied up to each other as they smiled for photos at the TCL Chinese Theatre in Hollywood, California. Josh, who stars in the rom-com with Jennifer Lopez and Jennifer Coolidge, placed his arm on his gorgeous wife’s back, as Audra cuddled up next to the handsome actor.
Josh Duhamel and Audra Mari at the ‘Shotgun Wedding’ premiere (Photo: GilbertFlores@Broadimage / MEGA)
Josh wore a classic light black suit with a grey tie and button-up shirt to the premiere. He matched his suit with a black belt and black dress shoes. Audra stunned in a magnificent black gown with a mini train that followed her on the carpet. The model’s dress, which had silver shoulder designs, fitted her skinny body perfectly. Audra styled her dark brunette hair in a neat bun, though she did leave some strands of hair dangling on the side of her face.
Josh Duhamel and Audra Mari at the ‘Shotgun Wedding’ premiere (Photo: Xavier Collin/Image Press Agency / SplashNews.com)
Josh and Audra have been basking in newlywed bliss since they became husband and wife on September 10, 2022. After two years of dating, the couple got engaged and they wed in Josh’s hometown of North Dakota. The pair made their red carpet debut as a married couple almost two weeks after the wedding at the LA premiere of Bandit. Josh wore a black suit while Audra rocked a black mini dress.
Audra is Josh’s second wife. The Transformers: The Last Knight actor was previously married to Fergie, 47, for a decade and they welcomed a son, Axl, in 2013. After Josh and Audra’s wedding, a source told HollywoodLife that Fergie “is happy” for her ex-husband and his new bride. “Fergie has met Audra on several occasions and she thinks she is an awesome woman,” the insider also said.
Activision has delayed the second season of Call of Duty Modern Warfare 2 and Warzone 2. Fans should have been able to access the next season on February 1, but now it looks like we won’t see it until February 15.
Activision detailed the reason for Call of Duty Modern Warfare 2’s short delay in a Twitter post (opens in new tab). “Our studio teams have been making several changes based on what we have heard from our player community”, said Activision.
While another two weeks can feel like a long time to wait, Activision has detailed a bunch of new content coming in Season 2 for Warzone 2 and Modern Warfare 2.
Give me loot
(Image credit: Activision )
Various new updates and content will come with the second season of Call of Duty’s free-to-play battle royale, Warzone. This includes the return of Resurgence mode along with a smaller map and updates to the Gulag, looting, and loadouts.
As a fan of Resurgence, this is great news. The mode offered a very fast-paced alternative to Warzone’s traditional battle royale. In Resurgence, so long as one member of your team is still alive, then you can respawn onto the map after a short countdown. Set on a smaller map, too, it means there’s a lot more moment to moment action than in the more sparsely-populated and harder-to-respawn Warzone mode.
Regarding updates for Modern Warfare 2’s second season, Activision has announced the return of ranked play along with new maps, modes, and weapons. This isn’t a lot to go off of right now, but Activision has stated that more information will be available soon.
White noise
(Image credit: Activision)
Since launching last year, a common complaint I’ve seen about Modern Warfare 2 and Warzone 2 has been a lack of content, with too few maps, modes, and weapons to hold interest. So it’s good to see Activision has been listening to the community.
I’m going to be cautiously optimistic until I can safely say Activision hasn’t added anything too crazy
I will, however, be holding judgement on Warzone Season 2 until I can actually play it. I’ve been scorned too many times by developers promising additional content. The jokes on me after Blizzard delivered another half-baked seasonal event despite all my excitement.
I can’t help but think about the worst-case scenario. What if Activision decides to make the flash bangs brighter than the sun itself, or maybe it’ll throw caution to the wind and let riot shields deflect all bullets from every direction? I’d be lying if I said I wasn’t a little bit wary of all of the promised updates.
I’ll likely play the second season of Warzone and Modern Warfare 2. But I’m going to be cautiously optimistic until I can safely say Activision hasn’t added anything too crazy or done something heartbreaking like remove my favorite map Shipment.
Focus Features has unveiled the trailer for its Sundance-bound action-comedy Polite Society, marking the feature debut of writer-director Nida Manzoor (We Are Lady Parts), which is slated for release in theaters on Friday, April 28.
The film billed as a merry mash-up of sisterly affection, parental disappointment and bold action follows martial artist-in-training Ria Khan (Priya Kansara) who believes she must save her older sister Lena from her impending marriage. After enlisting the help of her friends, Ria attempts to pull off the most ambitious of all wedding heists in the name of independence and sisterhood.
Pic’s producers are Tim Bevan, Eric Fellner, Olivier Kaempfer and John Pocock. Its cast also includes Ritu Arya, Nimra Bucha, Akshay Khanna, Seraphina Beh and Ella Bruccoleri.
Polite Society world premieres at Sundance on January 20. Other upcoming titles from Focus include the Goran Stolevski-directed romantic drama Of an Age (February 17), the Woody Harrelson-led Special Olympics comedy Champions (March 10), and the psychological thriller Inside (March 17) with Willem Dafoe, to name a few.
View the trailer for Polite Society by clicking above.
Netflix leads the distributor pack with 21 nominations at the EE BAFTA Film Awards, which were revealed on Thursday.
The streamer scored 14 nods for “All Quiet on the Western Front,” three for “Pinocchio” and one each for “Blonde,” “The Swimmers,” “The Good Nurse” and “The Wonder.”
Searchlight and A24 were not far behind with 14 nominations each. A24 has 10 nods for “Everything Everywhere All At Once” and four for “The Whale,” while Searchlight has 10 for “The Banshees of Inisherin,” three for “Empire of Light” and one for “See How They Run.”
Close behind Searchlight and A24 are Warner Bros with 13 nominations, including nine for “Elvis” and four for “The Batman.”
Lionsgate are next with 10 nominations, including four for “Good Luck To You, Leo Grande” and three each for “Living” and “Triangle of Sadness.”
The rest of the nominations are evenly spread out. Focus Features has seven, five for “Tár” and one each for “Brian and Charles” and “Mrs. Harris Goes to Paris.” Paramount also has seven, four for “Top Gun: Maverick” and three for “Babylon.”
MUBI has six, four for “Aftersun” and two for “Decision to Leave,” as does Universal, including two for “She Said” and one each for “Marcel the Shell with Shoes On,” “Moonage Daydream,” “Puss in Boots: The Last Wish” and “Till.”
Disney has five nominations, two for “Avatar: The Way of Water” and one each for “Amsterdam,” “Turning Red” and “Black Panther: Wakanda Forever.”
The awards will take place on Feb. 19 at the Southbank Centre’s Royal Festival Hall in London.
In Jesse Eisenberg’s smart directorial debut, “ When You Finish Saving the World,” Julianne Moore plays a Good Person, at least on paper. Evelyn runs a women’s shelter for the victims of domestic abuse and other kinds of horrors. She drives a small, eco-friendly car. She listens to the classical music station. She eats Ethiopian food. She lives an unflashy yet undeniably privileged life, in a nice suburban home with her husband and teenage son. She is not, what you might call “happy” in the traditional sense.
Her state of being is more like one of smug satisfaction — or it might be were it not for her high school age kid. Despite all her best efforts to mold him in her image, he has become his own person, and it’s a person she doesn’t particularly like.
The kid in question, Ziggy (Finn Wolfhard) decided some time ago that money and fame were what he wanted in life, and he’s gotten a small taste of both through a decently popular YouTube channel where he livestreams songs for a growing audience of young girls who then throw money at him through likes. He is also smug, in a different way, and resentful of his mother’s sanctimoniousness. He couldn’t care less about her Good Work and Good Life Choices.
Ziggy seems to have been shaped in Eisenberg’s image, or at the least the image we have of him as an awkward, deeply insecure person who masks his insecurity with cruelty and intelligence in films like “The Social Network” and “The Squid and the Whale.” Wolfhard embodies the cadence and emotionless affect of his director’s on screen persona perfectly.
The heart of the film is the aching missed connections between mother and son. They have, they know, so much to be grateful for and yet can’t seem to rise above their superficial differences. It’s discontented suburban white people, sure, but Eisenberg keeps it fresh, modern and piercing. This point is hammered in, sometimes too bluntly, as both glom onto what they imagine to be ideal companions outside of the home.
Ziggy develops a crush on a serious, politically motivated peer, Lila (Alisha Boe), and tries on a social justice persona to get in her good graces. He has not yet learned to distinguish a woman’s kindness from romantic interest. And so he asks Evelyn for help on how to sound smart and political. Rather than using it as an opportunity to connect, she decides it’s a teaching moment to scold him to do the work. They are both right and they are both wrong.
It’s hard not to watch this and cringe at your own teenage brattiness, but Ziggy is not the only party at fault. He at least has the excuse of his wild teenage brain to blame. Evelyn, on the other hand, does not. The capacity for immaturity is boundless.
