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Gerard Johnstone helms his sophomore feature-length project with M3GAN. Written by Akela Cooper, from a story by Cooper and James Wan, the film begins with a family traveling to a ski lodge. Unfortunately, an accident takes the lives of mom and dad. Their daughter, Cady (Violet McGraw), is severely injured but lives. She’s then entrusted to the care of her aunt, Gemma (Allison Williams), a brilliant roboticist at the company Funki.

While dealing with her own grief over the loss of her sister, Gemma tries her best to console her 9-year-old niece. Upon seeing Cady’s reaction to the robots she works on, Gemma finds renowned energy to finish an almost scrapped project. Said project takes the form of M3GAN, which stands for “Model 3 Generative Android.” M3GAN (Amie Donald is the body while Jenna Davis is the voice) is intended to become Cady’s best friend and help her overcome the recent tragedy. But, M3GAN begins to learn and adapt, and when people hurt Cady, intentional or not, the robotic doll seeks deadly vengeance.

“…when people hurt Cady, intentional or not, the robotic doll seeks deadly vengeance.”

M3GAN is a terrific surprise, though it is not without its issues. For starters, there’s the court-appointed therapist, Lydia (Amy Usherwood). The problem isn’t with Usherwood nor the character’s dialogue, but rather her entrance. It appears she shows up after Gemma and Lydia have been back at Gemma’s place in Washington (state) for a day. It’s entirely unreasonable for someone to have adapted and made the necessary changes in one day. It sets up some awkward and unnecessary tension that leads nowhere. If Lydia is meant to make a house visit sometime after that initial day, then the edit is poorly done and doesn’t convey that time jump well.

The other flaw is the sometimes wonky editing. While only happening occasionally, Jeff McEvoy’s frenetic cuts do not always make following the action possible. When M3GAN chases Cady’s bully through the woods, it is sometimes unclear how close she is to him. During the climactic battle, the ever-important Bruce slips and falls. What he trips over is anyone’s guess, as the editing is so quick it is not clear in the slightest. While neither these edits nor Lydia’s poor timing brings the movie down much, they momentarily break one out of the intense grip it achieves on the audience.

See, M3GAN delivers in every way that truly counts. For starters, it has a wicked and very satirical sense of humor. While the story kicks off with the tragic accident, the horror flick actually begins with a commercial. It’s an overly slick, goofy ad for Funki’s latest toy. It’s destined to be one of the funniest scenes in any movie this year. M3GAN herself is also quite amusing, making the most of the expected one-liners during the potential kills. Then there’s the incomparable Ronny Chieng as Gemma’s boss David. The stand-up is hysterical from start to finish. Watching him squirm during M3GAN’s demonstration to the board is funnier than words can describe. Wisely, Cooper never loses the comedy streak, keeping it alive and well for the entire runtime.

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Gerard Johnstone helms his sophomore feature-length project

Vladimir Putin is set to make an ‘important statement’ about his invasion, according to a Moscow-appointed official in a Russian-occupied region of Ukraine.

Vladimir Rogov, a member of the Administration Council of the Zaporizhzhia region, announced the Russian president would be delivering the speech on Wednesday.

The address will be part of events marking the 80th anniversary of when Russians broke the siege of Leningrad by the forces of Nazi Germany, when Soviet forces managed to open a narrow land corridor to the city on 18 January 1943.

As chairman of the We Are Together with Russia, Rogov advocates for the occupied regions of Ukraine to be fully absorbed into the Russian federation.

Vladimir Putin is set to make an ‘important statement’ about his invasion, according to a Moscow-appointed official in a Russian-occupied region of Ukraine

He made the announcement on his Telegram channel, and it was later reported by Russian media. However, no official statement from the Kremlin has yet been made.

Public appearances by Putin have often been teased by Russian officials, before being cancelled at the last minute. The practice makes Putin’s movements difficult to track, and could be a tactic for that exact purpose.

It was claimed today the Russian despot has become ‘withdrawn, silent and deeply preoccupied’ as he undergoes new medical treatment. 

The 80th anniversary celebrated will mark when Soviet forces managed to open a narrow land corridor to Leningrad – now called St. Petersburg – during the Second World War on 18 January 1943.

Nazi forces besieged the city from September 8, 1941 to January 27, 1944. But it was January 18, 1943 that marked a turning point in the Soviet efforts to break the seige.

It is seen as a key moment in Moscow’s victory over the Nazis in eastern Europe in the Second World War. To this day, Russia often shamelessly invokes its battle against the Nazis as a means to justify its war in Ukraine.

Putin and his Kremlin allies have often claimed they are working to ‘deniazify’ Ukraine, despite its claims of Kyiv being led by a Nazi government being baseless.

The Russian leader had been expected in the north-western city this week, with reports suggesting he was planning to appear at the Monument to the Heroic Defenders of Leningrad for a flower laying ceremony.

A Ukrainian service member looks out from a BMP-2 infantry fighting vehicle, amid Russia's attack on Ukraine, on a frontline near the town of Soledar in Donetsk region, January 14, 2023

A Ukrainian service member looks out from a BMP-2 infantry fighting vehicle, amid Russia’s attack on Ukraine, on a frontline near the town of Soledar in Donetsk region, January 14, 2023

Ukrainian soldiers equip trenches on a field not far from Soledar, January 14, 2023

Ukrainian soldiers equip trenches on a field not far from Soledar, January 14, 2023

It was unclear on Tuesday what the topic of Putin’s touted speech would be about, but it’s announcement comes after NATO Secretary General Jens Stoltenberg said the war in Ukraine was entering ‘a decisive phase.’

Russia has made small gains in the eastern Donbas region, largely taking control of Soledar – a small salt mining town near the more significant target of Bakhmut.

Kyiv says it is still fighting there: ‘Our units are located in Soledar and are constantly hitting the enemy with fire,’ Serhiy Cherevaty, a Ukrainian military spokesman, said.

The claimed victory gave Putin a rare win in the war after a string of embarrassing defeats since his forces were pushed back from the Kyiv region in the early months of the war – although Soledar is a far cry from Putin’s ultimate goal of full control. 

Ukraine came a step closer on Tuesday to winning the fleet of modern battle tanks it hopes could turn the course of the war against Russia, after the West’s big holdout Germany said this would be the first item on its new defence minister’s agenda.

In an interview with German media on Sunday, Stoltenberg meanwhile said Ukraine can expect more deliveries of heavy weapons from Western countries soon. 

Nearly 11 months after Russia invaded, Kyiv says a fleet of Western battle tanks would give its troops the mobile firepower to drive Russian troops out in decisive battles that will be fought into 2023.

German-made Leopard battle tanks, workhorse of armies across Europe, are widely seen as the only plausible option available in sufficient numbers. But they cannot be delivered without authorisation from Berlin, which has so far demurred.

Elsewhere, In the central city of Dnipro, authorities called an end to the search for survivors in the ruins of an apartment building destroyed during Russian missile attacks on Saturday.

Forty-four people were confirmed killed and 20 still unaccounted for in the attack, the deadliest for civilians of a three-month Russian missile bombardment campaign. Seventy-nine people were wounded and 39 rescued from the rubble. 

This is a breaking news story. More to follow…

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Vladimir Putin is set to make an

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A scary start to the year. Jeremy

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SAN FRANCISCO — Elon Musk faces a federal trial in San Francisco beginning Tuesday, as he and Tesla defend against claims of securities fraud from investors over Musk’s 2018 declaration he had “Funding secured” to take the electric vehicle company private.

Shareholders are suing the Tesla CEO under federal securities law over his 2018 tweets, which they allege were false and misleading statements that caused them financial harm and losses. The court has already deemed the tweets to be “untrue.” The investors seek to hold him and Tesla’s board members liable for damages.

It’s the latest challenge to Musk’s vast empire and fortune, months after the Tesla CEO took over another major tech company, Twitter, and installed himself as chief executive. Since then, his wealth has plummeted and Musk was recognized by Guinness World Records for sustaining the “worst loss of fortune in history” — shedding around $200 billion in the course of a year. He has fallen to number two in the ranking of the world’s richest people, according to Forbes.

Musk sent the now-infamous tweet on Aug. 7, 2018: “Am considering taking Tesla private at $420. Funding secured.” He followed it up with a subsequent post reading, “Investor support is confirmed. Only reason why this is not certain is that it’s contingent on a shareholder vote” — the other tweet referenced in court documents.

Musk has defended himself over claims his tweets were false, saying last year that he did have funding lined up at the time — from the Saudi Public Investment Fund, which Musk said had “committed unequivocally” to taking Tesla private. At that time, Musk had already settled with the SEC over the matter, paid a $20 million fine and relinquished his board chairmanship of Tesla, which paid a $20 million fine of its own.

The court in the shareholder suit has instructed jurors to assume Musk’s declarations of “Funding secured” and “Investor support is confirmed” are untrue.

The suit, initially brought in 2018, is a class action from Tesla investors alleging they lost huge sums of money after Tesla’s stock price soared and fell following the “Funding secured” tweet and the SEC’s subsequent investigation.

The surge in the share price cost Tesla short sellers hundreds of millions of dollars “when they were forced thereafter to cover their positions by purchasing Tesla securities at artificially inflated prices,” read the initial 2018 complaint.

Musk and his attorney didn’t immediately respond to a request for comment.

In the lead-up to the trial, Musk — who moved recently from Southern California to Austin — mounted an unsuccessful effort to have the trial moved from San Francisco to the Western District of Texas, arguing media coverage and publicity surrounding Musk’s business moves had “biased” the local jury pool. (Musk has laid off more than half of the staff of 7,500 since taking over Twitter, which is based in San Francisco.)

Musk faced other fallout from the aftermath of the tweet — as concerns mounted over his fitness to lead Tesla, and his penchant for controversy proved a drag on the company’s share price.

But a year later, many of Musk’s legal and financial questions were resolving in quick succession; the Tesla stock rallied in late 2019 and skyrocketed in 2020, as Musk emerged from the economic ravages of the covid pandemic as the world’s richest person, leading the most valuable automaker.

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Comment on this storyCommentSAN FRANCISCO — Elon

The series debuted with HBO’s second largest premiere viewership since 2010, after “House of the Dragon” last year.

“The Last of Us” takes place in a nightmarish apocalypse, but its audience seems alive and plentiful. 4.7 million viewers tuned in to watch the video game adaptation’s premiere episode during its first day of availability, HBO announced Monday.

The viewership data is based on Nielsen figures and HBO’s own internal figures, and includes both linear viewers on HBO proper and views from HBO Max on Sunday, January 15, when the episode premiered. The figure makes “The Last of Us’” first episode, “When You’re Lost in the Darkness,” the second biggest premiere episode for HBO since 2010’s “Boardwalk Empire.” If that seems like a weird show to remain un-beat for over a decade, recall that this was back before the launch of HBO Max or its predecessor HBO Now, when content from the channel wasn’t as broadly available on streaming and premiere day viewing was much higher. According to HBO, Sunday night viewership now accounts for roughly 20 to 40 percent of a show’s total audience per episode.

The largest premiere audience since “Boardwalk,” was, of course, the one for “House of the Dragon,” which attracted 9.986 million viewers when it premiered last August. For comparison, “The Last of Us’” premiere viewership is just slightly higher than that of “House of the Dragon’s” parent series “Game of Thrones,” which debuted to 4.2 million viewers in 2011 before steadily exploding in viewership over the course of its run. Incidentally, “Game of Thrones” eventually featured “The Last of Us’” lead actors — Pedro Pascal and Bella Ramsay — in its sprawling cast, so maybe being “Thrones” adjacent is the magic touch an HBO series needs to score big with its premiere numbers.

“The Last of Us” also managed to nearly double the Season 2 premiere numbers for “Euphoria” when it debuted last year. The Zendaya-led teen drama is currently HBO’s second-largest hit after “House of the Dragon,” averaging 19.5 million viewers per episode in the U.S. during its sophomore run.

“Our focus was simply to make the best possible adaptation of this beloved story for as big an audience as we could,” “The Last of Us” executive producers and showrunners Craig Mazin and Neil Druckmann said in a statement. “We are overjoyed to see how many fans, both old and new, have welcomed ‘The Last of Us’ into their homes and their hearts.”

Based on the video game series created by Druckmann for the Playstation video game consoles, “The Last of Us” stars Pascal as Joel, a smuggler in a post-apocalyptic United States who is hired to journey with 14-year old Ellie (Ramsey). Recurring actors in Season 1 include Gabriel Luna, Anna Torv, Murray Bartlett, Melanie Lynskey, Nick Offerman, Storm Reid, Jeffrey Pierce, Lamar Johnson, Graham Greene, Elaine Miles, Nico Parker, Keivonn Woodard, and Ashley Johnson and Troy Baker, who played Ellie and Joel in the original games. Mazin and Druckmann executive produce the series for HBO with Carolyn Strauss, Evan Wells, Asad Qizilbash, Carter Swan, and Rose Lam. Sony Pictures Television co-produces the series with HBO, while PlayStation Productions, Word Games, The Mighty Mint, and Naughty Dog serve as additional production companies.

“The Last of Us” and its premiere episode “When You’re Lost in the Darkness” has received critical acclaim. In his review of the first episode, IndieWire critic Steve Greene called it “pretty much a best-case scenario for an opening episode of a sprawling TV adaptation.”

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The series debuted with HBO's second largest

Jeremy Clarkson finally issued a public apology for the widely-condemned column attacking Meghan Markle, and the Duke and Duchess of Sussex have already issued their response. To put it simply, they don’t appear very impressed. 