Eisenberg’s script goes hard on this very imperfect mother and Moore fully commits to her awkwardness and cruelty that she hides behind her Goodness. At the center where she works, she finds a stand-in son, a boy about Ziggy’s age who has come in with his mother to help her get some reprieve from an abusive husband. Kyle (Billy Bryk) is a wildly decent and thoughtful kid — kind to a fault and eager to please. The fact that Kyle has emerged this good from a household so outwardly “bad” breaks something in her brain. She starts to claim Kyle as her own, dreaming about his future, taking him out to dinner, failing to see how uncomfortable she’s making him.
Like Ziggy’s obsession with Lila, Evelyn’s with Kyle is also immensely awkward. Maybe too awkward and maybe a little strained, even with someone as capable as Moore handling the material. The point is received very early on, though, and your patience may start to wane.
Eisenberg, who has already proven himself to be a talented, unsparing writer, shows promise as a director. He has not made a flashy art film, but it’s a smart, biting and occasionally sweet character piece about unlikable characters that you still may want to root for, because, though it may be hard to admit, they’re not so different from us.
“When You Finish Saving the World,” an A24 release in theaters Friday, is rated R by the Motion Picture Association for “language.” Running time: 88 minutes. Three stars out of four.
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MPA Definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.
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There’s no such thing as a perfect kiss when you’re 12—ask Finn Wolfhard. In a new interview the Stranger Things star responded to criticism from costar Millie Bobby Brown on his kissing skills.
In case you forgot: Last year Brown took a lie detector test for Vanity Fair about Wolfhard’s kissing skills, and the results were brutal. In the first season of Stranger Things, Mike (Wolfhard) and Eleven (Brown) formed a bond that felt like a little more than friends. By the eighth episode, their chemistry was palpable and it led to a perfectly awkward first kiss that neither of them would forget. At the time, Wolfhard was 12 and Brown was 11. Mike and Eleven’s relationship blossomed and transformed throughout their teen years, but Brown hasn’t forgotten about how “lousy” their first kiss was. (Sadie Sink had an awkward first kiss on Stranger Things too.)
The interviewer reminded Brown of her own words—“You exclaimed, ‘Kissing sucks!’ after your first kiss with Finn Woolfhard—is Finn just a lousy kisser?” The loaded question had a truthful, almost immediate answer: “He is.” To rub salt in the wound, the interviewer asked if Wolfhard has improved, and Brown said, “Not with me, no.” Ouch!
Luckily, Finn Wolfhard isn’t taking it personally. In a preview for Wolfhard’s appearance on The Drew Barrymore Show, he addressed Brown’s criticism lightheartedly. “You know what, I was fine with it…. I didn’t know how to approach that in any way,” he shared honestly, adding, “The romantic way of putting it was that I headbutted her. But I was 12, so, you know, I probably would have done the same thing if I was not onscreen in front of the entire world.”
The fourth season of Stranger Things came to a close in July 2022 and won’t return to Netflix until 2024 for its fifth and final season, meaning Brown and Wolfhard will have one more season of lousy kisses.
Crystal Dynamics has a special week lined up for fans of the two archers in Marvel’s Avengers. Kate Bishop and Hawkeye are both getting their own comic book skins, which players can buy when the store updates on January 19.
? Wanted: the Hawkeye Bandit! ? Kate Bishop’s ‘Lady Katherine’ Outfit arrives tomorrow in the Marketplace, depicting the Outfit her Battleworld doppelganger wears in “Secret Wars Journal (2015) #1.” pic.twitter.com/5vRIKSf14R
Kate Bishop’s costume is from “Secret Wars Journal (2015) #1” where Kate is instead Lady Katherine of Bishop in the year 1602, which explains her more simplistic gear. The skin should be 900 Credits (which is about $9). Kate Bishop’s Hawkingbird skin is also still up for Prime Gaming members.
? Hawkeye’s ’90s Glory’ Outfit arrives in this week’s Marketplace update. The Outfit is inspired by the suit he wore in “War Machine #18” when he teams up with Jim Rhodes to battle a monster in the woods. Available in the Marketplace tomorrow! pic.twitter.com/BjAtIlOVwf
Hawkeye’s “’90s Glory” is the other costume coming to the store on January 19. This getup is inspired by his appearance in “War Machine #18” where he takes on a beast alongside War Machine. This skin should also be 900 Credits.
It’s unclear what else will be new for the game this week since there’s no War Table post. The last few updates have also been unceremoniously pulled from the game’s website, as the most recent entry dates back to November 24, 2022. Prominent Marvel’s Avengers leaker Miller Ross noted that Crystal Dynamics finally got off Square Enix’s servers, which could explain the oddities (the new URLs also now say “crystald” instead of “square-enix). Embracer Group completed its acquisition of the studio in May 2022.
Crisscrossing story lines with returning ”Star Wars: The Bad Batch“ sends viewers to watch the animated anthology series
In this weekly data series powered by Parrot Analytics we look at the top breakout shows of the past week. Breakout shows are the most in-demand series that have premiered in the past 100 days.
Interestingly, Disney+’s “Tales of the Jedi” had a 5% increase in demand that pushed it back up into the rankings with 13.7 times the average series demand last week,
The spike in demand for the series comes as a result of the interconnected universe and story lines between the show and “Star Wars: The Bad Batch,” which premiered its second season on Jan. 4.
Meanwhile, the Sheridan-verse’s “1923” seems to be doing wonders for Paramount+. The series rose up to third place with 24.5 times the average series demand in the U.S. this week, hot on the heels of another Sheridan show, “Tulsa King,” which took second place with 29.1 times the average series demand — a 7% spike in demand was observed after its penultimate episode debuted on Jan. 8.
As mentioned earlier, both shows have been big successes for Paramount+, and the latest spike in demand for “1923” could be linked back to the announcement that the show would be taking a break and returning again on Feb. 5, leaving fans with plenty of time to catch up with the recent episodes as they wait.
Netflix’s mega-hit series “Wednesday” seems to still be ruling audience attention as a 23% spike in demand was observed for the show this week. The increase in demand for the show came right after the platform announced that it would be renewing the show for another season. With good reason too, considering that this week it had 45.4 times more demand than the average series in the U.S. for the week.
Disney+’s “Willow” had a 17% increase in demand last week after its finale episode debuted on Jan. 11. The show has been streaming episodes since Nov. 30, so it’s likely that we may see audience demand spike for it once again next week as viewers begin catching up to all the episodes.
Netflix’s latest series, “Kaleidoscope,” made its first appearance in the rankings this week and took sixth place with 19.9 times the average series demand. The series has been the talk of the town lately, mainly due to its unique format that allows its episodes to be watched in any order.
10 most in-demand news shows, Jan. 7-13, U.S. (Parrot Analytics)
Tokyo MX’s “Bocchi the Rock!” had a further 5% increase in demand this week and held on to its position in seventh place for another week with 17.8 times the average series demand.
Andrea Wads is a marketing coordinator at Parrot Analytics, a WrapPRO partner. For more from Parrot Analytics, visit the Data and Analysis Hub.
We thought it might be fun to have a change of pace, during this awards season, and accelerate into some high-octane automotive action! In this special guest post our friend, director and action design expert Lawrence Ribeiro and his team discuss the critical elements of assembling a dynamic, logistically feasible and—above all—safe car chase sequence. Here are five tips for filmmakers looking to put the pedal to the medal…
THE THREE B’s
When shooting, cars need to come toward the camera—not away from it. Of course, that’s not always possible. But since the theater screen or TV is only two-dimensional, you have to create an element of “danger” to simulate speed and excitement. So think of the Three Bs: Bullitt, Bond and Bourne.
In these films, roughly 60-70% of the chase sequence shots are of vehicles coming at the camera. These shots are harder to execute for the filmmaker, since the vehicles must be placed behind the camera—whether part of a camera car, van or just on sticks standing still with cars driving past.
Before 1968’s Bullitt, director Peter Yates did a film in England called Robbery—watch the car chase because you’ll see how Bullitt evolves some of these techniques with the use of a camera car.
The very first modern car chase sequence (if you don’t include the Keystone Cops) was Thunder Road, starring Robert Mitchum. Part One are on YouTube. It’s easier to break down the shots when the chase is simple. The Bourne Supremacy or Ultimatum is the “orchestra” version of a car chase. And the Fast series is what I call a “military-grade” car chase—a full-on assault.
TOY CARS
Try blocking out your chase sequence with Hot Wheels. This is a great $50 investment to get everyone on the same page. You can use chalk to make your own lanes on the sidewalk or on the road itself or simply use a coffee or dinner table. It will allow you to see the cars in action—camera car, hero car, etc.—all in miniature scale. This can take a few minutes, but it will manifest the problems or confusions quickly.
You’ll also see where the camera needs to be (incorporating our first tip), which will help with the budget in terms of the shot list. This isn’t rocket science, but it is a tool worth its weight in gold. Remember: there’s no room for error here, and time is money. I treat my shoots like a military operation. No step is missed or ignored.
EDITING
At this point, you should have an idea of how this should be edited. Don’t wait and see. Compartmentalize the chase into whatever you deem important—beginning, middle, end, high point, etc. I feel my strongest trait is that I see the edit while I’m shooting. This skill comes over time. The great reveal is after you edit, you see what shots you need. This comes with practice and will make you a better filmmaker.
SOUND DESIGN
With car chases, sound is like a hand in glove. You can’t have one without the other. If you were to turn the sound off your favorite car chase—Fast, Bourne, Bullitt—it would be rendered insignificant… it doesn’t matter how big the stunts are! You need to budget for sound and really consider what cars you will use. If you have a Corolla versus a Mustang, the sound and its effect on the audience will be affected, good or bad.
A good sound designer will have a library, but—this is really important—the sounds have to match the car. What does this mean? It means if you used a BMW or Honda but use Ferrari sounds it doesn’t work, and the audience will tune out. And if your target audience are car nuts, they’ll pick it apart no matter how clever your chase is.
A good way to estimate for this is to start with a rough structure of the chase, then allow maybe two or three single passes for the sound designer. Ideally you’re at picture lock. If you don’t have money for crashes and stunts, this is the best bang for your buck!
I highly recommend “listening” to The Bourne Identity. Those cars are not high-powered machines, but the Parisian sounds add so much texture and create realism and atmosphere. Pay attention, to the shifting, glass breaking, police sirens, etc. Training your ears now will help you with the sound design later on.
THE PRODUCERS
This is the most important and crucial element. I have nothing but respect for producers, as they’re the glue holding everything together. But I have a policy—if the producer won’t listen, I move on, as it will be more trouble than the car chase itself!
I’ve worked in many different cultures and given Action workshops around the world across all industries—TV, studio movies, indie film, advertising. The most common thing I hear is that car chases or “stunts” are expensive. This is simply not true, but people haven’t been in an environment where they can learn and budget accordingly.
The most dangerous are the producers who “know” because they’ve done a bunch of films but haven’t done stunts or action. You don’t know what you don’t know.
WHAT NOT TO DO
Case in point: a major streamer asked me to oversee a TV series near the Middle East. There were 12-15 car chases alone, explosions, fights, etc – we live for this stuff!. Keep in mind this streamer develops local talent, meaning using talent from that country. Then they bring in a veteran from L.A., London, etc. to incorporate a Western production model.
On this project, however, the producer, director and DP had never done action or stunts. This was a problem. The writer had taken liberties on the car choices in the script, before the director and the stunt coordinator could have a conversation about it. You can work around this, but it’s best to touch base earlier in the process.
This project was shooting in the rain, at night, on cobblestone roads. Again, all these things are possible. But it adds danger. Cobblestones have no grip and act like ice. Adding rain amplifies that. Night lighting set-ups, the filming approach, etc. are different. This had been one my first questions: “Are there cobblestones?” The production team was not aware. The next week I received photos from locations—all cobblestones.
Now this is where it gets tricky… they’re shooting in December and January. Now, it’s reckless, as it’ll freeze at night time.
Then the schedule changes weekly or biweekly—nights and days. Most people are just not operating 100% when shooting overnights and then switch back to days. More than likely the stunt drivers can’t speak English. It was a lot of things starting to add up… and it’s the details that are important.
As further review, they sent pictures of the location. Where they planned to do the stunts was in the middle of nowhere—that’s fine, but now you need generators for lights and to bring in the rain machines. They would send me photos taken during the day, when ideally I would have seen some photos at night time as well.
When I pushed back on these items, the producer said she had “confidence” in the director and DP. Let me be very clear: this is not something you show up and start doing. Of course, the stunt coordinator is a key collaborator and will help, but the budget just wasn’t there—they were making expensive choices. If I was to say one thing…when you don’t have the budget, have the environment do the work!
After I expressed all this, the producer conceded that I train the DP. But you don’t know what you don’t know. So what can happen is, the camera crew can get white-eyed! Its speed, stunts, cars coming at them—and in this case on cobblestones, in the rain, at freezing temperatures.
There are work arounds—lenses, angles, editing, tires—but we didn’t get there on this project, and I wasn’t going to be the fall guy. The truth of the matter is, it’s producers who I should be working closely with and training. That is the future of action.
You can be smart and safe as well. Learning to recognize and implement this comes with experience.
THE FINISH LINE
Bonus tip: hire the most experienced stunt coordinator and stunt people you can. Precision drivers work with six feet… stunt drivers work with six inches and are always looking for the camera. They are trained to do such. They will get you the shots. You need to get it with as few takes as possible. My guys don’t need more than two takes… if it’s more than that, then it’s on us.
For Fast and Furious, those stunt performers are hand-picked. They got skills. They constantly train on their craft. My team needs to know cold three skills sets—driving, fighting, rigging—and for further reference, I would say this is more of a U.S. model. In Britain, they have a certification process and it is skill specific. In the American model, if you don’t have a big team or budget you can be clever and overlap those skillsets. Three performers then become like five.
Do your homework, watch movies, and be smart about this… and most of all be safe!
To learn more about Lawrence Ribeiro, visit his website. Check out Ribeiro’s Part Deux: The Chase to see these principals of car chase Action Realism in practice:
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TOP PERFORMERS: Sidney Crosby has 21 goals and 31 assists for the Penguins. Evgeni Malkin has five goals and six assists over the past 10 games.
Brady Tkachuk has 16 goals and 30 assists for the Senators. Tim Stuetzle has scored nine goals with four assists over the last 10 games.
LAST 10 GAMES: Penguins: 3-5-2, averaging 2.8 goals, 4.5 assists, 3.7 penalties and 8.1 penalty minutes while giving up 3.4 goals per game.
Senators: 5-5-0, averaging 2.8 goals, four assists, 3.5 penalties and 7.9 penalty minutes while giving up 3.5 goals per game.
INJURIES: Penguins: Kris Letang: out (lower-body), Ryan Poehling: out (upper body), Jan Rutta: day to day (upper-body), Josh Archibald: out (undisclosed), Jeff Petry: out (upper-body), Tristan Jarry: out (lower-body).
Senators: Mathieu Joseph: out (lower body), Artem Zub: out (lower-body), Rourke Chartier: out (upper-body), Tyler Motte: out (finger).
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The Associated Press created this story using technology provided by Data Skrive and data from Sportradar.
“I don’t know if the truth has come out of her mouth since [my wife Kortnie O’Connor] and I have been together,” Edmonds, 52, said during the Wednesday, January 18, episode of the “Hollywood Raw” podcast. “I can give you an entire list, if not all of three years, of straight lies.”
The former MLB star and wife Kortnie O’Connor — whom he married in September 2022 — went on to tell their side of the story about several accusations the “Intimate Knowledge” podcast host, 38, has made including Edmonds getting remarried on her birthday.
“It’s just little jabs like that. It’s been nonstop for three years, and it’s so f–king annoying,” he said, adding that he wasn’t even aware the rumor existed until “two or three weeks later” after he got home from his Italy nuptials.
O’Connor added, “It was never served to us. No one ever came here. … We had no idea.”
Edmonds and King married in 2015 and split four years later amid rumors that the California native had been unfaithful. He denied the cheating claims at the time, telling Us Weekly, “Regrettably, I had a lapse in judgment. I engaged in inappropriate conversation with this persona. At no time was there any time of relationship or physical contact. Absolutely none.”
On Wednesday’s podcast, Edmonds once again shut down rumors of any extramarital affairs, calling it “embarrassing” and an “absolute joke.”
Prior to their split, the former St. Louis Cardinals player and the Bravo star welcomed 6-year-old daughter Aspen and 4-year-old twin sons Hayes and Hart, the latter who had previously been diagnosed with periventricular leukomalacia. (Edmonds also shares a son, Landon, and a daughter, Sutton, with exAllison Jayne Raski and daughters Hayley and Lauren with his first wife, Lee Ann Horton, who died in 2015 after battling brain cancer.)
In October 2020, King revealed that Hart had also been diagnosed with cerebral palsy.
“Even though he’s the same kid, I expected it to hit me hard. But it didn’t,” she wrote in a blog post at the time. “It didn’t hit me hard at all. In fact, I felt relieved. … This is the once dreadful diagnosis I knew was coming since that fateful day I googled the right thing and it hit me like a truck: CP. I knew it was CP since Hart was a few months old. I just knew.”
King went on to write that CP is defined as “brain paralysis,” calling it an “exceedingly misleading and ridiculous designation.”
On Thursday, however, Edmonds claimed that while Hart does have periventricular leukomalacia, he has never been officially diagnosed with cerebral palsy.
“I’m like, well, OK then tell the truth. Don’t tell the sad stories all the time. Just be straight,” he said.