In December, The Sun published a since-delete column detailing Clarkson’s “cellular” hatred of the Duchess of Sussex, including a vivid fantasy of her being paraded “naked through the streets of every town in Britain” while onlookers “throw lumps of excrement at her.” In response to the initial backlash, Clarkson tweeted, “Oh dear. I’ve rather put my foot in it. In a column I wrote about Meghan, I made a clumsy reference to a scene in Game of Thrones and this has gone down badly with a great many people.” Unlike The Sun, he didn’t actually utter the word “sorry” in his statement.

While the royal family has kept quiet about the column, Prince Harry has not. Per BBC News, the duke described Clarkson’s words as “horrific and hurtful and cruel.”

A month later, on January 16, Clarkson finally posted a public apology to his Instagram, which he called a “mea culpa with bells on.” Clarkson’s explanation for the column, per his statement, was that it was written “in a hurry” and without the help of a second opinion. Clarkson also reiterated that he was only referencing a Game of Thrones scene, writing, “I abhor violence against women.” 

“I therefore wrote to everyone who works with me saying how sorry I was and then on Christmas morning, I emailed Harry and Meghan in California to apologise to them too,” he continued. “I said I was baffled by what they had been saying on TV but that the language I used in my column was disgraceful and that I was profoundly sorry.” You can read the entire statement here:

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Jeremy Clarkson finally issued a public apology

Last Updated: January 17, 2023, 18:45 IST

Aisha Sharma’s latest Instagram picture

With no makeup on, Aisha Sharma flaunted her gorgeous skin as she was seen relaxing on an off-white mattress.

Tuesday morning began with a cup of refreshing coffee for actress Aisha Sharma. Dazzling in a white monokini, the Satyameva Jayate star shared a string of sun-kissed photographs on Instagram and fans are loving it. With no makeup on, Aisha Sharma flaunted her gorgeous skin as she was seen relaxing on an off-white mattress. Keeping her unfiltered self on display, Aisha Sharma sips coffee from a quirky mug in one photo. Another sees her sharing a shy smile while posing for the camera.

“Caffeine is a stimulant & so am I,” Aisha Sharma captioned her new sun-embracing photos. Take a look at the post here:

Within a few hours, the pictures have amassed over sixty-six likes on the photo-sharing application, prompting many to drop multiple compliments in the comment section of the post. A user wrote, “Coffee is love,” while another added, “Haye garmi.”

In a subsequent story, Aisha shared a glimpse of the new post with another poignant caption that read, “You like me for my photo, I like me for my wit. We are not the same.”

Aisha Sharma’s love for fitness is no secret to fans. The actress often takes to social media to urge and motivate her followers toward leading a healthy lifestyle. In a similar instance, on Tuesday afternoon, the Bollywood diva posted an inspiring note about fitness on the internet. “Not my words but true. A fit body cannot be bought. It has to be earned. You have to do the work. You have to earn it. Wealth always isn’t about financial wealth. Physical health is also wealth,” she articulated.

Aisha Sharma first made her onscreen appearance in Ayushmann Khurrana’s Ik Vaari. She then appeared in 2018 in Milap Zaveri’s action drama Satyameva Jayate opposite John Abraham and Manoj Bajpayee. Ever since then, she has been featured in multiple music videos including Harrdy Sandhu’s Kudiyan Lahore Diyan, Arjun Kanungo’s Rangrez, and more. Aisha has also collaborated with her sister Neha Sharma for the reality web show titled Shining with the Sharmas for the platform Social Swag.

Read all the Latest Movies News here

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Last Updated: January 17, 2023, 18:45 ISTAisha

Seasoned helmers Ole Bornedal, Erik Poppe, Mikael Håfström, newcomers Mika Gustafson, Sara Gyllenstierna and rising talent Ulaa Salim are some of the 15 Nordic helmers set to pitch their feature projects in post-production at this year’s Nordic Film Market. 

The leading Nordic film confab is due to run Feb. 2-5 in a hybrid version, parallel to Sweden’s 46th Göteborg Film Festival (Jan.27-Feb. 5), the biggest film-TV event in Scandinavia.

For its first full-scale outing post-COVID and first year under the helm of industry chief Josef Kullengård, the Nordic Film Market is set to draw a record 500 delegates on-site, on top of nearly 60 on-line visitors. “The interest from the international industry is amazing! It will be a record year for us, even compared to pre-pandemic times,” boasts. Kullengård, a habitué of the event’s backstage gigs who took over from Cia Edström in October to allow her to focus on the showcase’s TV Drama Vision program.

Kullengård says maintaining an online version, while focusing on the physical market was a natural step, as “the future is hybrid”. “Producing, distributing, consuming features is all transforming and confab organisers are all trying to find the best sustainable model to hold a market,” he observed. “For us it’s all about supporting the commercial and artistic development of Nordic films in the best possible way, and to bring together Nordic and international delegates.”

For global industry reps unable to travel to Sweden’s second largest city, the digital version will comprise a selection of market screenings, and streamed pitches of projects in post and development.

As pointed out by the head of industry, this year’s 53 title-strong program is a Nordic smörgåsbord reflecting “what’s going on in the Nordic region.” “Our ambition is to highlight the gender, racial, social plurality of voices in the Nordics,” Kullengård continued. “We are proud to have a lot of projects from female directors, and a good mix of established and new voices. One of the aftermaths of the pandemic is also that we have a record number of projects in development, hence the super strong slate of our Discovery strand.”

Stockholm Bloodbath
Credit: G.N.K.

Female prodigies set to pitch their sophomore pics at the Discovery include “As in Heaven”’s Tea Lindeburg with “The Seal Woman,” “Dogborn”’s Isabella Carbonell with “Utopia” and “The Heart”’s Fanni Metelius with “2001,” while Patricia Bbaale Bandak, nominated for a Danish Robert film award with her short “Villa Villekulla,” will introduce her fiction debut “Wannabe.” Among rising Danish talents, genre-savvy Gabriel Bier Gislason (“Attachment”) will bring the Nordisk Film-produced “No Wait.” At press time all 11 Discovery titles were open for sales.

Making its debut at Göteborg’s confab is also the Talent to Watch platform with 10 Swedish newcomers, due to pitch their pics Feb. 2, such as “House of the Dragon” star Nanna Blondell, debuting behind the camera with “Skin to Skin.” All projects in the new strand have received development seed for the Swedish Film Institute’s new Talent to Watch scheme. 

Another handful of female hopefuls will unveil their works in progress, such as Mika Gustafson, a Ruben Östlund student from Göteborg’s Valand film academy. Her realistic drama “Sisters,” about three socially-deprived young sisters fending for themselves, is produced by auteur-driven Nima Yousefi of Hobab (“Clara Sola”).

In the suspense genre, debutant Sarah Gyllenstierna, who started off as AD to Spike Lee, will present “Hunters on a White Field,” in which Magnus Krepper (“The Unlikely Murderer”, “Margrete-Queen of the North”) and Ardalan Esmaili (“Snabba Cash”, “The Charmer”) take part in a hunting outing that turns into a dangerous game.

Icelandic new talent and former NYU Tisch School alumn Ninna Pálmadóttir will bring “Solitude,” which chronicles the friendship between an aging farmer, forced to move to the city, and a paper delivery boy. The drama penned by Rúnar Rúnarsson (“Volcano”) was bestowed the ArteKino Int’l award at les Arcs Film Fest 2021. The Party Film Sales is attached. 

Love
Credit: Mostlys/Agnete Brun

Rising Danish filmmaker Ulaa Salim (“Sons of Denmark”) will unveil footage from his sophomore sci-fi “Eternal,” described by Kullengård as “an exciting love story turning on burning climate change and societal issues, filmed with true cinematic flair.” New Europe Film Sales handles sales.

Among the heavyweight Nordic names lined-up for the works in progress are Erik Poppe (“The Emigrants”), with his WWII drama “Quisling” from REinvent International Sales, Ole Bornedal with “Nightwatch-Demons are Forever,” a sequel to his 1994 hit, repped by TrustNordisk; and Mikael Håfström (“Outside the Wire”), with his star-studded period drama “Stockholm Bloodbath,” produced by Viaplay and repped by Viaplay Content Distribution. 

Seasoned Danish director Birgitte Stærmose (“Room 304”) will pitch her event hybrid “Children of the Lowest Heaven,” an extension of her acclaimed short film “Out of Love” featuring deprived street kids in Kosovo.

Another standout work in progress highlighted by Kullengård is the film trilogy “Sex Dreams Love” by acclaimed Norwegian helmer Dag Johan Haugerud (“Beware of Children”), produced by Motlys in partnership with Viaplay. 

Meanwhile the program of 17 completed Nordic titles takes in the Rotterdam-bound “Copenhagen Doesn’t Exist,” “Four Little Adults,” “100 Seasons,” “Mannvirki17,” “Superposition,” and several Göteborg world premieres including the opener “Exodus” and closing film “Camino.”

Josef Kullengard
Credit: Andre Larsson

Nordic Film Market Works in Progress, Full Lineup:

“A Happy Day” by Hisham Zaman (Snowfall Cinema, Norway)

“B.O.Y.” by Søren Green (Asta Film, Denmark)

“Children of the Lowest Heaven” by Birgitte Stærmose (Magic Hour Film, Denmark)

“Comeback” by Petri Kotwica (Helsinki filmi, Finland) “Cold” by Erlingur Thoroddsen (Compass Films, Iceland)

“Eternal” by Ulaa Salim (Hyæne Film, Denmark)

“Glasskår (English title TBC) by Elina Sahlin (Makeriet, Sweden)

“Hunters on a White Field” by Sarah Gyllenstierna (Most Alice Films, Sweden)

“Nightwatch – Demons are Forever” by Ole Bornedal (Nordisk Film Production, Denmark)

“Sex Dreams Love” by Dag Johan Haugerud (Motlys, Norway)

“Sisters” by Mika Gustafson (HOBAB, Sweden)

“Solitude” by Ninna Pálmadóttir (Pegasus Film, Iceland)

“Stockholm Bloodbath” by Mikael Håfström (Viaplay, Nordics)

“Stormskerry Maja” by Tiina Lymi (Solar Films, Finland)

“Quisling” by Erik Poppe (Paradox, Norway)

Market Screenings

“100 Seasons” by Giovanni Bucchieri (French Quarter Film, Sweden)

“Camino” by Birgitte Stærmose (MOTOR, Denmark)

“Copenhagen Does Not Exist” by Martin Skovbjerg (Snowglobe, Denmark)

“Dancing Queen” by Aurora Gossé (Oslo Pictures, Norway)

“Ellos Eatnu-Let the River Flow” by Ole Giæver (Mer Film, Norway)

“Empire” by Fredrikke Aspöck (Meta Film, Denmark)

“Exodus” by Abbe Hassan (B-Reel Film, Sweden)

“Four Little Adults” by Selma Vilhunen (Tuffi Films, Finland)

“Mannvirki” by Gústav Geir Bollason (Go to Sheep, Iceland)

“Munch” by Henrik Martin Dahlsbakken (The Film Company, Norway)

“One Day All This Will Be Yours” by Andreas Öhman (Gran Slam Film, Sweden)

“Operation Napoleon” by Óskar Thór Axelsson (Sagafilm, Iceland)

“Shadow Island” by Johan Storm (Stormax Film, Sweden)

“Superposition” by Karoline Lyngbye (Beo Starling, Denmark)

“The Worst Idea Ever” by Pamela Tola (Helsinki filmi, Finland)

“Tove’s Room” by Martin Zandvliet (Nordisk Film Production, Denmark)

“Viktor vs the World” by Christian Arhoff (Hyæne Film, Denmark)

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Seasoned helmers Ole Bornedal, Erik Poppe, Mikael

Not so fast, National Enquirer. The tabloid, running a report soon about a supposed beef between veteran actors on “Law & Order: SVU,” got definitely shut down by one of them – in the most hip-hop way possible.

Ice-T, a cast member on Dick Wolf’s franchise, tweeted a letter Monday, Dr. Martin Luther King Jr. Day, in which the National Enquirer asked him to comment on whether he and co-star Chris Meloni have feuded since Meloni returned to the show in 2021 through spin-off “Law & Order: Organized Crime.”

The tabloid cited sources who said “the former rapper has grown envious of the attention that Mr. Meloni has received since coming back” from a show he was on for over a decade.

Ice-T shut down that notion down colorfully with one tweet: “Clownass MFs trying to make up Drama outta thin air… WOW… MFs are really on that BS.”

To back up his word, Ice-T shared an email with Meloni in which his fellow actor dead-panned that Ice-T was “kind enough to let me know we were feuding.”

Meloni’s Stabler left “SVU” after 12 seasons, including 11 in which Ice-T’s fellow detective was also a regular. 

Thanks to NBC’s occasional crossover episodes, fans can still see the actors in each other’s on-screen lives as well. 

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Not so fast, National Enquirer. The tabloid,

We have first time guests on the podcast today, as the hosts of the “Rose Pricks” podcast, Stefanie Wilder-Taylor & Cecily Knobler join me to discuss all things dedicated to the “Bachelor,” “Bachelorette,” and some “Bachelor in Paradise.” And oh yeah, I found someone who knows just as much about “Pretty in Pink” (where my podcast music comes from) in Cecily, so that’s a fun chat towards the end. Before I begin with them I go over yesterday’s official cast release from ABC of the women’s for Zach’s season. More importantly, the misinformation this show gives out in their cast bios that we know numerous podcasts will spend dissecting and formulating opinions of these women on. Bottom line: those are written by production. They aren’t true. The women didn’t write those things nor tell a producer those “fun facts.” It’s why I haven’t cared about “cast release day” in about 4 or 5 years. Used to cover it all the time and break down the bios. Not anymore since it isn’t real. Just wanted to continue to get the word out there about them. Thanks again to Stefanie and Cecily for coming on. A fun talk and they will definitely be coming on again in the future.