Edmonds, who shared that he and King are now coparenting through a nanny, also took issue with his ex-wife’s dating life — the TV personality datedTrevor Colhoun, Bachelorette alum Mike Johnson,Will Roos and was briefly married to President Joe Biden‘s nephew Cuffe Owens — claiming that his “poor kids” are going to grow up “thinking every guy is mean.”
When asked if he sees “any road to peace with her any time soon,” the former Chicago Cub player replied, “Not as long as she talks.”
“Monday Night Football” alum Lisa Guerrero is getting real about her time as a sports journalist in the early 2000s in her new memoir “Warrior,” most significantly revealing that she had a miscarriage during an on-air live football game.
After experiencing an intensifying pain in her abdomen during a game as a sideline reporter, “I pushed through and did my reports,” Guerrero wrote in an exclusive excerpt of her memoir shared with People on Wednesday. “When I felt a dampness between my legs, I thought, ‘Oh, I got my period.’ And then I remembered I was pregnant. I was having a miscarriage! I could feel blood leaking.”
Though the officials’ bathroom was in the tunnel right behind Guerrero, when she informed her assistant that she was headed to the restroom, he looked at the journalist like she was “insane” and said, “They’re about to throw to you.”
Guerrero then pushed through her “excruciating” pain to deliver her live report, though she felt “dizzy and nauseated.” She even reminded herself to stand up straight as MNF’s executive producer Freddie Gaudelli would reprimand her for bad posture on their Wednesday phone calls.
“As soon as I finished, I raced off to interview a coach,” Guerrero recalled. “Then I headed to the bathroom. As I sat on the toilet, I couldn’t believe the blood pouring out of me. It had soaked through my pants. I shoved a bunch of paper towels in my underwear.”
During the traumatic moment, the longtime “Inside Edition” reporter says she went into “autopilot” mode, with “the only thought thought that crossed [her] mind [being] that [she] could get through the rest of the game as long as [she] buttoned up my long winter coat.” Though she now realizes she should have gone to the hospital or sat out the rest of the game, in the moment it never occurred to Guerrero to tell anyone about what was happening to her.
After the game was over, Guerrero went straight to the plane instead of meeting with Gaudelli as was previously scheduled, where she changed clothes and dumped her pants and underwear in the trash.
The recollection marks just one of the many painful incidents Guerrero sheds light on her in book, as male reporters made derogatory remarks about her body, clothes, posture and sexual exploits.
“I looked into the mirror and didn’t recognize the pale, gaunt, scared, and so very tired woman who stared back at me,” Guerrero recounted.
With “Pinocchio,” Guillermo del Toro crafted a thoughtful and philosophical stop-motion animated feature that centers on the father-son relationship, political upheaval and death. It’s not a remake of the Disney classic — a version del Toro loves — rather, it’s derived from Carlo Collodi’s novel.
At Variety‘s Artisans Screening Series, del Toro talked about balancing dark themes, like fascism, and making the story accessible to younger audiences. “Kids are far more complex than the soccer parents give them credit for,” del Toro said. He went on to say, “Kids are thankful when you give them the pieces to understand the real world, not when you take it from them because things might be tough.”
Del Toro told the audience that the pandemic had made children more aware of the brevity of life. He said, “We are in a world where everybody experiences death. Normally the kids they think about in studios are skateboarding kids in suburbia, but a kid now is Greta Thunberg.” He continued, “A kid now knows that the doomsday clock is ticking. They know we have destroyed ecology. They know we have destroyed society. They know everything that is going wrong. So, they appreciate an explanation. The movie is constructed with parallel stories of fathers and sons.”
Del Toro was joined by director Mark Gustafson, composer Alexandre Desplat, sound designer and supervisor Scott Martin Gershin, production designer Guy Davis and songwriter Roeban Katz.
In the film, Pinocchio finds himself face-to-face with Death (voiced by Tilda Swinton) numerous times and has to make decisions about his path. Death is maternal, del Toro told the audience. She’s the one who guides him.
As Pinocchio navigates death, the film explores several father-son relationships. Del Toro said, “We parallel the stories of the father and the son and the fascist side, Volpe and Spazzatura, Jesus Christ and his father.” He noted that the stop-motion puppet of Pinocchio also had nails on him, like Christ, adding, “I think it’s not the story of a boy learning to be a real boy but a man learning to be a real father, which is a lot more interesting to me.”
The panel also discussed how the song “Ciao Papa,” written by Desplat, del Toro and Katz, came together. Del Toro revealed he had approached Nick Cave and Beck as potential songwriters, but in the end, the trio collaborated on the tune’s lyrics and music, with Desplat using wooden instruments to underscore the film’s aesthetic. “The percussions, the piano, harp, mandolins, guitars and even the accordion was made from wood,” he said.
Following the NBC comedy series’ month-long hiatus, the White Lotus star will be the first SNL host of 2023 when she leads the Jan. 21 episode alongside musical guest Sam Smith. The previous episode, with Elvis star Austin Butler and Lizzo, aired Dec. 17 and featured SNL mainstay Cecily Strong’s final appearance as a regular castmember.
In a promo released Wednesday, Plaza compliments castmember Chloe Fineman on her talent for impersonating such celebrities as Drew Barrymore before offering to perform a few of her own.
“Chloe, you’re not the only one who can do impressions,” the Emily the Criminal actress boasts. She then recites a few key lines from Marcia Gay Harden’s Oscar-winning role as Lee Krasner in 2000’s Ed Harris-starring drama, Pollock.
After Fineman describes the performance as “a little intense,” Plaza segues into a memorable Annette Bening-focused scene from American Beauty. The moment involves Plaza repeatedly slapping herself, leading Fineman to grab the host’s hand.
When Fineman asks Plaza why she’s doing this, the Parks and Recreation alum bluntly replies, “Because I’m insane, and I’ve been waiting to do this show since I was 12 years old.” The pair then begin to passionately kiss for reasons that remain unclear.
The following week’s episode, set to air Jan. 28, will spotlight host Michael B. Jordan and musical guest Lil Baby.
Saturday Night Live airs Saturdays at 11:30 p.m. on NBC and streams live on Peacock.
That ’70s Show is joining the TV revival movement in the form of That ’90s Show, which will drop on Netflix on January 19.
As the title implies, it’s gonna be set in the ’90s, specifically during the summer of 1995. The main character? Leia Forman, daughter of Eric and Donna, who is spending the summer with her grandparents, Kitty and Red.
You’re obviously wondering if your favorite That ’70s Show cast members will make an appearance, and the answer — as you can see from this trailer — is YES!
View this video on YouTube
Netflix
Mila Kunis, Ashton Kutcher, Topher Grace, Laura Prepon, Don Stark, and Tommy Chong will all guest star in at least one episode. Debra Jo Rupp and Kurtwood Smith are series regulars.
Here’s what they’ve all been up to for the last 17 years:
1.
Mila Kunis (Jackie Burkhart)
2.
Ashton Kutcher (Michael Kelso)
3.
Wilmer Valderrama (Fez)
4.
Laura Prepon (Donna Pinciotti)
5.
Topher Grace (Eric Forman)
6.
Debra Jo Rupp (Kitty Forman)
7.
Kurtwood Smith (Red Forman)
8.
Don Stark (Bob Pinciotti)
9.
And finally, Tommy Chong (Leo)
Are you *psyched* for That ’90s Show? Comment below!
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Michael Lehrer, a comedian and improv actor best known for his work in ‘ Second City,’ and ‘Masters of the Internet,’ has died with the assistance of a doctor following a years-long battle with ALS. He was 44.
His girlfriend and caretaker, Colette Montague, told the Chicago Sun-Times, “Michael died with dignity on his own terms. He was not suicidal at all. … Medical aid in dying was the hardest decision he ever made.”
Despite being diagnosed with ALS, the comedian and sketch artist continued to perform at clubs while confined to a wheelchair. His bits included jokes about his life and his battle with the neurodegenerative disease.
Lehrer was a regular on ‘Kill Tony,’ a live comedy podcast based in Austin, Texas where Joe Rogan and Ron White often appeared. Rogan paid his respects to Lehrer in an Instagram post.
“The courage this man had to do stand up while battling a debilitating disease was insanely impressive, and though he struggled to get words out the man would KILL onstage,” Rogan said. “He was a real legend, and I’m going to miss him very much.”
In 2014, Lehrer was selected for the ‘New Faces of Comedy’ showcase at the Just for Laughs Comedy Festival in Montreal.
Lehrer’s roots are deep in the Chicago comedy scene. The Columbia College grad co-wrote and co-starred in three revues at the Second City e.t.c. theater, where his castmates included such future stars as Aidy Bryant, ‘Saturday Night Live,’ Chris Witaske, ‘Chicago Party Aunt,’ and Tawny Newsome, ‘Space Force,’ according to the Chicago Sun-Times.
In addition to Montague, Lehrer is survived by a son, Colin Heaton among other family members.
A GoFundMe page was set up in support of Lehrer’s son.