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


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

(SPOILERS) I begin by talking about the announcement of Zach’s women yesterday and the misinformation they peddle on the bios. Then Stefanie and Cecily join me (11:00) to discuss how they got started with their podcast, their favorite past seasons and contestants, looking ahead to Zach’s season, the mutual obsession Cecily and I have for “Pretty in Pink” and much, much more.

Instagram – @swildertaylor
Instagram – @cecilyknobler

Also, released earlier this morning was Today’s Daily Roundup.

(SPOILERS) Today’s Daily Roundup covers Zach’s women’s announcement, the misinformation on the womens bios, The Challenge, “Special Forces” premiere episode, & TJ Holmes’ ex-wife speaks through her attorney.

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


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

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






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Hector Ramirez, a cameraman known for live events and music and comedy specials who racked up 20 Emmys and scores of other nominations in a career spanning 44 years and 200-plus credits, has died. He was 78. His wife, Alma, posted the news on social media last week.

“Today I lost my husband, partner, friend, hero, protector, handyman and cameraman extraordinaire,” she wrote on January 11. “So many memories to behold in the 47 years of our marriage that my heart is broken and my world so much smaller. He was larger than life, a dad, grandfather, uncle, brother and loved by so many friends. He touched so many lives. He is deeply missed. No more pain baby, rest in peace and go and tell your stories to all the angels in heaven.”

Ramirez won four Emmys for his work on Dancing with the Stars, on which he worked from 2006-13, and also won TV Academy hardware for American Idol, the 1994 Oscars, the 2008 Grammys and specials from Frank Sinatra, Paul Simon, Cher, Sting and Neil Diamond. He also won four Emmys for his work on David Copperfield magic specials in the 1990s.

In all, Ramirez earned 16 Emmy noms for his camerawork on the Oscars between 1994 and 2012 — including 14 years in a row. He landed noms for the Grammys eight times, including six straight from 2007-12. For a while, he held the all-time career record for most Emmy nominations.

Born on August 26, 1944, in Bogotá, Colombia, Ramirez moved to the United States in the mid-’50s and attended the Don Martin School of Radio and Television Arts and Sciences in Hollywood. He earned his first credit on a CBS miniseries in 1978 and began working steadily in 1981.

Other early credits included music specials with the Beach Boys, Debby Boone, Fleetwood Mac and Perry Como and for the US Festival. He also was behind the camera for This Is Spinal Tap, the historic “We Are the World” recording session led by Quincy Jones, The Three Tenors in Concert, the Eagles’ reunion special Hell Freezes Over, several MTV Video Music Awards, many other awards shows and multiple George Carlin stand-up specials.

Ramirez also worked on the classic 1970s Norman Lear sitcoms All in the Family, The Jeffersons and Good Times. In a 2011 interview with the Television Academy Foundation, he said: “Norman Lear came down and he goes, ‘My name is Norman Lear.’ I said, ‘Yes sir, I know.’ And then he said, ‘You did a good job.’ And that’s it. So I figured well, maybe I’m coming back. And I did.”

Most recently, Ramirez worked on the CW’s Whose Line Is It Anyway? from 2016-22.

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Hector Ramirez, a cameraman known for live

Sudan Archives was the musical guest on The Tonight Show Starring Jimmy Fallon this evening (January 16). She performed “Homesick (Gorgeous & Arrogant)” from her latest album, Natural Brown Prom Queen, which dropped in September 2022. For the performance, Sudan Archives played violin while singing, and she was joined by a trumpeter, bassist, and drummer who stood on raised pedestals surrounding her onstage. Watch it happen below.

Natural Brown Prom Queen is the second album from Sudan Archives, following 2019’s Athena. It was recorded in her home studio, and included the singles “Selfish Soul,” “NBPQ (Topless),” and “Home Maker.”

Read Pitchfork’s interview “How Sudan Archives Exploded Her Sound to Make One of the Year’s Best Albums” over on the Pitch.

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Sudan Archives was the musical guest on

January 16, 2023 · 2:12 PM

Courtesy PBS/American Experience

Coming to PBS’s American Experience tomorrow, Tuesday, January 17:
ZORA NEALE HURSTON: CLAIMING A SPACE

Director:
Tracy Heather Strain

World Premiere:
American Experience (January 2023)

About:
An in-depth biography of the influential author, whose groundbreaking anthropological work would challenge assumptions about race, gender, and cultural superiority that had long defined the field in the 19th century.

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January 16, 2023 · 2:12 PM Courtesy PBS/American

Toronto Raptors (20-24, 11th in the Eastern Conference) vs. Milwaukee Bucks (28-16, third in the Eastern Conference)

Milwaukee; Tuesday, 7:30 p.m. EST

FANDUEL SPORTSBOOK NBA LINE: Bucks -5.5

BOTTOM LINE: Toronto visits the Milwaukee Bucks following the Raptors’ 123-121 overtime win over the New York Knicks.

The Bucks are 16-12 in conference matchups. Milwaukee is seventh in the Eastern Conference with 24.6 assists per game led by Jrue Holiday averaging 7.4.

The Raptors are 14-17 against Eastern Conference opponents. Toronto is third in the league scoring 17.8 fast break points per game. OG Anunoby leads the Raptors averaging 4.5.

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The teams square off for the second time this season. The Bucks won 104-101 in overtime in the last meeting on Jan. 5. Giannis Antetokounmpo led the Bucks with 30 points, and Fred VanVleet led the Raptors with 28 points.

TOP PERFORMERS: Holiday is shooting 38.2% from beyond the arc with 2.4 made 3-pointers per game for the Bucks, while averaging 18.8 points and 7.4 assists. Antetokounmpo is shooting 49.0% and averaging 22.2 points over the past 10 games for Milwaukee.

Pascal Siakam is averaging 25.6 points, 8.2 rebounds and 6.5 assists for the Raptors. VanVleet is averaging 18.0 points over the last 10 games for Toronto.

LAST 10 GAMES: Bucks: 6-4, averaging 110.8 points, 49.6 rebounds, 25.5 assists, 6.8 steals and 3.9 blocks per game while shooting 43.7% from the field. Their opponents have averaged 113.4 points per game.

Raptors: 5-5, averaging 114.1 points, 41.4 rebounds, 24.5 assists, 9.6 steals and 5.9 blocks per game while shooting 43.2% from the field. Their opponents have averaged 113.5 points.

INJURIES: Bucks: Khris Middleton: out (knee), Giannis Antetokounmpo: day to day (knee), Serge Ibaka: out (personal).

Raptors: Otto Porter Jr.: out for season (foot).

___

The Associated Press created this story using technology provided by Data Skrive and data from Sportradar.

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&copy 2023 The Canadian Press

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Toronto Raptors (20-24, 11th in the Eastern

The Critical Role crew swings back into hilarious, perilous and profanity-laced fantasy action with the Season 2 debut of “The Legend of Vox Machina” on Friday, Jan. 20, on Prime Video.

As with the first season, Prime Video will release Season 2 of the Dungeons & Dragons-inspired show in three-episode weekly batches, culminating in 12 episodes total. In the new series, the Vox Machina heroes/antiheroes face off against a powerful foursome of dragons called the Chroma Conclave, which spew ice and acid, have nearly impenetrable armor and threaten to destroy the world of Exandria.

For Season 1 of “Vox Machina,” the eight principal Critical Role members (who each also serve as executive producers) needed to provide a healthy dose of exposition. That was in large part to bring viewers unfamiliar with the motley band of adventurers — based on Critical Role’s original D&D campaign, which dates back to 2015 — up to speed.

The second season of “Vox Machina” let the group “get more into the nitty-gritty of the characters… Now we can get into their interpersonal relationships, their backstories,” said Ashley Johnson (who voices gnome cleric Pike Trickfoot).

“This season almost feels in some ways closer to the game,” Johnson added. “I feel like it’s sillier and it’s darker — and it’s bigger and badder. I feel like everything is just turned to 11.”

Without revealing any spoilers, “The Legend of Vox Machina” Season 2 features some serious conflict within the squad. “We see this new family tested in the face of insurmountable odds… and what they do to hold each other up,” said Liam O’Brien (who plays half-elf thief Vax’ildan).

The humor is again bountifully bawdy: There are more than a couple of butt jokes, for example. In battling the Chroma Conclave, at one point gnome bard Scanlan Shorthalt (Sam Riegel) and Vax’ildan must enter one of the dragons through… its anus. “And through its intestinal tract,” Riegel added. “The people want what they want, and we’re not going to stand in the way of that.” According to O’Brien, the scene has a couple of jump cuts, “but you get the meat of what you’re looking for.”

The dragon Umbrasyl (voiced by Matthew Mercer) in “The Legend of Vox Machina” Season 2

Matt Mercer, who serves as CR’s dungeon master, put it this way: “I’m very proud of the fact we, as swords-and-sorcery, high-fantasy genre storytelling, can graciously grasp world-ending cataclysms and the true drama of friendship lost and the consequences of one’s terrible actions — and in the next scene, have dragon-butt stuff.”

Amazon last fall renewed “The Legend of Vox Machina” for a third season, for which the Critical Role team says production is well underway, with animatics and scripts completed. The group is cagey on the Season 3 storyline, but Travis Willingham (who provides the voice of Vox Machina goliath Grog Strongjaw) said the forthcoming season will among other things conclude the Chroma Conclave storyline and individual character story arcs. “Seasons 2 and 3 are setting up some of those endgame elements and start to reveal what the consequences of certain character choices will be within the story,” he said.

Riegel said there’s “a lot more story to tell” for the Vox Machina crew: “We could go for five seasons — or more.”

Willingham, who also serves as Critical Role’s CEO, said the addition of the dragons in Season 2 presented a much heavier technical burden on their animation studio partner, Titmouse, compared with S1. In some scenes, the presence of the dragons required fewer characters in any given frame to reduce the processing crunch on the animators. Titmouse put together a “souped-up GG team” that “really upgraded the ability to show these dragons in a way that aren’t just hulking beasts,” Willingham said. “They are intelligent, they have personas… they deliver really, really good dialog.”

While Season 2 is based on the hundreds of hours of D&D role-playing from the Vox Machina campaign, it in some cases deviates from the original material. “With the Critter [fan] community, it’s been fun throwing them curveballs — so they’re like, ‘Man, here it comes,’ but it’s not quite what they’re expecting,” O’Brien said.

There is also more music in Season 2. In addition to Riegel’s Scanlan Shorthalt, other Vox Machina members get songs including Grog (Willingham) and Vex’ahlia (Laura Bailey). In addition, a long list of guest stars lend their voices to the show, including Henry Winkler, Lance Reddick, Cheech Marin, Will Friedle, Billy Boyd, Cree Summer, Alanna Ubach, Mary Elizabeth McGlynn, Troy Baker, Sendhil Ramamurthy and Ralph Ineson.

The Critical Role team had expected that “The Legend of Vox Machina” on Prime Video would grow the Critter fanbase. Willingham said that’s definitely happened. Critical Role has seen increased interest in the original Vox Machina campaign, as people went back and watched the archived livestream shows. “Those episode counts started to climb,” Willingham said. CR’s newest fans then found their way to Campaign 2 (featuring the Mighty Nein band) and the current Campaign 3 (Bells Hells).

“That’s what we want: a reduced barrier to entry,” Willingham said.

Meanwhile, Critical Role is currently reaching a climactic pitch in the heart of Campaign 3. Marisha Ray (Keyleth in “Vox Machina”) said the team sees Bells Hells continuing for at least another year and “maybe more, we’ll see. Kind of depends on what’s going on in Matt Mercer’s brain.” She added: “One day, maybe, we won’t feel like we’re building the railroad as we’re on the moving train.”

Critical Role’s founders are L.A. voice actors and friends who started hanging out together and playing D&D back in 2012. “This has been a 10-year trust fall,” said O’Brien. They began livestreaming their first campaign in 2015. Critical Role in 2019 launched a record-breaking Kickstarter campaign to create an animated show based on the Vox Machina gang, before Amazon Studios swooped in with a two-season order for the series.

Critical Role also produces podcasts, merchandise and collectibles, books, graphic novels, tabletop and role-playing games, and the company has launched a nonprofit philanthropic foundation.

Pictured above (l. to r.): “The Legend of Vox Machina” characters Percy de Rolo (Taliesin Jaffe), Keyleth (Marisha Ray), Scanlan Shorthalt (Sam Riegel), Pike Trickfoot (Ashley Johnson), Grog Strongjaw (Travis Willingham), Vax’ildan (Liam O’Brien), Vex’ahlia (Laura Bailey)

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The Critical Role crew swings back into

After more than two years of waiting, “The Mandalorian” is back to continue the tales of Din Djarin and Grogu — known better as Mando and Baby Yoda — as a trailer for the “Star Wars” series’ third season premiered during ESPN’s NFL playoff broadcast on Monday.

At the end of season 2, Mando and Grogu had a heartfelt goodbye as the latter left with Luke Skywalker to learn the ways of the Jedi. But in last year’s spinoff “The Book of Boba Fett,” Grogu began to have second thoughts about whether becoming a Jedi is what he truly wanted. When offered a choice by Luke, Grogu chose to return to The Mandalorian, though he did so with a much stronger mastery of the Force thanks to his training.

Mando, meanwhile, has his own problems to deal with. In an effort to keep his adopted green son safe, he performed the most unforgivable sin in the eyes of his order of Mandalorian warriors and removed his helmet. Now, he must decide whether to travel to Mandalore to perform the rituals that will redeem himself in the eyes of his fellow warriors or forge a completely new path with Grogu.

Season 3 of “The Mandalorian” is one of five “Star Wars” series hitting Disney+ this year. The second season of the animated series “The Bad Batch” hit the streaming service earlier this month. Also coming out later this year is “Skeleton Crew” starring Jude Law, the Sith-focused High Republic series “The Acolyte” starring Amandla Stenberg and “Squid Game” star Lee Jung-jae, and the highly anticipated “Ahsoka” starring Rosario Dawson as Jedi and “Clone Wars” protagonist Ahsoka Tano.

“The Mandalorian” releases its third season on March 1. Watch the trailer in the clip above.

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After more than two years of waiting,

In 2014, a medical diagnosis changed Ryuichi Sakamoto’s life. The pianist, composer, and Yellow Magic Orchestra member was told that he’d contracted throat cancer, forcing him to reluctantly cancel live performances while he underwent treatment. “I honestly don’t know how many years I have left,” he would later reflect in the 2017 documentary Ryuichi Sakamoto: Coda. “I’m not taking anything for granted. But I know that I want to make more music. Music that I won’t be ashamed to leave behind—meaningful work.”

This sense of renewed ambition led Sakamoto to abandon an album he was then recording and begin anew with async, a somber, introspective release informed by his cancer diagnosis. The 14-track album channeled the melancholy reverence of Bach along with the films of Andrei Tarkovsky, situating sparse piano pieces within electronic soundscapes imbued with a sobering weight.

Nearly a decade removed from his initial diagnosis and more than five years on from async, Sakamoto has continued making music, even as his battle with cancer persists. His latest album, 12, was written and recorded during the course of an especially difficult 13 months. After being diagnosed with rectal cancer at the height of the pandemic—“From now on, I will be living alongside cancer,” he announced—Sakamoto retreated from public life, and the disease escalated to stage four in 2022. Nevertheless, he began hosting occasional instrumental livestreams as part of his “Playing the Piano” series, for which he performed career-spanning material in short takes that were edited together into virtual concerts. Following his 2020 and 2022 livestreams—the former was later released as a live album—12 wades further into the emotional landscapes that defined async.

A collection of ambient etudes for piano and synthesizer, the album is strikingly minimal in its arrangements. Tracks are titled and sequenced in the order in which they were committed to tape, lending the album a diaristic feel. (Only the final cut, an atmospheric, minute-long recording of tinkling bells, is presented out of order.) The pieces move softly through space and time, emphasizing the reverberant textures of the room in which they were recorded. “20210310” opens with a bristling synth tone that grows and expands slowly, alternating between high and low notes that brush up against the thresholds of human hearing in each direction. The piece rises and falls with a clear contrapuntal arc that never resolves into a melody. Others, like “20220202” and “20220214,” are similarly atmospheric, made up of raw, unvarnished sounds; they feel more like demos than the focused interventions of Sakamoto’s past solo records.

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In 2014, a medical diagnosis changed Ryuichi Sakamoto’s

After “Airplane!” “Airport,” “Up in the Air,” “Flight,“ “Snakes on a Plane,” “Non-Stop” and “The Terminal,“ we have finally arrived, like weary passengers reaching an unexotic destination, at “Plane.”

The Gerard Butler thriller, straight and to the point, has dispensed with anything too complicated in its title. We can, no doubt, look forward to future installments like “Bus,” “Automobile” and, if we’re lucky, “Boat.”

But if “Plane,” which opens in theaters Friday, seems, well, kind of plain, it effectively reflects the ethos of Jean-François Richet’s straightforward and serviceable action flick. Man fly plane. Plane go down. Man (maybe) fly plane again.

And Butler has gotten quite good at keeping these kinds of movies grounded. He plays Brodie Torrance, a pilot for Trailblazer Airlines whose next flight is a New Year’s run from Singapore to Tokyo. Despite a worrisome storm system in between, he’s ordered by the airline to fly directly through it, to economize fuel.

“Plane” doesn’t have much to say about anything. But this critical touch — and the subsequent scenes within the Trailblazer corporate offices, with Tony Goldwyn and Paul Ben-Victor — will surely strike a chord. Americans are today bonded by nothing as much as their common loathing for the capriciousness of commercial airlines. The well-timed “Plane” flies into theaters just as system failures have sparked widespread delays and cancellations. These are problems, surely, that Gerard Butler could also fix.

But Brodie’s real problem is that weather system. A lightning strike knocks out the plane’s controls, forcing an emergency landing on a remote jungle island in a separatist-controlled corner of the Philippines. Brodie, a former Royal Air Force pilot who once put a belligerent passenger in a chokehold, relies on his know-how to captain the survivors and defend them from local rebels. Evan Dane Taylor appealingly plays their alert leader, Junmar.

There were only a handful of passengers on the flight to begin with — one way to keep the extras to a minimum and put more budget toward airplane maneuvers. Most notable among them is a convicted murderer (Mike Colter) being extradited back to the U.S. He and Brodie team up to rescue the passengers, taken as hostages, and make an escape.

There isn’t anything particularly specific about any of this. “Plane” is as broadly sketched as its title. Puerto Rico doubles here for Philippines, and most of the story elements, too, feel like they’re stand-ins for basic plot conventions. But there’s plenty of texture just in the actors and in Butler’s taut, sweaty performance. Sometimes a film without any baggage can — if not quite soar — at least make it to the gate on time.

“Plane,” a Lionsgate release, is rated R by the Motion Picture Association for violence and language. Running time: 107 minutes. Two stars out of four.

___

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

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After “Airplane!” “Airport,” “Up in the Air,”

Left and right: Roselyn Sánchez in Fantasy Island (Photos: Laura Magruder/ FOX); center: Sánchez at the 2022 American Music Awards (Photo: Taylor Hill/FilmMagic)
Graphic: Rebecca Fassola

Roselyn Sánchez is proud to be Boricua. It’s evident from the moment she greets me on an early May afternoon at El Conquistador Resort in her native Puerto Rico. Within minutes, she tells me to take a taxi from the oceanfront resort in Fajardo—a dreamy escape built atop a hill, with lush tropical gardens, golden sandy beaches, and blue-green waters—to the colorful capital of San Juan, where she was born and raised.

Since moving to the continental U.S. nearly three decades ago, Sánchez has made a point to return to her homeland whenever possible to visit her family and friends, to host events (you might remember seeing her on the 2021 edition of Dick Clark’s New Year’s Rockin’ Eve With Ryan Seacrest), and in the last couple of years to shoot the Fox reboot of Fantasy Island. And through it all, she’s remained in awe of the resilience of the Puerto Rican people, who have been recovering from the COVID-19 pandemic and a string of natural disasters. “[There’s] a sense of community that those catastrophes created with people who had nothing in common; they had to unite to be able to survive,” Sánchez says. “They’re still smiling and loving the island even more.”

In a candid conversation, Sánchez spoke with The A.V. Club about the sophomore season of Fantasy Island (which premiered earlier this month and airs on Mondays), her starring role as Elena, the nuances of Latino representation, the responsibility she feels to tell stories about her community, and the balance of working with her husband, Eric Winter.


The A.V. Club: The first season of Fantasy Island ended on a high note with Elena, Ruby (Kiara Barnes), and Javier (John Gabriel Rodriquez) coming together to form the found family that is at the heart of this show week after week. Tell us where we’re at in this new season.

Roselyn Sánchez: Ruby gets more and more comfortable with her sexuality, and she’s going to discover incredible things and passion that she has never felt before. I think the relationship between Ruby and Elena is ever-growing, and it’s more and more cute and interesting, and they truly enjoy each other. They’re going to learn a lot, and they’re not always going to see eye-to-eye. There’s an episode specifically [where] there is a big conflict between them, but there’s nothing but love. And then with Javier, Elena is giving herself the opportunity to maybe fall in love and not be so strict about “My life is work and that’s it, and I’m gonna fulfill everybody’s fantasies but mine.” She opens up, and a crazy journey begins.

AVC: With this iteration of Fantasy Island, you’re continuing the Roarke legacy that Ricardo Montalbán left behind for a new generation of Latinos, and the writers have leaned into Elena’s heritage. Why do you think that attention to cultural authenticity is so important, particularly in today’s world?

RS: I think audiences are very clever and very smart, and if it’s not authentic, they don’t buy into it. I’m producing now, and before, it was acceptable to have a Mexican playing a Colombian. As long as you do the accent properly, we might believe it; we don’t care. But nowadays, because of the new change in paradigm and the new culture, it’s like, “No, let’s keep it authentic. If you want to go Mexican, there’s plenty of Mexicans who can do it. If you want to go Colombian, there’s plenty of Colombians.” So I think networks and producers can’t get away with those creative licenses anymore—or as much as before. Now, people want authenticity, and they want things to be organic. And what an incredible opportunity that they allowed Elena, who is clearly Latina, who has an accent, to not hide and just be who she is.

Roselyn Sánchez and Kiara Barnes

Roselyn Sánchez and Kiara Barnes
Photo: Courtesy of Fox

AVC: There are so many critically acclaimed Latino-led shows, such as One Day At A Time and Promised Land, that don’t seem to get enough viewers and are canceled before they are able to realize their potential. And I believe some of your past shows, including Devious Maids, fall into that category as well. Why do you think there’s a lack of supply of Latino-led projects when there’s clearly a demand for more diverse stories about this community?

RS: Max, I don’t know, and whoever has the answer to that is going to [win] the lottery. I think this is a question that networks, studios, showrunners, creators, and writers talk about all the time: “How do you tap into that Latino demographic? [How do you] crack the code and make the shows successful?” I don’t know what the missing ingredient is, because the talent is there. You have phenomenal actors across the board—Justina Machado doing One Day At A Time with Rita Moreno, and showrunners like Gloria Calderon Kellett. [There’s] massive talent, so what we’re putting out there is a good product.

Promised Land is a highly educated Latino family. It’s juicy. It’s Dynasty with Latinos. It was so incredibly effective when it came out in the ’70s, so why is it not clicking with the audience nowadays? We don’t know why. And hopefully, there is going to be one [that does click]. Even Devious Maids was a blessing. We did four seasons, and I truly believe it had a lot more longevity, but it was more of an inner fight between the studio and the network that didn’t get resolved. [There was] the topic of licensing and who gets the international sales, because it was performing really well. So I think Devious Maids was one of the few that was able to make it and still got canceled. So who knows?

AVC: With Devious Maids, Grand Hotel, and now Fantasy Island, you’ve been able to play rich, multi-layered characters that are becoming more and more common for Latinas in Hollywood. How have you navigated the issues of typecasting in an industry that consistently tries to put you in very specific boxes? How have you worked to expand people’s perceptions of what you can do as an actress?

RS: It’s the story of my life, and I just have to not get discouraged and count my blessings, to be honest with you. I’ve worked consistently; I’ve always played amazing Latino characters. Some of them will be viewed as stereotypical. Devious Maids got a lot of backlash and a lot of heat because everybody was like, “Why are these five actresses who are so accomplished playing maids?” [But] I’m not seeing it as a maid—I’m seeing it as a character, as a person. There’s nothing demeaning about a maid. And if it’s a role that has some meat, [where] I can do something special with it, I’m all about it. But I’ve been fighting that fight my whole life, because of the way I look, the way I speak, the way I carry myself. People have this perception, and they put you inside this box and they don’t see past that, so I have to fight.

I remember when I did Act Of Valor—that was stripped [down], no makeup, my hair was natural. And halfway through the movie, people didn’t know it was me, and everybody was so shocked. “You were so phenomenal! I didn’t know you could do that!” I was like, “What are you talking about? I’ve been doing that for 20-something years. You just haven’t seen the material, you know what I mean?” [Laughs.] I wasn’t always a pretty thing. But you just have to keep going and not get disappointed or allow those views and that perception to stop you.

Jasika Nicole, Kiara Barnes, and Roselyn Sánchez

Jasika Nicole, Kiara Barnes, and Roselyn Sánchez
Photo: Courtesy of Fox

AVC: When you think back to your biggest aspirations when you moved to the continental U.S. to find more work as an actor, how did that dream ultimately compare to your reality?

RS: Every single day, I think about, “When is the day that I get to go to New York and do Broadway?” I don’t regret anything, because I think my journey has been exquisite. I get paid to do what I love, so I can retire tomorrow and be like, “Shit, I did a lot! I feel accomplished.” But I don’t want to retire until I do musical theater. [Laughs.] I’ve done TV, I’ve done film, I have produced, I’m directing now, I did an album—I’ve done it all. But I haven’t done what I came to the States to do, which is seeing myself singing, acting, and dancing onstage.

AVC: Do you have a dream theater role that you would like to speak into existence?

RS: Chorus Line. I have an accent, so I was always like, “I have to [only] play a specific thing in musical theater.” So when In The Heights came out, I was obsessed. I’ve seen it three times. I even auditioned and was considered for the movie, and Daphne Rubin-Vega ended up getting it. But anyways, I saw In The Heights and I’m going, “Finally! There is something that is right for me.” West Side Story—I missed the boat for that one. [Laughs.] There are times my agent keeps saying, “You can do Chicago! We can push for you to do that.” But I’m never available, so I don’t know what the right thing is for me. I just heard that there’s a possibility that Chorus Line might come back with Antonio Banderas, so I’m just putting it out into the universe. Every day, I hope I get a shot.