Fellow comedians posted tributes via social media.
The Second City is sad to report the passing of alum Michael Lehrer.
He helped create four original sketch revues for The Second City, including the Jeff Award winner for Best Revue, Sky’s The Limit (Weather Permitting).
Start marking your calendars for movie nights this year as Netflix rolls out its list of new releases for 2023.
Spanning from fantasy to action thrillers, viewers can check out Jennifer Lopez as a female assassin in The Mother, Kevin Hart pulling off an international bank heist in Lift or go on a fantasy adventure with Millie Bobby Brown, Angela Bassett and Robin Wright in Damsel.
Stay on the edge of your seat with in Sam Esmail’s thriller Leave the World Behind starringJulia Roberts and Mahershala Ali, Idris Elba’s return to Luther: The Fallen Sun, and David Yates’ drama The Pain Hustlers.
If you’re looking for romantic comedies, Reese Witherspoon and Ashton Kutcher star in Your Place or Mine, and Nicole Kidman,Zac Efron, and Joey King grapple with A Family Affair.
Star Trek: Prodigy creators share their big hopes for future seasons of the animated series and even the potential of a live-action feature film.
The future of Paramount+’s YA animated series, Star Trek: Prodigy, has received an exciting update as the project aims to expand its presence beyond the small screen. Star Trek: Prodigy debuted on Paramount+ in late 2021 and streamed 20 total episodes by the end of season 1 in December 2022. The series follows a group of enslaved teenagers as they steal a derelict Starfleet vessel to escape and explore the galaxy. The series was created by The Lego Movie scribes Dan and Kevin Hageman and has been received well by audiences and critics dating back to its debut.
SCREENRANT VIDEO OF THE DAY
In a recent interview with the Mission Log podcast(via TrekMovie.com), the series creators were joined by producer Ben Hibon to discuss the future of Star Trek: Prodigy. The creators shared their big hopes for future seasons of the show and even said that they’re interested in making a movie about the characters of the show. Check out Kevin Hageman’s comments on the future of Star Trek: Prodigy below:
All our heads are always in the clouds here. Like we want to do an animated movie. I would love for the show to keep going for many, many seasons. And then, sort of like what they did with The Next Generation–they had the show, and then they started spin off and do the features. And so to be able to have the show, and then to have a feature, like it’d be amazing. Not just an animated feature, but if you could do a live-action feature it would be absolutely stunning. So we have lofty ambitions.
[Dan interjects: Theme park rides!]
Ramsey Naito, who is the head of animation for all of Paramount and Nickelodeon, so whenever we sit down with her, she’ll bring up maybe a season three and talking about possibilities and we’re like, “Season three and season four and we have an idea for the movie.” And she’s like, “Woah, woah, one thing at a time.” So we’re pushing as hard as we can. And everyone at the network and the studio have been so supportive, so wonderful. They love our show. Notes are so minimal. The trust that they have in all of is is so great. I think the future of our series just it really rests in viewership. If the viewers are there, then the show will keep going. But if the viewership isn’t there, if the numbers aren’t there. it’s going to be hard to convince the studio.
Everything We Know About Star Trek: Prodigy Season 2
The Star Trek: Prodigy season 1 finale was an emotional ride for the show’s core group of kids. Hologram Janeway stayed aboard the Protostar ship to ensure the core explosion detonation. The explosion destroyed the living construct, but it also saved the solar system and Starfleet from destruction. Vice Admiral Janeway is still alive, though, and she is now in need of a crew for her mission to save Captain Chakotay. The Protostar crew should be up to the challenge in their next mission, which will feature a brand-new ship even larger than the Protostar, as Janeway teased at the end of Star Trek: Prodigy season 1.
Plenty of unanswered questions remain for Star Trek: Prodigy season 2. Asencia’s whereabouts are currently unknown, though it has been confirmed that she is still alive. The new ship tease is also exciting, as is Gwyn’s new mission to Solum, which is a particularly personal journey. With the new mission on the horizon, Star Trek: Prodigy season 2 should feel very different from season 1. The kids will enter a new stage in their lives with increased responsibilities, which could lead to moments of unease and eventual victory.
Admiral Janeway will be the leader of the group, which is an exciting prospect for Star Trek: Prodigy season 2 and beyond. The show’s focus can remain on the young characters, but they will have guidance from known Star Trek characters, which should continue to make connections between the series and the classic Star Trek entries. The season doesn’t have a confirmed release date at the moment, but if Star Trek: Prodigy season 2 is similar to season 1, it could have a sporadic release schedule. The show’s creators have revealed that they are in the sound mixing stage of production with the first few episodes, signaling that the animated series could return to Paramount+ in late 2023.
Michaela Jaé Rodriguez hadn’t yet made it to the dance floor at the Golden Globes official afterparty (hosted by HFPA in partnership with Billboard) inside the Beverly Hilton before she was swarmed by well-wishers and revelers congratulating her on a big night.
Rodriguez was not a nominee at the Jan. 10 ceremony but did receive a standing ovation — courtesy of Carol Burnett Award honoree Ryan Murphy, who shouted out his Pose star during his acceptance speech for her history-making (and nontelevised) win in 2022 as the first trans performer to receive a Golden Globe, for best actress in a TV drama.
“It meant more than the world to me,” Rodriguez told THR of the callout. “Especially because Ryan was the one who really discovered me and catapulted my career. I just love that he didn’t let that moment go by. I’ve been waiting for it. I always say that he is the Clive Davis to my Whitney Houston. He got me out of Newark like Clive got Whitney out of Newark, and I’m rocking with Ryan for the rest of my life.”
This story first appeared in the Jan. 18 issue of The Hollywood Reporter magazine. Click here to subscribe.
Luminate’s Year-End Report shares trends in the music industry, including album sales, streaming numbers, and how content is consumed. 2022 boasted a variety of new data.
Luminate’s annual report about the music industry showcases trends by the year and how audiences are consuming music. It follows what albums and songs people are listening along with and how they are consuming the content.
For starters, Bad Bunny’s album, Un Verano Sin Tin was the most consumed album in America, marking the first time that an album featuring music recorded in a language outside of English achieved that goal. The album has been a smash hit, becoming the second non-English album to reach number one on the Billboard 200 chart, the first being Bad Bunny’s previous album, El Ultimo Tour del Mundo in December 2020.
In terms of the music industry as a whole, album consumption, which includes “album sales plus the equivalent value of song streams and sales,” went up by 9.2% in 2023. Although the numbers still increased, it was a smaller gain than the 11.3% raise that was seen in 2021.
Streaming looks to still be the main way audiences listen to music, with 84% of US revenue in the Recording Industry Association of America (RIAA)’s mid-year report being attributed to streaming. 2022 was the first year that more than 1 trillion streams were played across America.
According to the Luminate data, as reported by Variety, audiences are also listening to songs longer, with catalog repertoire, which is a music product, “that has been on the market for 18 months or longer,” representing 72.2% of music consumption.
Songs appear to be more likely to last longer than a one-hit wonder or splash-in-the-pan single that has a limited window of popularity. Music looks to have a longer impact on listeners than in previous years.
This also may be due to the fact that with streaming, the actual content of what users are listening to is being tracked as opposed to previously when it was what albums people purchased that was the focus. With an album purchase, there is no way to know what songs are listened to the most on the album, whereas with streaming, the songs are the ones that stand out and lead to specific data about consumers’ listening habits.
A senior executive from one of the major labels sees this as a good thing. “I think it’s good that music fans are discovering great music, regardless of the era it came from. We should be agnostic as an industry to how someone wants to attach to something. It cannot always be about a new release,” he says.
“If they decide to spend five minutes or four minutes on a song, or 30 or 40 minutes on an album from a particular artist, regardless of when it came out, it’s a good thing for the business.”
From a business point of view, the focus is not on whether or not consumers are listening to a particular song by an artist, a song that just came out from the artist, or a song from the artist that came out months or even years ago. The focus is on the artists’ music being listened to at all.
The executive went on to explain how there’s competition for entertainment nowadays with the likes of sports, television, and film streaming services like Netflix, and social media apps like TikTok. Any time that consumers give to an artist and their music is still beneficial for the business.
“Shallow catalog” is a term that some music executives use to describe songs that came out a bit more than 18 months prior and still are generating sales. While current and new sales are still important, others point out that those singles from some time ago are just as important, as streaming has shown the longer-lasting impact of particular singles.
With TikTok, it is common to see songs from years and even decades ago suddenly become popular due to recent trends. An example would be the success of Kate Bush’s “Running Up That Hill” which was released in 1985. While it reached the Top 40 charts nearly 40 years ago, it received a resurgence in popularity due to its 2022 appearance in Netflix’s Stranger Things.
While the song is not a current and new song, it is a new song to a whole new generation of listeners who either discovered it in such places as the series or TikTok.
However, albums are still popular, as artists like Bad Bunny, Taylor Swift, and Harry Styles sold 3.4, 3.3, and 2.2 Million album project units respectively in 2022.