AVC: Aside from acting, you and your husband, The Rookie’s Eric Winter, also have a popular podcast and recently signed a new producing deal that has allowed you to fast-track the development of HSI: Puerto Rico at CBS.

RS: I have an immense passion to produce and to direct, especially Latino content. I take it as a responsibility. I’ve been so lucky that it’s time to pay it forward, [especially] if I can do it in Puerto Rico and employ Puerto Ricans. This country is so unique in terms of our history. It’s a Commonwealth with an ever-evolving relationship with the States. Puerto Ricans are very divided when it comes to our political status. And as a place to shoot, it’s paradise. We have a little bit of everything. We have rainforests! So in terms of production value and history, we have so much to offer. So with HSI: Puerto Rico, there’s so many cop procedural franchises that do so well, [so] how is it possible that there’s not one here? That was the whole idea behind it.

AVC: Is being a multi-hyphenate—like Eva Longoria, Jennifer Lopez, and Cristela Alonzo—how you feel you are able to make the biggest impact in this industry as a proud Latina?

RS: Yes, it’s the only way … and that’s something that I wish I would have understood earlier. Even with directing, the first time I said “action,” I was like, “I cannot believe I waited so long to do this.” I was like a fish out of water. I was so incredibly uncomfortable, and everybody told me for years: “Ros, you need to direct. I’m telling you: You have the vision.” And I was like, “Uh…I don’t know. But I didn’t go to school for that. How do I communicate with a DP? I’m too insecure…” And once I did it, I was like, “Oh my God, Ros. Why? Why did you wait so long?” So I understand more than ever that, as a Latina, if I want to be able to bring content that I’m passionate about, that I like, that I understand and that is very much needed, it’s very much my responsibility.

‘Fantasy Island’ Season 2 Teaser | New Season Coming Soon

AVC: Even though you’ve been able to reconnect with so many of your friends and family in Puerto Rico, you’ve also had to spend time away from your husband and two children, who live in Los Angeles. How have you worked to find that ever-changing work-life balance? Do you find the podcast is a good way for you to maintain that stability between your personal and professional lives? 

RS: It’s a constant negotiation and a constant battle at times, I’m not going to lie to you. It’s the hardest part of this job. I married an actor. It’s an incredible blessing because we do the same thing, so he understands, more than anybody, the requirements and the logistical aspects of having to relocate and travel, and the crazy hours of work. But at the same time, this business is so unpredictable. We don’t know when we’re both going to be working at the same time like now. To be able to keep the relationship and the marriage intact and ever-growing, and now with kids added to the equation, it’s work within work. It’s not easy. My life would be complete if my kids were here with me. In four months, I’m only going to see them for two weeks. It’s quite devastating, to be honest with you.

My kid has a [junior tennis] tournament—she’s playing in 30 minutes. Tennis is a big passion for the family, and she’s doing so well, but [I’m] not there. And I know, at some point, she’s going to let me know, “You weren’t there,” so that’s going to be hard. But I try to explain to her at all times: “Mommy’s doing what she loves. Mommy’s working hard, so [that] you understand what it is to be an independent, fierce, hard-working woman. You have everything that you have because mom and dad work.” So I try to teach [our kids] the importance of what we do, but it’s not easy.

The podcast, funnily enough, is almost like a therapy session for me and Eric. [Laughs.] We fight, we laugh, and he tells me things that are bothering him right in front of everybody, and I’m like, “Wait! I didn’t know that was a problem!” [Laughs.] But we try to do it with humor and keep it classy and respectful, and we’re learning as we go.

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Left and right: Roselyn Sánchez in Fantasy

It’s been almost a year since we last saw Mando and Grogu in “The Book of Boba Fett.”

He’s back.

Pedro Pascal’s Din Djarin, better known simply as Mando, is under the helmet again for Season 3 of the smash Disney+ hit, “The Mandalorian.” Watch the trailer below.

When we last saw Pascal’s wandering warrior in Season 2, he had just said goodbye to Grogu, a.k.a. Baby Yoda, who was spirited away by Luke Skywalker to start his Jedi training. It was an extremely moving moment, one of the defining moments of the entire Disney Star Wars era. But note: we said it was the last time we saw them on “The Mandalorian.”

The last time we actually saw them was on “The Book of Boba Fett,” which arguably undercut the emotionality of “The Mandalorian” Season 2 finale by getting Mando and Grogu back together a little too quickly. Where were the stakes?! We needed to feel that separation! Maybe it was a way to just not have to show us creepy CGI Luke as much.

Anyway, reuniting Mando and Grogu will obviously not then be the focus of Season 3. Instead a whole new adventure awaits. On “The Book of Boba Fett,” Mando got a new ship, a converted chrome Naboo starfighter (like those seen in 1999’s “The Phantom Menace”). But in that Season 2 “Mandalorian” finale he also picked up a new grudge: Mando possesses the Darksaber, a legendary black-bladed lightsaber created by the first Mandalorian Jedi. Whosoever has earned the right to wield the Darksaber has the right to rule the planet Mandalore. But you can only earn the right to wield it by defeating the previous wielder in combat. (Remarkably, “The Mandalorian” is the live-action continuation of storylines from the animated “Star Wars: The Clone Wars” and “Star Wars: Rebels in its focus on this weapon.)

Mando won the Darksaber in combat from Imperial baddie Moff Gideon (Giancarlo Esposito). But though he wants to give it to the person who, in the Mandalorian line of succession, should rule Mandalore, Bo-Katan Kryze (Katee Sackhoff), she knows it’s not hers unless she defeats Mando in combat. So even though they stared down Moff Gideon’s forces together as allies, at some point Mando and Bo-Katan will now have to come to blows.

How much will that come back to haunt him in Season 3? And will he cross paths again with Ahsoka (Rosario Dawson)? We’re not spoiling it for you, watch the trailer below!

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It's been almost a year since we

Simon Cowell is partially responsible for giving us Kelly Clarkson, so we’re legally obligated to give him the benefit of the doubt. Still, we can’t help but question a decision he just made in Episode 3 of AGT: All-Stars.

Spoiler alert: The lucky recipient of Cowell’s proceed-straight-to-the-finals Golden Buzzer was comedian Mike E. Winfield, a finalist from America’s Got Talent Season 17. Was he funny? Absolutely. But was he Golden Buzzer funny? Cowell certainly thought so, but we’re not sure we share in his enthusiasm. The judges appeared far more impressed and amused — even occasionally dumbfounded — by multiple other acts who performed this week.

(Could the fact that Winfield is currently hosting AGT Presents Superstars live stage show at Las Vegas’ Luxor have anything to do with Cowell’s decision? That’s for you to judge.)

Read on to see how the other nine acts fared this week, including which one received the most votes from those pesky superfans. When you’re done reliving the auditions, drop a comment with your thoughts. Which act would have gotten your Golden Buzzer?


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Simon Cowell is partially responsible for giving

The 28th Critics Choice Awards took place at the Fairmont Century Plaza Hotel in Los Angeles on Sunday night. The annual ceremony honored the year in film and television with A24’s “Everything Everywhere All at Once” leading film nominations at 14, while ABC’s “Abbott Elementary” lead television nominations with six.

Chelsea Handler hosted the CW broadcast, taking over from actor Taye Diggs, who hosted the past four years of the awards ceremony. Special awards were presented to Janelle Monáe, who received the #SeeHer award, while Jeff Bridges was honored with the Lifetime Achievement Award.

Read the full winners list below, and click here to see the red carpet arrivals gallery.

Best Picture 

“Everything Everywhere All at Once” (A24)

  • “Avatar: The Way of Water” (20th Century Studios)
  • “Babylon” (Paramount Pictures)
  • “The Banshees of Inisherin” (Searchlight Pictures)
  • “Elvis” (Warner Bros.)
  • “The Fabelmans” (Universal Pictures)
  • “Glass Onion: A Knives Out Mystery” (Netflix)
  • “RRR” (Variance Films)
  • “Tár” (Focus Features)
  • “Top Gun: Maverick” (Paramount Pictures)
  • “Women Talking” (MGM/United Artists Releasing)

Best Actress 

Cate Blanchett – “Tár” (Focus Features)

  • Viola Davis – “The Woman King” (Sony Pictures)
  • Danielle Deadwyler – “Till” (Orion/United Artists Releasing)
  • Margot Robbie – “Babylon” (Paramount Pictures)
  • Michelle Williams – “The Fabelmans” (Universal Pictures)
  • Michelle Yeoh – “Everything Everywhere All at Once” (A24)

Best Actor 

Brendan Fraser – “The Whale” (A24)

  • Austin Butler – “Elvis” (Warner Bros.)
  • Tom Cruise – “Top Gun: Maverick” (Paramount Pictures)
  • Colin Farrell – “The Banshees of Inisherin” (Searchlight Pictures)
  • Paul Mescal – “Aftersun” (A24)
  • Bill Nighy – “Living” (Sony Pictures Classics)

Best Director

Daniel Kwan and Daniel Scheinert – “Everything Everywhere All at Once” (A24)

  • James Cameron – “Avatar: The Way of Water” (20th Century Studios)
  • Damien Chazelle – “Babylon” (Paramount Pictures)
  • Todd Field – “Tár” (Focus Features)
  • Baz Luhrmann – “Elvis” (Warner Bros.)
  • Martin McDonagh – “The Banshees of Inisherin” (Searchlight Pictures)
  • Sarah Polley – “Women Talking” (MGM/United Artists Releasing)
  • Gina Prince-Bythewood – “The Woman King” (Sony Pictures)
  • S.S. Rajamouli – “RRR” (Variance Films)
  • Steven Spielberg – “The Fabelmans” (Universal Pictures)

Best Limited Series

“The Dropout” (Hulu)

  • “Gaslit” (Starz)
  • “The Girl from Plainville” (Hulu)
  • “The Offer” (Paramount+)
  • “Pam & Tommy” (Hulu)
  • “Station Eleven” (HBO Max)
  • “This Is Going to Hurt” (AMC+)
  • “Under the Banner of Heaven” (FX)

Best Drama Series

“Better Call Saul” (AMC)

  • “Andor” (Disney+)
  • “Bad Sisters” (Apple TV+)
  • “The Crown” (Netflix)
  • “Euphoria” (HBO)
  • “The Good Fight” (Paramount+)
  • “House of the Dragon” (HBO)
  • “Severance” (Apple TV+)
  • “Yellowstone” (Paramount Network)

Best Young Actor/Actress 

Gabriel LaBelle – “The Fabelmans” (Universal Pictures)

  • Frankie Corio – “Aftersun” (A24)
  • Jalyn Hall – “Till” (Orion/United Artists Releasing)
  • Bella Ramsey – “Catherine Called Birdy” (Amazon Studios)
  • Banks Repeta – “Armageddon Time” (Focus Features)
  • Sadie Sink – “The Whale” (A24)

Best Comedy 

“Glass Onion: A Knives Out Mystery” (Netflix)

  • “The Banshees of Inisherin” (Searchlight Pictures)
  • “Bros” (Universal Pictures)
  • “Everything Everywhere All at Once” (A24)
  • “Triangle of Sadness” (Neon)
  • “The Unbearable Weight of Massive Talent” (Lionsgate)

Best Acting Ensemble 

“Glass Onion: A Knives Out Mystery” (Netflix)

  • “The Banshees of Inisherin” (Searchlight Pictures)
  • “Everything Everywhere All at Once” (A24)
  • “The Fabelmans” (Universal Pictures)
  • “The Woman King” (Sony Pictures)
  • “Women Talking” (MGM/United Artists Releasing)

Best Talk Show

“Last Week Tonight with John Oliver” (HBO)

  • “The Amber Ruffin Show” (Peacock)
  • “Full Frontal with Samantha Bee” (TBS)
  • “The Kelly Clarkson Show” (Syndicated)
  • “Late Night with Seth Meyers” (NBC)
  • “Watch What Happens Live with Andy Cohen” (Bravo)

Best Comedy Special

“Norm Macdonald: Nothing Special” (Netflix)

  • “Fortune Feimster: Good Fortune” (Netflix)
  • “Jerrod Carmichael: Rothaniel” (HBO)
  • “Joel Kim Booster: Psychosexual” (Netflix)
  • “Nikki Glaser: Good Clean Filth” (HBO)
  • “Would It Kill You to Laugh? Starring Kate Berlant & John Early” (Peacock)

Best Foreign Language Series

“Pachinko” (Apple TV+)

  • “1899” (Netflix)
  • “Borgen” (Netflix)
  • “Extraordinary Attorney Woo” (Netflix)
  • “Garcia!” (HBO Max)
  • “The Kingdom Exodus” (MUBI)
  • “Kleo” (Netflix)
  • “My Brilliant Friend” (HBO)
  • “Tehran” (Apple TV+)

Best Animated Series

“Harley Quinn” (HBO Max)

  • “Bluey” (Disney+)
  • “Bob’s Burgers” (Fox)
  • “Genndy Tartakovsky’s Primal” (Adult Swim)
  • “Star Trek: Lower Decks” (Paramount+)
  • “Undone” (Prime Video)

Best Movie Made for Television

“Weird: The Al Yankovic Story” (The Roku Channel)

  • “Fresh” (Hulu)
  • “Prey” (Hulu)
  • “Ray Donovan: The Movie” (Showtime)
  • “The Survivor” (HBO)
  • “Three Months” (Paramount+)

Best Actress in a Drama Series

Zendaya – “Euphoria” (HBO)

  • Christine Baranski – “The Good Fight” (Paramount+)
  • Sharon Horgan – “Bad Sisters” (Apple TV+)
  • Laura Linney – “Ozark” (Netflix)
  • Mandy Moore – “This Is Us” (NBC)
  • Kelly Reilly – “Yellowstone” (Paramount Network)

Best Actor in a Drama Series

Bob Odenkirk – “Better Call Saul” (AMC)

  • Jeff Bridges – “The Old Man” (FX)
  • Sterling K. Brown – “This Is Us” (NBC)
  • Diego Luna – “Andor” (Disney+)
  • Adam Scott – “Severance” (Apple TV+)
  • Antony Starr – “The Boys” (Prime Video)

Best Hair and Makeup 

“Elvis” (Warner Bros.)