For the consumption chart, 2022 albums from artists including the Weeknd, Future, and Little Durk sold over a million units, and albums from the previous year by artists including Drake, Olivia Rodrigo, and the soundtrack from Disney’s Encanto also sold over one million units, being 2021 releases making the 2022 list.
Looking at sales, Taylor Swift’s Midnights was the top seller with, “1.8 million physical copies and downloads combined in barely more than two months.” 2022 titles that made the list include albums from artists such as Beyonce, BTS, and Tomorrow X Together. 2021 titles also made the list with albums from Adele and Olivia Rodrigo.
When discussing albums that are older than eighteen months, Fleetwood Mac’s Rumours from 1977, Kendrick Lamar’s Good Kid, m.A.A.d City from 2012, and Michael Jackson’s Thriller from 1982 came from earlier decades but still impact the album sales charts with their popularity, selling 310,000 units, 278,000 units, and 236,000 units respectively.
Vinyls outsold CDs in the US, while country and rock are the two genres that have the most radio listeners, with their fans more likely to tune in to genre radio stations as opposed to videos, audio streams, and video streams.
Cassettes grew in popularity by 28% over 2021, although the numbers are still low.
Music is also consumed differently based on the artist and fan base. 95.8% of sales for Bad Bunny’s album, Un Verano Sin, Ti came from streams and 4.2% from digital albums. Meanwhile, album sales, “accounted for more than half,” of Beyonce’s album, Renaissance, the total amount of sales, where vinyl was the highest medium at 36.4% for Taylor Swift’s latest album, Midnights.
Another interesting tidbit on vinyl sales, is “only 50% of vinyl buyers own record players,” which begs the question of how many people listen to the vinyl and how many buy it as a collector’s item.
Digital downloads have been going down ever since streaming took over as the top method of music consumption in 2015. Other tidbits include the fact that “hip-hop fans are 26% more likely to buy music merch online from a separate brand, while country fans are 31% more likely to get theirs at a live music event… Children’s, world, electronic/dance, and classical have joined Latin as genres growing faster than the industry pace.”
In addition, Gen Z spends, “19% more time with music per week and 10% more money on music per month than the average consumer.”
The music industry has dramatically changed over the years and it is fascinating to see where it will go next.
Roberta Flack is a master of interpretation, a genre-bender, a civil rights activist, an early ally to the LGBTQIA+ community and a musical genius whose ability to sonically encompass every crevasse of human emotion has captivated audiences for over five decades.
Whether you’re already a devoted fan or newcomer, here are nine signature tracks to exemplify the wondrous style and sound of Roberta Flack.
1. Compared to What
The jazz-soul protest song, written by Flack’s frequent collaborator Eugene McDaniels, is an indictment of white supremacy in America. “Compared to What,” released in 1969, was the first track on Flack’s debut album “First Take” and set the tone for the rest of the album and in many ways, Flack’s career. Flack never shied from tackling big issues in her music, in fact, Reverend Jesse Jackson once described her as “socially relevant and politically unafraid.” As observed by popular music critic B. Lee Cooper, “Compared to What” addresses “the social myth of equality and the economic reality of poverty in the stratified American society.”
In a 2020 interview with AARP, Flack commented on the political messages in her music, saying “I’m deeply saddened that many of the songs I recorded 50 years ago about civil rights, equal rights, poverty, hunger and suffering in our society are still relevant.”
2. Ballad of the Sad Young Men
Flack was ahead of her time in many ways, not least of which was her advocacy for the LGBTQIA+ community. “Ballad of the Sad Young Men” was originally written by lyricist Fran Landesman and composer Tommy Wolf for a play called “The Nervous Set” about a publisher during the Beat Generation. Flack’s famous interpretation and recording of the song is beautifully tender and mournful. She frames it, as one critic at a live show said, as a “homosexual lament” – a characteristic not explicitly present in the source material. Like with much of Flack’s music, she was able to tease out new meaning from the song.
Eric Weisbard elaborates in his book “Listen Again: A Momentary History of Pop Music”:
“‘Ballad of the Sad Young Men’ was a staple in Flack’s live concerts. As early as 1971 she openly discussed its meaning in her stage act, lest its impressionistic lyrics be misunderstood . . . There is no way to fully emphasize the political risks Roberta Flack may have faced as an R&B singer in the late ’60s, ’70s and ’80s performing and discussing songs advocating human rights for gay men and women.”
3. The First Time Ever I Saw Your Face
“The First Time Ever I Saw Your Face” was originally written by British songwriter Ewen MacColl to be performed by Peggy Seeger in 1957. Flack’s rendition, released on her album “First Take,” is much slower and more sensual, almost doubling the runtime of the original song. While it wasn’t an immediate success, Flack’s version catapulted her into superstardom when it was used in Clint Eastwood’s directorial debut film “Play Misty for Me” in 1971. The additional attention led the song to win Flack the Grammy for Record of the Year in 1972.
4. Until It’s Time for You To Go
As Tom Cottle alluded to in a TV interview with Flack in 1983 when he said “With some musicians, it’s relatively easy to categorize their music. You could say they’re pop singers or rock and roll or rhythm and blues or jazz or whatever. With this particular woman, one can label it as, indeed, many would label the woman herself, pure, gorgeous, unforgettable,” Flack’s music is impossible to categorize. Some have called it mood music, quiet storm or simply soul, but one thing can be agreed upon – Roberta Flack has the uncanny ability to meld genres into a mélange of emotion that nestles itself into the listener’s own sensory worlds. “Until It’s Time for You To Go” was originally written by Native American folk singer/songwriter Buffy Sainte-Marie in 1965. Flack’s interpretation, released on her second album “Chapter Two” in 1970, melds the folk song with classical instrumentation and Flack’s trademark gospel rhythms to create her version of the ballad.
With recent conversations around the disappearance of genre, one can’t help but identify Flack as one of the pioneers dissolving arbitrary genre (and racial) distinctions in the industry to create music that is singularly expressive and universally felt.
5. Sunday and Sister Jones
While much of Flack’s talent is based on defying genre and racial distinctions in the music industry, often listed on both the Black R&B charts and the white “adult contemporary” charts, she was still able to make her music feel personal and recognizable. Flack’s music is deeply rooted in a strong sense of self, focusing on her experience as a Black woman who grew up in the south. She maintained this self-awareness largely by incorporating gospel music into her compositions. “Sunday and Sister Jones” is a prime example of vocals that resemble lined-out hymnody, a type of hymn singing common in Black Methodists congregations, on top of a funky bass line and rock ‘n’ roll influenced instrumentation.
6. Where Is the Love
Flack often frames love as almost an art form, where elegance and refinement are valued above raw feeling to craft an endlessly deep emotional connection. Her collaboration with Donny Hathaway, “Where Is the Love,” is a prime example of this idea of love as something physical that can be molded and gifted. Flack and Hathaway collaborated frequently in their careers and had a lot in common. They both went to Howard University, were classically trained and considered musical prodigies. Their many years of collaboration ended when Hathaway tragically took his own life in 1979.
7. Feel Like Makin’ Love
On her fifth solo album, Roberta Flack took a pioneering step for Black women in the music industry by producing it herself under the pseudonym Rubina Flake. She had always been heavily involved in the production of her music, however, when her long-time producer at Atlantic Records, Joel Dorn, stepped away, Flack took the reins. The title track “Feel Like Makin’ Love,” written by Eugene McDaniels, was released as a single nine months before the album dropped and became one of the biggest musical successes of 1974, spending a week at number 1 on the Billboard Hot 100 singles chart.
8. Tonight I Celebrate My Love
Before Roberta Flack was an international success, she was a music teacher. While she eventually traded the schoolhouse for the main stage, teaching and mentorship stayed a constant theme throughout Flack’s career. With the duet “Tonight I Celebrate My Love,” Flack took Peabo Bryson under her wing. Bryson, previously a background singer, saw a surge of popularity after the massive success of the single and went on to win two Grammy Awards and record several popular songs for Disney soundtracks, including “A Whole New World” from “Aladdin” and the theme from “Beauty and the Beast” alongside Celine Dion.
9. Killing Me Softly With His Song
There is no way to talk about Roberta Flack without talking about the power of musical interpretation and there is no way to talk about musical interpretation without mentioning Flack’s megahit “Killing Me Softly With His Song.” Originally written by the up-and-coming folk singer-songwriter Lori Lieberman, Flack first encountered the song in a brochure on a plane. After listening to it on repeat she knew she needed to record it, describing it as “a song that . . . was given to me as a gift.”
Alongside greats like Frank Sinatra and Nina Simone, Flack built her career on musical interpretation – taking songs and transforming them into novel expressions of her limitless and utterly elegant inner world. “Killing Me Softly With His Song” is no exception. Flack turned the song into a majestic ballad with long melodies and a hypnotizing refrain. Her perennial interpretation has been returned to time and time again, most notably, The Fugees had a hit with it in 1996.