  • “Babylon” (Paramount Pictures)
  • “The Batman” (Warner Bros.)
  • “Black Panther: Wakanda Forever” (Marvel Studios)
  • “Everything Everywhere All at Once” (A24)
  • “The Whale” (A24)

Best Visual Effects 

“Avatar: The Way of Water” (20th Century Studios)

  • “The Batman” (Warner Bros.)
  • “Black Panther: Wakanda Forever” (Marvel Studios)
  • “Everything Everywhere All at Once” (A24)
  • “RRR” (Variance Films)
  • “Top Gun: Maverick” (Paramount Pictures)

Best Editing 

Paul Rogers – “Everything Everywhere All at Once” (A24)

  • Stephen Rivkin, David Brenner, John Refoua, James Cameron – “Avatar: The Way of Water” (20th Century Studios)
  • Tom Cross – “Babylon” (Paramount Pictures)
  • Matt Villa, Jonathan Redmond – “Elvis” (Warner Bros.)
  • Monika Willi – “Tár” (Focus Features)
  • Eddie Hamilton – “Top Gun: Maverick” (Paramount Pictures)

Best Production Design  

Florencia Martin, Anthony Carlino – “Babylon” (Paramount Pictures)

  • Dylan Cole, Ben Procter, Vanessa Cole – “Avatar: The Way of Water” (20th Century Studios)
  • Hannah Beachler, Lisa K. Sessions – “Black Panther: Wakanda Forever” (Marvel Studios)
  • Catherine Martin, Karen Murphy, Bev Dunn – “Elvis” (Warner Bros.)
  • Jason Kisvarday, Kelsi Ephraim – “Everything Everywhere All at Once” (A24)
  • Rick Carter, Karen O’Hara – “The Fabelmans” (Universal Pictures)

Best Cinematography 

Claudio Miranda – “Top Gun: Maverick” (Paramount Pictures)

  • Russell Carpenter – “Avatar: The Way of Water” (20th Century Studios)
  • Linus Sandgren – “Babylon” (Paramount Pictures)
  • Roger Deakins – “Empire of Light” (Searchlight Pictures)
  • Janusz Kaminski – “The Fabelmans” (Universal Pictures)
  • Florian Hoffmeister – “Tár” (Focus Features)

Best Comedy Series

“Abbott Elementary” (ABC)

  • “Barry” (HBO)
  • “The Bear” (FX)
  • “Better Things” (FX)
  • “Ghosts” (CBS)
  • “Hacks” (HBO Max)
  • “Reboot” (Hulu)
  • “Reservation Dogs” (FX)

Best Actress in a Comedy Series

Jean Smart – “Hacks” (HBO Max)

  • Christina Applegate – “Dead to Me” (Netflix)
  • Quinta Brunson – “Abbott Elementary” (ABC)
  • Kaley Cuoco – “The Flight Attendant” (HBO Max)
  • Renée Elise Goldsberry – “Girls5eva” (Peacock)
  • Devery Jacobs – “Reservation Dogs” (FX)

Best Actor in a Comedy Series

Jeremy Allen White – “The Bear” (FX)

  • Matt Berry – “What We Do in the Shadows” (FX)
  • Bill Hader – “Barry” (HBO)
  • Keegan-Michael Key – “Reboot” (Hulu)
  • Steve Martin – “Only Murders in the Building” (Hulu)
  • D’Pharaoh Woon-A-Tai – “Reservation Dogs” (FX)

#SeeHer Award

Janelle Monáe

Lifetime Achievement Award

Jeff Bridges

Best Animated Feature 

“Guillermo del Toro’s Pinocchio” (Netflix)

  • “Marcel the Shell with Shoes On” (A24)
  • “Puss in Boots: The Last Wish” (DreamWorks Animation)
  • “Turning Red” (Pixar)
  • “Wendell & Wild” (Netflix)

Best Actor in a Limited Series or Movie Made for Television

Daniel Radcliffe – “Weird: The Al Yankovic Story” (The Roku Channel)

  • Ben Foster – “The Survivor” (HBO)
  • Andrew Garfield – “Under the Banner of Heaven” (FX)
  • Samuel L. Jackson – “The Last Days of Ptolemy Grey” (Apple TV+)
  • Sebastian Stan – “Pam & Tommy” (Hulu)
  • Ben Whishaw – “This is Going to Hurt” (AMC+)

Best Costume Design 

Ruth E. Carter – “Black Panther: Wakanda Forever” (Marvel Studios)

  • Mary Zophres – “Babylon” (Paramount Pictures)
  • Catherine Martin – “Elvis” (Warner Bros.)
  • Shirley Kurata – “Everything Everywhere All at Once” (A24)
  • Jenny Eagan – “Glass Onion: A Knives Out Mystery” (Netflix)
  • Gersha Phillips – “The Woman King” (Sony Pictures)

Best Song

“Naatu Naatu” – “RRR” (Variance Films) 

  • “Lift Me Up” – “Black Panther: Wakanda Forever” (Marvel Studios) 
  • “Ciao Papa” – “Guillermo del Toro’s Pinocchio” (Netflix)
  • “Hold My Hand” – “Top Gun: Maverick” (Paramount Pictures) 
  • “Carolina” – “Where the Crawdads Sing” (Sony Pictures)
  • “New Body Rhumba” – “White Noise” (Netflix) 

Best Score 

Hildur Guðnadóttir – “Tár” (Focus Features)

  • Michael Giacchino – “The Batman” (Warner Bros.)
  • Justin Hurwitz – “Babylon” (Paramount Pictures)
  • John Williams – “The Fabelmans” (Universal Pictures)
  • Alexandre Desplat – “Guillermo del Toro’s Pinocchio” (Netflix)
  • Hildur Guðnadóttir – “Women Talking” (MGM/United Artists Releasing)

Best Original Screenplay

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

  • Charlotte Wells – “Aftersun” (A24)
  • Martin McDonagh – “The Banshees of Inisherin” (Searchlight Pictures)
  • Steven Spielberg, Tony Kushner – “The Fabelmans” (Universal Pictures)
  • Todd Field – “Tár” (Focus Features)

Best Adapted Screenplay

Sarah Polley – “Women Talking” (MGM/United Artists Releasing)

  • Rian Johnson – “Glass Onion: A Knives Out Mystery” (Netflix)
  • Kazuo Ishiguro – “Living” (Sony Pictures Classics)
  • Rebecca Lenkiewicz – “She Said” (Universal Pictures)
  • Samuel D. Hunter – “The Whale” (A24)

Best Supporting Actress 

Angela Bassett – “Black Panther: Wakanda Forever” (Marvel Studios)

  • Jessie Buckley – “Women Talking” (MGM/United Artists Releasing)
  • Kerry Condon – “The Banshees of Inisherin” (Searchlight Pictures)
  • Jamie Lee Curtis – “Everything Everywhere All at Once” (A24)
  • Stephanie Hsu – “Everything Everywhere All at Once” (A24)
  • Janelle Monáe – “Glass Onion: A Knives Out Mystery” (Netflix)

Best Supporting Actor 

Ke Huy Quan – “Everything Everywhere All at Once” (A24)

  • Paul Dano – “The Fabelmans” (Universal Pictures)
  • Brendan Gleeson – “The Banshees of Inisherin” (Searchlight Pictures)
  • Judd Hirsch – “The Fabelmans” (Searchlight Pictures)
  • Barry Keoghan – “The Banshees of Inisherin” (Searchlight Pictures)
  • Brian Tyree Henry – “Causeway” (A24/Apple Original Films)

Best Supporting Actor in a Comedy Series

Henry Winkler – “Barry” (HBO)

  • Brandon Scott Jones – “Ghosts” (CBS)
  • Leslie Jordan – “Call Me Kat” (Fox)
  • James Marsden – “Dead to Me” (Netflix)
  • Chris Perfetti – “Abbott Elementary” (ABC)
  • Tyler James Williams – “Abbott Elementary” (ABC)

Best Supporting Actress in a Comedy Series

Sheryl Lee Ralph – “Abbott Elementary” (ABC)

  • Paulina Alexis – “Reservation Dogs” (FX)
  • Ayo Edebiri – “The Bear” (FX)
  • Marcia Gay Harden – “Uncoupled” (Netflix)
  • Janelle James – “Abbott Elementary” (ABC)
  • Annie Potts – “Young Sheldon” (CBS)

Best Supporting Actor in a Limited Series or Movie Made for Television

Paul Walter Hauser – “Black Bird” (Apple TV+)

  • Murray Bartlett – “Welcome to Chippendales” (Hulu)
  • Domhnall Gleeson – “The Patient” (FX)
  • Matthew Goode – “The Offer” (Paramount+)
  • Ray Liotta – “Black Bird” (Apple TV+)
  • Shea Whigham – “Gaslit” (Starz)

Best Supporting Actress in a Limited Series or Movie Made for Television

Niecy Nash-Betts – “Dahmer – Monster: The Jeffrey Dahmer Story” (Netflix)

  • Claire Danes – “Fleishman Is in Trouble” (FX)
  • Dominique Fishback – “The Last Days of Ptolemy Grey” (Apple TV+)
  • Betty Gilpin – “Gaslit” (Starz)
  • Melanie Lynskey – “Candy” (Hulu)
  • Juno Temple – “The Offer” (Paramount+)

Best Supporting Actor in a Drama Series

Giancarlo Esposito – “Better Call Saul” (AMC)

  • Andre Braugher – “The Good Fight” (Paramount+)
  • Ismael Cruz Córdova – “The Lord of the Rings: The Rings of Power” (Prime Video)
  • Michael Emerson – “Evil” (Paramount+)
  • John Lithgow – “The Old Man” (FX)
  • Matt Smith – “House of the Dragon” (HBO)

Best Supporting Actress in a Drama Series

Jennifer Coolidge – “The White Lotus” (HBO)

  • Milly Alcock – “House of the Dragon” (HBO)
  • Carol Burnett – “Better Call Saul” (AMC)
  • Julia Garner – “Ozark” (Netflix)
  • Audra McDonald – “The Good Fight” (Paramount+)
  • Rhea Seehorn – “Better Call Saul” (AMC)

Best Foreign Language Film 

“RRR” (Variance Films)

  • “All Quiet on the Western Front” (Netflix)
  • “Argentina, 1985” (Amazon Studios)
  • “Bardo, False Chronicle of a Handful of Truths” (Netflix)
  • “Close” (A24)
  • “Decision to Leave” (Mubi)

Best Actress in a Limited Series or Movie Made For Television

Amanda Seyfried – The Dropout (Hulu)

  • Julia Garner – “Inventing Anna” (Netflix)
  • Lily James – “Pam & Tommy” (Hulu)
  • Amber Midthunder – “Prey” (Hulu)
  • Julia Roberts – “Gaslit” (Starz)
  • Michelle Pfeiffer – “The First Lady” (Showtime)

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The 28th Critics Choice Awards took place

A preview of Patrick Boudet’s documentary “Nicole Kidman – Eyes Wide Open,” produced by Valérie Montmartin at Little Big Story and ARTE France, generated significant buzz at the Unifrance Rendez-Vous With French Cinema in Paris.

Boudet has written and directed drama and documentaries for France Télévisions, Arte, M6 and radio, and his previous project was TV movie “La Vie de Brian Jones,” about the Rolling Stones guitarist.

“Kidman” weaves together archive shots from the actor’s films and selected interviews with her, including a 2012 audio interview with French film critic Michel Ciment, reinforced by new interviews recorded by Boudet in Los Angeles, New York, London and Paris, with directors Gus van Sant and John Cameron Mitchell, actor Charlotte Lipinska, and Ciment, alongside fellow critics Anna Smith and Variety’s Peter Debruge.

The pic shows how Kidman moved from Australia to Hollywood to escape from the “tall poppy syndrome” that stifles talent. It explores the interlinks between Kidman’s personal and professional lives, showing how she uses her star power to take on challenging roles, and looks at how her role in Van Sant’s 1995 satirical black comedy “To Die For” heralded a new direction in her career.

Director John Cameron Mitchell – who cast Kidman in the 2010 drama “Rabbit Hole,” for which she earned an Oscar nomination, and his 2017 sci-fi romantic comedy “How to Talk to Girls at Parties” – remarks: “There’s something quest-like about her. Heroic. With all of her characters, even if they’re small people, there’s a strange kind of lonely warrior about them.”

Boudet and Montmartin spoke to Variety about the project.

What attracted you both to this project?

Montmartin: ARTE has a slot dedicated to leading actors and filmmakers and Nicole is one of the greatest living actresses. She works in both mainstream and auteur films. She is a feminist and has been able to express herself on these questions. It’s all this complexity that really made me want to make this film.