Microsoft joined legions of tech companies that have been trimming staff in recent moves, announcing layoffs of 10,000 employees Wednesday as part of a restructuring intended to brace the company for a potential economic downturn.
The tech giant is the latest to cut workers amid economic uncertainty that has taken a heavy toll on the tech, finance, media and housing sectors, as higher interest rates continue to weighon the broader economy. Microsoft’s revenue largely comes from cloud computing and widely used software such as Word and PowerPoint and the Windows operating system, making it particularly plugged in to larger trends in the business world.
“Microsoft laying off is a canary in the coal mine for the broader economy,” said Dan Ives, managing director at Wedbush Securities. “And I think it shows that enterprises are starting to slow spending, with a mild recession likely on the doorstep.”
Other worrisome signs emerged Wednesday, as December retail sales fell for a third month, according to the Commerce Department, reflecting a continued pullback by consumers on a range of goods, save for groceries, despite the holiday shopping season.
During the first two years of the pandemic, companies like Amazon, Salesforce and Facebook parent Meta hired tens of thousands of new workers in an effort to take advantage of surging demand for software and gadgets as people spent more time working, shopping and relaxing at home. But as people have returned to in-person life, that demand has dropped off, and rising interest rates have made it more expensive to borrow money for new investments.
Major tech firms have announced plans for at least 57,000 job cuts in the coming months. (Amazon founder Jeff Bezos owns The Washington Post.)
“Microsoft’s announcement reflects a broad belief among big tech firms that they over-hired over the past three years and that customer demand in 2023 will be uncertain,” said J.P. Gownder, a vice president and principal analyst at research firm Forrester.
The layoffs at Microsoft amount to less than 5 percent of its 221,000-person workforce. Some of the affected workers were notified as soon as Wednesday, the company said.
“These are the kinds of hard choices we have made throughout our 47-year history to remain a consequential company in this industry that is unforgiving to anyone who doesn’t adapt to platform shifts,” said Microsoft chief executive Satya Nadella in a note to staff that was published on the company’s blog.
Microsoft, in particular, had been expanding rapidly during the pandemic, adding 77,000 employees from 2019 staffing levels, according to regulatory filings.
“The tech industry in general, and especially those focused highly on software and intellectual property like Microsoft, are facing especially strong macroeconomic pressure from the forecasted economic slowdown and especially the rapid rise in interest rates,” said Josh White, an assistant professor of finance at Vanderbilt University. “A large portion of their value is based on intellectual property rather than physical equipment. All companies will be looking to employ cost-cutting measures over the coming year, but for these companies that rely on IP, cost-cutting unfortunately means layoffs.”
Experts worry that the tech job shedding could represent the bleeding edge of economic woes. Inflation has weighed heavily on Americans’ pocketbooks, shifting spending toward absolute essentials and services and away from goods.
Retailers are already being affected. The Halloween supplier and retailer Party City filed for bankruptcy in federal court on Tuesday, and Bed Bath & Beyond could be next, waylaid by $1.1 billion in losses over its fiscal year, retail experts say.
Even as fears of an impending recession build, so far the labor market has continued to show resilience, with employers continuing to add jobs through December, despite the cool-down throughout the tech sector.
Labor market strength, as well as waning inflation, fueled an optimistic sentiment among the economic elite attending the World Economic Forum this week in Davos, Switzerland. Several conference speakers and goers talked about how a recession, both in the United States and around the world, is both inevitable but likely mild.
“If I was to describe the IMF’s outlook for 2023 in one line, it would be that we have a tough year ahead, but there are signs of resilience,” Gita Gopinath, deputy managing director of the International Monetary Fund, said in an address from Davos.
Microsoft’s retrenchment is its largest in several years. The company slashed 25,000 jobs between 2014 and 2015 after shedding the mobile phone operations acquired from Nokia and largely focusing on cloud computing, business software, certain hardware products and gaming.
Nadella told employees Wednesday that Microsoft would “continue to invest in strategic areas for our future … while divesting in other areas.” The company in recent months has poured money into artificial intelligence, including an investment in the maker of the ChatGPTartificial intelligence system. In December, Microsoft announced plans to fight federal regulators to finalize its acquisition of video game company Activision Blizzard, a risky bet that exposes major regulatory liabilities, but with considerable economic upside.
In a regulatory filing, Microsoft said it planned to cut costs through changes in its hardware portfolio — the company makes Surface tablets and other gadgets — and consolidating leased office space. The near-term cost of the moves is expected to be $1.2 billion in its fiscal 2023 second quarter, which ended in December. Microsoft has allowed many of its workers to work from home since the beginning of the pandemic.
Job cuts have been tearing through the tech sphere, with an average of 1,600 workers in the space losing their jobs each day in 2023 so far, according to Layoffs.fyi.
Amazon kicked off a fresh round of cuts on Wednesday as the company looks to trim its head count by more than 18,000, in what is projected to be the biggest round of cuts in the company’s history. Salesforce, one of the most high-profile makers of cloud software for businesses,recently reduced its head count by 10 percent, or nearly 8,000 jobs. Others, like Apple, have held off on layoffs while implementing hiring freezes.
Finance has also been hard-hit, with crypto companies and banking giants like Goldman Sachs slashing thousands of positions and reevaluating expenses, from bonuses to private jets.
In the lead-up to cutbacks, chief executives such as Tesla and Twitter’s Elon Musk, Salesforce’s Marc Benioff and Meta’s Mark Zuckerberg were publicly calling out low performers for waning productivity and asking workers to do more.
Abha Bhattarai, Jaclyn Peiser and Gerrit De Vynck contributed to this report.
Tiffany Haddish, Sam Richardson, and Zoë Chao are joined by Elizabeth Perkins, Zach Woods, Paul Walter Hauser, and more.
Apple TV+ is throwing a brand new party. The second season of murder mystery comedy series “The Afterparty” is set to premiere on the streamer April 28, it was announced out of the streamer’s Television Critics Association Winter Press Tour. To celebrate, Apple also released four first-look photos for the season, which shows returning stars Tiffany Haddish, Sam Richardson, and Zoë Chao, as well as new cast members of the whodunnit anthology’s second outing.
First released in January last year, “The Afterparty” is a high-concept comedy series where each season focuses on a murder case, and each episode retells the story of the night from a different character’s perspective, as a pastiche of a different film or TV genre. In Season 1, the case took place at the afterparty of a high school reunion, with Haddish playing a detective interviewing a group of suspects that included Richardson, Chao, Ike Barinholtz, Ben Schwartz, Ilana Glazer, Jamie Demetriou to solve the murder of Xavier (Dave Franco).
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Season 2 of the comedy series sees Haddish, Richardson, and Chao return for a new case at a wedding, where a groom is murdered, and every guest becomes a suspect. Elizabeth Perkins, Zach Woods, Paul Walter Hauser, Poppy Liu, Anna Konkle, Jack Whitehall, Vivian Wu, John Cho, and Ken Jeong play the new group of party guests that Haddish interrogates.
“The Afterparty” was created by Chris Miller, one-half of a filmmaking and producing duo with Phil Lord that resulted in projects like “The Lego Movie,” “21 Jump Street,” “Spider-Man: Into the Spider-Verse,” and “Clone High.” Season 2 is run by Miller and Anthony King. Miller and Lord executive produce through their production banner Lord Miller, while King also executive produces, and Lord Miller’s Television SVP Aubrey Lee produces. TriStar TV and Sony Pictures Television produce the series for Apple, as part of Lord and Miller’s current five-year TV deal with the production companies.
Season 2 of “The Afterparty” will premiere with two episodes April 28. One new episode in the 10-episode season will premiere weekly on Fridays, with the finale set for June 23. Take a look at the first look photos below.
In Apple TV+’s City on Fire, which hails from executive producers and showrunners Josh Schwartz and Stephanie Savage, a suburban teenager must unravel the mystery of his friend’s murder after she’s shot in Central Park on Fourth of July in 2003.
The series, which is set for a May 12 premiere, is based on the novel of the same name that takes place in 1970s New York — a time of severe financial crisis and widespread panic in the city due to a string of shootings (known as the Son of Sam murders). The show jumps forward in time to another period of uncertainty in New York post-9/11.
“We felt like, while a fascinating period, [that era is] well trodden territory. We were really interested in that post-9/11, Occupy Wall Street [era] in New York. Obviously, the book culminates in the blackout of ’77. There was a massive blackout in 2003. So creatively, that storyline lined up. But also thematically, 1977 was a time when people weren’t sure that our city was going to survive. Post-9/11 New York, people had the same concerns, the same fears,” Schwartz said during AppleTV+’s Television Critics Association panel on Wednesday.