Does the documentary include a new interview with Kidman?

Montmartin: No. In general, she avoids talking in-depth about the underlying connections between her life and work, which is what the documentary is about. But she isn’t opposed to having films made about her. We were lucky to talk to French film critic Michel Ciment, who conducted an extensive audio interview with her in 2012 at Cannes. We use this recording and other interviews in which she tells her own story, complemented by new interviews with people who have worked with her and know her well.

How do you view Kidman as an artist?

Boudet: My main goal is to show that Nicole is not just an actor, but also an auteur, a creator. She has no ambition to write or direct, but through her films she expresses something that touches her and conveys her view of the world. Paradoxically, she has built a mirror work that tells us about her life. She inspires directors and writers. And because she wants to experiment, she looks for directors who are underground, independent, who have their own personal universe. She also seeks to experience certain limits, which are not her own limits, but are instead the psychological limits of the female characters she portrays.

How do you see her body of work as a whole?

Boudet: I realized that there is an underlying theme running through her work, an epistemology if you like, of a female character who is effectively imprisoned. We find this theme running throughout her work, for example one of her early films, “Dead Calm,” in which she is the prisoner of a psychopath, or “Big Little Lies,” where she also lives imprisoned, first socially and then through domestic abuse. This theme also comes up in her blockbuster films, with, of course, many sub-themes such as in “Portrait of a Lady,” in which she effectively imprisons herself. Hollywood films are often set up around male actors. Nicole has reversed that. For example, with the series “Big Little Lies,” she read the book, and told the author: if you give me the rights, I promise you this project will be made. She is also the producer on many other projects, which is a way of freeing herself and taking power. She looks for directors who have a very independent universe of their own.

How did you approach the links between her personal and professional life?

Boudet: I wanted to avoid a gossip-based approach. One of the great mysteries of Nicole’s work, like that of certain artists, writers or painters, is that there are many correspondences between her life and work. For example, when she made “Eyes Wide Shut,” Stanley Kubrick drew inspiration from Nicole’s and Tom Cruise’s relationship. He was constantly rewriting the screenplay. He arrived at a point where the film took on a life of its own, inspired by their relationship, but distinct from it. Finally, the film generated a psychodrama since they separated soon afterwards. Nicole also uses the cinema to question her own identity. She also talks about how she entered a depression after her divorce and channeled this experience into “The Hours.” She began to embrace yet more challenging roles, such as “Dogville” and then “Birth,” which is incredible, where she falls in love with a child who claims to be the reincarnation of her dead husband. When she remarried in 2006, I think this gave her the stability to create her own production company, “Blossom Films,” and accept even more extreme roles, by filming “Rabbit Hole” by John Cameron Mitchell, or “The Paperboy” by Lee Daniels.

How do you think the fact that she grew up outside the U.S. has influenced her work?

Boudet: Nicole is Australian, which in a way brings her closer to a European identity. I think that an American actor may not have had the desire to take on the same challenging roles. When she got to Hollywood, she was caught up in the Tom Cruise publicity machine. But she quickly became tired of mainstream Hollywood cinema, because she made films like “Batman Forever,” and was looking for other roles. Cruise was exemplary – in terms of his support for her. Before becoming a blockbuster actor, with films like “Mission: Impossible,” he also had an important period of independent cinema. It was at this time that her role in Gus van Sant’s “To Die For” came about. Gus had someone else in mind, but Nicole called him and said I was born for this role. And she was extraordinary in the film. That marked a new chapter in her career.

In the documentary, you talk about her inspirations from literature.

Montmartin: She is very intelligent and as a girl was always reading books. Michel Ciment explains in the film that she read many of the great Anglo-Saxon classics – Charlotte Bronte, Emily Bronte, Emily Dickinson, George Eliot and so on. She absorbed those influences. This is evident in a film like “The Hours,” for which she won an Oscar. She is inspired by the great heroines of literature. Even in a more mainstream film like “Betwitched,” she brings an inner conflict to the role.

Is Nicole Kidman aware of this project?

Boudet: She knows that it’s being made and will be broadcast in Australia on two channels, including one in primetime. I don’t know what her reaction will be. But the film is very positive about her work, and above all it’s very respectful. It’s important to remember that there are many more women directors in Europe than in Hollywood, which highlights the importance of an actor like Nicole, who has opened up new visions. We’re living in a moment, just like in the TV series “Big Little Lies,” in which women are freeing themselves. But there are still many obstacles and Nicole is one of the people who are helping, through both her roles and her concrete actions, like working with women directors, such as Karyn Kusama for “Destroyer” and Andrea Arnold on Season 2 of “Big Little Lies.” I hope this project will shed light on her influence.

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A preview of Patrick Boudet’s documentary “Nicole

We last saw Din Djarin and Grogu at the end of “The Mandalorian” season 2 as he was bidding him farewell and leaving him in the care of Luke Skywalker (Mark Hamill), but we then see the team during “The Book of Boba Fett” when Mando reunited with Grogu, the two set off for his home planet of Mandalore to face the music.

“The Mandalorian” Season 3 starring Pedro Pascal as the titular bounty hunter will see Din Djarin traveling to Mandalore to redeem his past transgressions with his companion Grogu and continue their journeys through the Star Wars galaxy. Set after the events of Return of the Jedi (1983). The Mandalorian will cross paths with old allies and make new enemies. Meanwhile, the New Republic struggles to lead the galaxy away from its dark history.

Courtesy of Disney+

As we can see in the poster, Mando and Grogu are back to being a team of 2, and Mando is once again willing to fight to protect his friend no matter what. It is most likely that the majority of The Mandalorian season 3 will take place primarily on Mandalore as Din Djarin struggles with the consequences of his actions in the past season and tries to redeem himself after removing his helmet, and deals with his possession of the legendary Darksaber as he learns about what it means to wield it. We will also be seeing quite a few more more Mandalorians join him.

The Mandalorian season 2 confirmed Grand Admiral Thrawn was still alive. It is quite possible that he may make an appearance in season 3 of The Mandalorian.

Courtesy of Disney+

According to the official synopsis “the New Republic struggles to lead the galaxy away from its dark history”, Thrawn could be a part of that dark history.

As for the “old allies and new enemies part”, the first teaser did confirm that Djarin and Grogu will encounter Bo-Katan Kryze (Katee Sackhoff) again, so we’d say a darksaber duel is not that far off.

 

Check out the official trailer for “The Mandalorian” season 3 below:

The trailer starts with Djarin speaking about what it means to truly be a Mandalorian as he and Grogu head to Mandalore. Meanwhile Captain Carson warns him that something dangerous is happening in the galaxy.  Creator John Favreau promises a much bigger and very exciting season, “I will say that the scope of it is getting bigger, we have really cool space battles, we have lots of Mandalorians, we have the planet of Mandalore which we’ve been talking about for a long time. We get to see the Mandalorian culture.”

Aside from Pascal the main cast is back, including Katee Sackhoff (Bo-Katan), Giancarlo Esposito (Moff Gideon), Carl Weathers (Greef Karga), Amy Sedaris (Peli Motto), and Emily Swallow (the Armorer). Favreau says “Many of the wonderful actors you’ve seen in previous seasons return, and you’ll see them all work together on this show.”

The series is written and executive produced by Jon Favreau, Dave Filoni is also executive producing, co-writing two episodes, and likely directing one of two as well. Rick Famuyiwa and Carl Weathers are confirmed to direct, and according to reports, so will Bryce Dallas Howard. “It’s been a very ambitious season, a lot of our directors have returned, we have a very experienced team that have been working together for a long time and I think a lot of people are going to enjoy what we have in store” Says Favreau.

The Mandalorian returns to Disney+ for its third season on March 1st.

This is the way.

We last saw Din Djarin and Grogu

Fire Emblem is one of Nintendo’s longest running series, though most in the Western world may not realize this.  Getting its start in 1990 on the Famicom(the Japanese NES), the tactical-RPG series has gone from a niche franchise, to one of Nintendo’s premier series.  With the newest title, Fire Emblem Engage, arriving January 20th, a large chunk of the characters present include characters from every previous entree.  That said, many people may be curious to know more about these games, and which stands among the series best.

Having played all of the games in the series, this list will rank every mainline game in the series.  This includes the games released exclusively in Japan, but won’t include spin-offs such as Fire Emblem Heroes, Tokyo Mirage Sessions #FE, or Fire Emblem Warriors.  Factors into this rank will consider story, characters, and game play.  In addition, due to Fire Emblem Fates being released as three different games, it shall be ranked as such.  This in part is due to each version having drastic differences in game play, maps, and story.

Honorable Mentions – Fire Emblem : Shadow Dragon and the Blade of Light(1991-Famicom), Fire Emblem Gaiden(1992-Famicom)

While the first two games were innovative and still solid today, there’s not much reason to go back to these.  This is due in part to remakes of both games fixing many of the original issues, while still keeping the original intentions of the game intact.  Still, for those curious as to how the series got its start, it may be worth checking these games out.

16. Fire Emblem Fates : Revelations (2015 – Nintendo 3DS)

Fire Emblem

Courtesy of Nintendo/Intelligent Systems

Fire Emblem Fates : Revelations isn’t a bad game, far from in fact.  That said, there are multiple problems which get in the way of enjoying it fully.  Story wise, it’s no secret that Fire Emblem Fates is generally seen as having notoriously bad writing.  Revelations isn’t the worst offender of this, but there are many contrivances and shallow moments that result from the flat characterization and substandard plot line.  While the setting of Valla is visually interesting, the kingdom itself isn’t explored much, despite how important it is to the overall story of Fates.

What about game play?  Starting with the positives, the general game play mechanics of Fates are among the series best.  In addition, the large character roster in this game, alongside the extensive selection of classes, is this game’s strength.  The sheer amount of customization and expression is simply tantalizing.  As it stands, it’s probably the most expressive game in the series.  The maps you play on, however, can be quite the mixed bag.  Every map has some sort of gimmick, some which add to the experience, while others will frustrate you.  For example, one map allows you to create your own choke points, a simple gimmick, but one which adds a ton of strategy.  Meanwhile, a later map has you take one unit at a time on platforms that move each turn, causing it to drag on longer than it should.

Not helping this games case is it’s availability.  Unlike other games which have seen some major physical releases, Revelations is only physically available to those who purchased the Special Edition of Fire Emblem Fates.  With the eShop soon closing on the 3DS, it will be the only way for those who haven’t downloaded it to play it.

15. Fire Emblem : The Binding Blade (2002 – Game Boy Advance)

Fire Emblem

Courtesy of Nintendo/Intelligent Systems

With Roy’s inclusion in Super Smash Bros. Melee, many players were curious what exactly the origin of the fiery swordsman was.  While his game has yet to release outside of Japan, many players would eventually discover that for themselves.

To say that The Binding Blade is a bit divisive would be an understatement.  While many find it an enjoyable time with the classic Fire Emblem formula, others find it to be utterly frustrating.  This in large part is due to many units, ax units in particular, being near useless.  Though the most frustrating of these characters is unfortunately the main character, Roy.  On top of not being a particularly interesting character, in a not particularly interesting plot, Roy doesn’t promote until the tail end of the game.  This essentially means for a large chunk of the game, he is more a liability than anything else.

That said, the worst part of the game is accessing the true ending of the game.  Not only does one have to fulfill out of the way tasks in various maps, this then leads to the Gaiden chapters.  After completing them, the reward is one of the many legendary weapons.  These weapons are needed by the end of the game, if you lose them, or miss one, you don’t get the true ending.  Meaning, you have to start the game all over again.  Still, it’s a solid game despite those flaws, as many of the maps are well designed, and the combat animations are fast and flashy.

14. Fire Emblem : New Mystery of the Emblem, Heroes of Light and Shadow(2010 – Nintendo DS)

Fire Emblem

Courtesy of Nintendo/Intelligent Systems

A remake of Book 2 from the third game, also exclusive to Japan, New Mystery of the Emblem is a controversial entry for the changes it makes from the original game. With the addition of the new avatar character, Kris, the spotlight is yanked away from Marth and many other characters.  This results in most of the original stories more effective moments being undermined by a character that wasn’t meant to be there in the first place.  Thus, what was originally a fine story, becomes infuriating as you just want Kris to get out of the way.

The story isn’t the only controversial change.  While most of the maps remain the same, many changes were made to put far more power into the players hands.  This results in a game that is fairly easy to break.  That said, there are a number of ways to challenge yourself.  In addition to including many difficulties, this is the only game to include the Reverse mode.  Essentially, this makes it so enemies will attack first when you engage in combat.  It completely changes the way the game is approached, and units that otherwise may have been useless, find more use in this mode.

13. Fire Emblem Fates : Birthright(2015 – Nintendo 3DS)

Fire Emblem

Courtesy of Nintendo/Intelligent Systems

When creating Fire Emblem Fates, the developers at Intelligent Systems had a predicament.  With all the new players brought in with the newcomer friendly Fire Emblem Awakening.  While its dark counterpart Conquest is catered to veterans of the series, Birthright is meant for those who’ve never played a Fire Emblem game before.  The story and map design reflect this.

Ironically, despite having the simplest story, Birthright has the best story of the Fates set.  The characterization is generally at its best in this story, and without the inclusion of Valla, it is able to focus on the premise of going against the militaristic nation of Nohr.  It’s still not perfect though.  While the handling of Corrin’s Nohrian siblings is mostly fine, the most important, Xander, is unfortunately problematic.  In addition, Birthright is easily home to the worst death scene in the series.  While it won’t be spoiled, given the reasoning for it, it comes across as truly distasteful.