Despite the time difference, the story remains largely the same. Samantha (played by Chase Sui Wonders) is alone when she dies, and there are no witnesses and very little physical evidence. Her friends’ band is playing her favorite downtown club but she leaves to meet someone, promising to return. She never does. As the crime against Samantha is investigated, she’s revealed to be the crucial connection between a series of mysterious citywide fires, the downtown music scene, and a wealthy uptown real estate family fraying under the strain of the many secrets they keep.
Wyatt Oleff plays Charlie, a friend of Samantha’s who is struggling to cope with the death of his father on 9/11 two years earlier. After she is shot, he stops at nothing to uncover the mystery of what happened.
The punk scene in downtown New York plays a huge part in the novel, and luckily the early aughts were another palpable time for music in the city, as Schwartz explained. “That’s when rock and roll got reinvented or saved, however you want to put it, in the downtown New York music scene. A lot of those artists are featured in the show, and we have a fictional band in the show…which was an endeavor to create the best band from the early aughts you’ve never heard before.”
City on Fire is produced by Apple Studios for Apple TV+. Schwartz and Savage wrote all eight episodes and serve as showrunners and executive producers under Fake Empire. Jesse Peretz directs four episodes and serves as executive producer. Fake Empire’s Lis Rowinski serves as co-executive producer.
The series also stars Jemima Kirke, Nico Tortorella, Ashley Zukerman, Xavier Clyde, Max Milner, Alexandra Doke, Omid Abtahi, Kathleen Munroe and John Cameron Mitchell. It will debut on AppleTV+ on May 12.
Cast: Alia Bhatt, Sanjay Dutt, Aditya Roy Kapur, Jisshu Sengupta, Gulshan Grover, Makrand Deshpande
Director: Mahesh Bhatt
This is what we call lifting the baton from where it was left because director Mahesh Bhatt’s film is straight out of the ‘90s, or maybe ‘80s or ‘70s, depending which timezone you think produced worse films. It’s so terrible that you would love to take any other road than this one, which is full of potholes.
Sadak 2 is not what the trailer promised, which received a truckload of dislikes. It’s worse.
As far as the story goes, it’s forcefully fitting Sanjay Dutt playing a supportive elder to Alia Bhatt in a film with at least 10 minute footage from the original film, Sadak (1991). They have used a hit song from the past too with Sanjay Dutt reminding that once we ran after high-waist pants, and silhouettes were fashionable for DOPs in Bollywood. And the sequel is named Sadak 2 because there is a road trip. That’s how simplified the film is!
So, taxi driver Ravi (Sanjay Dutt) has lost his wife and wants to die but the ceiling fan gives up. After making some sweeping statements about mental health while trying to look concerned, he agrees to take Arya (Alia Bhatt) and Vishal (Aditya Roy Kapur) to Ranikhet.
Among other things that happen on the road are some big revelations about Vishal’s drinking issues and Jisshu Sengupta’s tricky position as a businessman and father. Then there is Makrand Deshpande, but he deserves a separate paragraph, so we will come back to him later.
It’s a typical Mahesh Bhatt ensemble with only Avtar Gill missing though a couple of characters look tailor-made for him. It’s like one of those films where characters announce their arrival with either whistling a peculiar tune or by simply blurting out a really bad line.
It’s surprising to see the primary actors’ submission to such a badly written script, and then they translated everything on to the screen with even worse body-language and movement. There is an armless person trying to wrestle five people, there is a woman swaying as if she is high on substance with half a kilo vermillion on her forehead and Aditya Roy Kapur, who is once again an addict. There is some kind of competition to look and act weirder.
And before I forget, there is an owl called Kumbhkarna who attacks bad guys on Dutt’s command. If only he had sent the owl towards the writer!
On paper, the film is about a godman and his exploits, but in reality, it’s about being sociopaths for no reason.
You would, in fact, feel bad about Alia Bhatt and Sanjay Dutt, who probably wouldn’t have done this film if it was not by Mahesh Bhatt. It’s worse than even Mr X which has a ‘brahmarakshas’.
But you know what really pained me? A character saying, “Tum meri poori baat sune bina nahi mar sakte (you can’t die without letting me complete).”
What do I do! I paid a heavy price, only because you could be saved.
It’s the worst Hindi film of the year with such recognisable faces. I am not going with zero only because it also has Akshay Anand, who still looks the same.
Don’t take this road. Puncture your own car if others force you to come along.
A journalist with over a decade of experience, Rohit values films as a strong catalyst for social changes. He is equally interested in sports and poli…Read More
“All I can say is, I am so envious I didn’t get to be on set for this production,” Peele said alongside “Oppenheimer” and “Nope” cinematographer Hoyte Van Hoytema.
Nope, “Barbie” isn’t the most anticipated film of 2023, according to writer-director Jordan Peele.
The “Get Out” and “Nope” auteur is counting down the days instead until Christopher Nolan’s nuclear biopic “Oppenheimer” debuts in theaters. During the “Happy Sad Confused” podcast, host Josh Horowitz asked “Oppenheimer” cinematographer Hoyte Van Hoytema, who collaborated with Peele on “Nope,” about what to expect from the black-and-white IMAX film.
“The thing is, it is really hard for me to talk about this film because we simply haven’t really sort of all together agreed what we can say and what we want to say,” Van Hoytema said, “so I’m just going to shut up.”
Peele added, “I don’t work for the film, I don’t have a contract or anything. All I can say is, I am so envious I didn’t get to be on set for this production. The talent is incredible. The images, I have seen a couple of images from it that just look so beautiful. It’s going to be a real…It’s what I’m most excited for next year.”
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“Oppenheimer” is based on the life of theoretical physicist and “the father of the Atomic bomb” J. Robert Oppenheimer, played by Cillian Murphy.
Oppenheimer was the head of the Los Alamos Laboratory and oversaw the “Manhattan Project,” which first developed nuclear weapons for World War II. He also supervised the Trinity Test, in which the first atomic bomb was successfully detonated in New Mexico. Emily Blunt plays Oppenheimer’s wife, biologist and botanist Katherine “Kitty” Oppenheimer. Matt Damon portrays General Leslie Groves Jr., director of the Manhattan Project, and Robert Downey Jr. plays Lewis Strauss, a founding commissioner of the U.S. Atomic Energy Commission. Florence Pugh plays psychiatrist Jean Tatlock, Benny Safdie is theoretical physicist Edward Teller, Michael Angarano takes on Robert Serber, and Josh Hartnett plays pioneering American nuclear scientist Ernest Lawrence, amongst an all-star cast.
The trailer for “Oppenheimer” premiered ahead of Peele’s “Nope” in theaters. Director Nolan revealed last year that the biopic used practical effects (aka, actually blew things up) to recreate atomic bomb explosions.
“It’s one of the most challenging projects I’ve ever taken on in terms of the scale of it, and in terms of encountering the breadth of Oppenheimer’s story,” Nolan said. “There were big, logistical challenges, big practical challenges. But I had an extraordinary crew, and they really stepped up. It will be a while before we’re finished. But certainly as I watch the results come in, and as I’m putting the film together, I’m thrilled with what my team has been able to achieve.”
Apple TV+ has announced a spring premiere for season three of its Emmy-winning comedy Ted Lasso and released a first image from the coming run (it’s at the top of this story). The streamer did not, however, say whether the coming season will be the show’s last, as has been widely speculated.
Creators Jason Sudeikis, Bill Lawrence, Brendan Hunt and Joe Kelly sold the series — based on a character Sudeikis played in a series of NBC Sports promos — with a pitch for a three-season arc. “This story is going to be over [in season three], regardless, even if the show finds another story to tell and goes on,” Lawrence said on The Hollywood Reporter’s TV’s Top 5 podcast after season two ended in October 2021.
Hunt, who plays Coach Beard on the series, echoed that idea in an interview with THR: “We are writing an ending for this three-chunk portion that we’ve always seen, but it’s not like Thanos is in it and half of us die. Most of us, anyway, will probably still be alive, so I don’t think leaving an out is anything to worry about. It’s just a matter of whether or not we pick this up in some other way, and when.”
That said, when the cast signed new deals with significant pay bumps ahead of production on season three, they included options for future seasons. The Warner Bros. TV-produced Ted Lasso is Apple TV+’s most successful show to date, based both on awards — it has won the past two Emmys for best comedy series — and on Nielsen’s measurement, where it’s the only Apple series to break into the ratings service’s weekly top 10 streaming charts.
As for season three, the first photo from the show hints at still unresolved tensions between Ted (Sudeikis) and Nate (Nick Mohammed), who left AFC Richmond at the end of season two and ended up at West Ham United, the Premier League team owned by Rupert Mannion (Anthony Head). It shows Nate and Ted meeting in the West Ham facilities, with Rupert looming in the background.
Sudeikis, Lawrence, Hunt and Kelly executive produce Ted Lasso with Bill Wrubel, Jeff Ingold and Liza Katzer of Lawrence’s Doozer banner, Jane Becker and Jamie Lee. Star and writer Brett Goldstein is a co-exec producer.
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