Aside from the simple story, Birthright also has simple map designs.  While other games have linear, goal-based maps, Birthright follows Awakening’s footsteps and has open, multi-approach maps, that only often require you to kill every enemy or the enemy commander.  This can often leave Birthright being a bit too easy, that is until playing on Lunatic.  While Lunatic difficulty is easy for a while, once getting to the last third, the game spikes up in difficulty.  Still, on every other difficulty, this can result in a game with an easy, almost boring, experience.

12. Fire Emblem : Mystery of the Emblem(1994 – Super Famicom)

Fire Emblem

Courtesy of Nintendo/Intelligent Systems

For the quintessential,  baseline Fire Emblem experience, Mystery of the Emblem is where to look.  Divided into two sections, Book 1 is an abridged remake of the first game.  Meanwhile, Book 2 serves as the continuation of the story, as Marth is called back into action after a friend turned enemy upends the peace that was established.  It’s a simple, but effective story, one that shows how heroic and wise Marth is as a character.

The game play, like-wise, is basic, but solid.  While the map designs are generally more intricate than Birthright, the objectives are still generally simple to understand.  In addition, the more in depth mechanics introduced in later games are lacking her, making for a game that is easy to get into, yet not too memorable in comparison to other games.

 

 

11. Fire Emblem : Shadow Dragon (2008 – Nintendo DS)

Fire Emblem

Courtesy of Nintendo/Intelligent Systems

When the remake of the original game was released for the Nintendo DS, including in the West, it was met with lukewarm reactions, due in part to seemingly staying overly faithful to the original game.  That said, as time has gone on, fans have looked back on this entry more fondly, realizing there’s more to this remake than meets the eye.

Thanks to the translation from 8-4, the original story received many improvements.  For one, the series of events is made more clear to the player.  In addition, while lacking the support conversations the series became known for, most of the side characters get adequate time to shine throughout.

Ultimately, Shadow Dragon is about refining the original game in small, yet meaningful ways.  Most of the map design is the same, but a few new characters and mechanics iron out the kinks of the original game.  From adding in a proper trading system, including the weapon triangle, and forging, this game is ultimately a much smoother experience than the original.  That said, some of the mechanics new to this game are game breaking.  Forging weapons in particular stands as the biggest contributor, as many will point to Caeda and the Wing Spear as a prime example.

10. Fire Emblem : Radiant Dawn (2007 – Nintendo Wii)

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Radiant Dawn is another divisive entry in the series, one that saw mixed reviews upon its release for its difficulty.  Yet in many ways, Radiant Dawn has both the best, and worst aspects of Fire Emblem.

Of all titles in the series, Radiant Dawn perhaps puts the most emphasis on the tactical aspects of the series more so than any other game.  This is due to the way the game and its story is set up.  Rather than stick with one team throughout the majority of the game, the player switches between different sets of characters at different intervals.  Each one of these groups have their own story lines that ultimately culminate in one of the most climactic moments in any Fire Emblem game.  While this does help the world of Tellius feel more grand and fleshed out, this set up does present problems.  Story wise, characters from the game’s predecessor, Path of Radiance, can overshadow this Radiant Dawn’s cast, including its main character Micaiah.  Also due to the grand endgame, the plot is often forced into that direction via contrivances(ex : Blood Contract).

This setup also has an effect on the difficulty.  Most fans point out how underwhelming the Dawn Brigade is.  During Part 1, they aren’t too bad, but once the player gains control of them again, that’s when the problems show.  As most of the enemies have increased in stats and levels, the Dawn Brigade was left to dry.  Still, assuming you’re ready to take on the difficulty, you’ll find a game with fantastic mechanics.  Some mechanics include shareable skills, various weapon strength and weaknesses, map elevation having an effect on game play, and far more to experiment with.

9. Fire Emblem : The Sacred Stones (2004 – Game Boy Advance)

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The final GBA Fire Emblem game, The Sacred Stones is well known for being one of, if not, the easiest game in the series.  This game allows the player to grind for resources outside of the main game and side quests.  While common now, such a feature wasn’t common in the series back then.  In addition, the units available in this game are all incredibly powerful.  Still, unlike other easy games in this series, The Sacred Stones has more interesting maps, and a myriad of unique mechanics to make it more engaging to play.

On top of the more interesting map design, this game also has a split in the narrative.  At one point, the player chooses to follow the story of either Eirika or Ephiram.  Each one has a few chapters with maps exclusive to them, and both affect the narrative in different ways.  This can most be clearly with this game’s main villain Lyon, who stands as one of the most tragic villains in the series.  That said, aside from the villains, there isn’t too much of the story that is memorable.

8. Fire Emblem : Awakening (2012 – Nintendo 3DS)

Courtesy of Nintendo/Intelligent Systems

Often referred to as the game which saved the series, this game’s success is partly responsible for Fire Emblem becoming a major franchise for Nintendo.  A good thing too, as had this game not succeeded, Fire Emblem actually wouldn’t be around today.

With the knowledge this game could be their last, the developers took many risks with this game.  This includes making it far more accessible than previous games were at that point.  This is the first game to introduce the Pair-Up mechanic, where two units can combine their strengths.  While previously introduced in New Mystery of the Emblem, the Avatar character and Casual Mode became mainstays with this game.  While the Avatar character is still a debated topic today, casual mode is generally seen as a fantastic inclusion.  Given the fact permanent death made the series hard to approach for many, the ability to turn it off made the game far more approachable for newcomers.

As for the story and characters, Awakening is a mixed bag.  Robin is arguably still the best avatar in the series, and many characters in this game have become fan favorites.  Despite the fantastic cast of characters, the story is remarkably standard, and it has among the series the weakest villains.  Even the game play is a mixed bag.  Much like Birthright, the maps in this game are often flat and don’t branch out from killing all enemies or the boss.  In addition, the game has major balance issues.  It’s very easy to create single units which can solo entire maps, and the various difficulty selections all go to very opposite ends of the difficulty spectrum.  Normal and Hard are not tricky at all, while Lunatic, and Lunatic+ especially feel horrifically unfair.  Still, there’s certainly an appeal to breaking the game.

7. Fire Emblem : Genealogy of the Holy War (1996 – Super Famicom)

Courtesy of Nintendo/Intelligent Systems

Genealogy of the Holy War is often considered the magnum opus of Fire Emblem’s original creator, Shozu Kaga.  Perhaps it’s fitting this game released the same year as A Game of Thrones, as the story is a sprawling, epic, tragic narrative spanning multiple generations.  So prominent is the role of politics, conspiracy, and a few adult themes within the narrative; it’s hard to believe this could be a game released by Nintendo.  For those reasons, it’s best to go into this game as blind as possible.

Game play wise, Genealogy of the Holy War introduced many recurring elements that would be used by many games moving forward.  This game introduced the series iconic weapon triangle, a rock-paper-scissor-like mechanic where swords have an advantage over axes, axes over lances, and lances over swords.  In addition, this is the first game to introduce child-units, still at its best in this game.  Still, there are other elements which may be more divisive.  This is the only game in the series to feature giant, multi-objective maps.  While this helped create a grand-sense of war, this also essentially makes units who travel by foot useless, as they are unable to move around effectively.  This makes the game flow very different from other Fire Emblem games.  More so that it’s slow compared to others.  It’s not the most concise or fun game to play as a result.

6. Fire Emblem : Three Houses (2019 – Nintendo Switch)

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The best-selling game in the series at the time of writing this, Fire Emblem : Three Houses does a lot right, and some wrong.  First and foremost, this game had perhaps the best character roster in the series.  Most characters across this game all have so much history and depth to them, and over the course of the game, all grow past the flaws they have as a result of the broken system of Fodlan.  On the subject of Fodlan, this game has some of the most intricate world-building in the series.  There is so much lore to Three Houses, you may well be able to write multiple, long essays about the many facets of this game.  It’s a grand narrative, perhaps, a little too grand.

Due to the sheer size of the story, and the multiple routes of the game, not all routes are equal in story.  While the Blue Lions route following Dimitri is the most concise, the other routes have some problems.  The Black Eagles route following Edelgard is notably shorter than the others.  The Church route is fine, but unmemorable due to not having an interesting protagonist.  The Golden Deer, following Claude, is just a copy of the Church route, only with a more charismatic character and more epic ending.

The effects of this over ambition extend to the game play, both the good and bad.  On the one hand, the actual mechanics of the battles are fun.  Battalions add a new layer of strategy, in combination with combat arts and skills.  Unfortunately, this goes along with rather underwhelming maps, many constantly reappearing through the game.  The Monastery, at first, is a nice break from the combat missions.  Further in and future sessions become a drag, however, no more activities open up.

5. Fire Emblem : The Blazing Blade (2003 – Game Boy Advance)

Courtesy of Nintendo/Intelligent Systems

The prequel to Fire Emblem : The Binding Blade, and the first game to release outside of Japan, the seventh entree in the series cleaned up a lot from the previous entree.  Gone was the secret ending, and no longer were a majority of units utterly useless.  Map design is also a huge step up, with this game having one of the best defense maps in the series with Battle Before Dawn.

Story wise, the best comparison to think of is the equivalent of a summer popcorn movie.  The variety of likable characters and interactions help to distract from a nonsensical story.  It’s flashy, the presentation is an improvement, and the soundtrack is solid.  It’s simply a fun, solid game.

4. Fire Emblem Fates : Conquest (2015 – Nintendo 3DS)

Courtesy of Nintendo/Intelligent Systems

Easily the best game of the Fates trio, Conquest is one of the finest game play experiences in the series.  On top of having the already fantastic mechanics of Fire Emblem Fates, Conquest puts it to fantastic use with amazing map design.  From a defense map on a harbor, to a large staircase where the player must escape as fast as possible, Conquest always goes out of its way to challenge the play.  Without the ability to grind, and limits on resources, Conquest is all about the tactics.  It is arguably the best game play experience in the series.

So what holds it back?

The story, quite frankly, is the worst in the series.  With so many contrivances, hypocritical characters, and the worst main character in the series with the player avatar, Corrin.  Conquest does have some unique ideas, but it’s ultimately infuriating due to how poorly executed it all is.  The prose of the writing doesn’t help. Characters become either cartoon levels of evil, or overtly noble, and not in a self-aware, parody type of way.  Still, the game play is more than enough to support this game as one of the best to play.

3. Fire Emblem : Thracia 776 (1999 – Super Famicom)

Courtesy of Nintendo/Intelligent Systems

The final game in the series by Shozu Kaga, and the least played game, Fire Emblem : Thracia 776 is a brutal, but fair game, one which tells a tight, gripping narrative about overcoming all odds.

Following the character of Leif as he attempts to take back his homeland of Thracia, he starts off in the worst state of any main character in the series.  His forces are small, ill-equipped, and constantly on the run.  Much like the character, the player starts in a desperate state, needing to capture and pilfer equipment from enemy units.  Players will need to cycle out units as they get exhausted.  Careful planning is required to get through the game’s toughest challenges.

The biggest flaw this game has, is it doesn’t explain its mechanics well at all.  This most certainly shouldn’t be one’s first Fire Emblem game.  Still, despite all the challenges the game throws at the player, it also gives you many tools to overcome those challenges.  From scrolls which give your units a boost in various stats, to staves and weapons that are among the most powerful in the series.  There are few major flaws to find in this game outside of its accessibility.  Still, once the player understands what the game expects, the game becomes one of the most refined experiences in the series.

2. Fire Emblem Echoes : Shadows of Valentia (2017 – Nintendo 3DS)

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Fire Emblem Echoes : Shadows of Valentia, a remake of Fire Emblem Gaiden, is the most beautiful game in the series.  The art direction, soundtrack, and full voice acting(the first for the series), elevate the original story.  Led by two amazing characters in the form of Alm and Celica, it tells the story of two armies coming together after trying to solve the issues of the world in their own ways.  Alm by the way of the sword, and Celica by the way of religion.  The twists, turns, and additions to the remake in addition add many new layers to the original story which weren’t there before.  This includes elements of classism, the corruption of ambition and power, and duty.

The remake also fixes many of the issues from the original game.  It’s now far less punishing, and gives the player more tools to approach the game.  With the addition of combat arts, a few new units, and a rewind mechanic, Shadows of Valentia is a far more approachable game than its original counterpart.  Free roaming areas, and dungeon crawling elements only help further engross the player in the world of Valentia.

The only negative about this game is the map design, a leftover from the original game.  But with how much more brutal that game was, it made the bad maps stick out far more. This prevents the great maps from shining through the muck.  Still, some of the maps aren’t exactly the greatest, such as the swamp maps or Nuibaba’s Abode.  Ultimately though, the majority of maps are solid.   Considering that with everything else in that game, it stands as one of Fire Emblem’s best.

1. Fire Emblem : Path of Radiance (2005 – Nintendo Gamecube)

Courtesy of Nintendo/Intelligent Systems

When it comes to a Fire Emblem game which has the perfect blend of a great story, awesome characters, fantastic presentation, and amazing game play, Path of Radiance takes the cake.  The game follows the mercenary Ike as he’s pulled into a plot of a mad king to start a race-war with the shape-shift Laguz on the continent of Tellius.  It’s a simple enough narrative, but what makes it amazing is the characters and politics of Tellius.  Tellius’ history is vast, and the way the game handles racial tensions is surprisingly mature for a Nintendo game.  Ike is an effective protagonist, doing the right thing for the sake of it.  The supporting cast is also fantastic, from the Greil Mercenaries, the Laguz, and of course the villains.  Both the Black Knight and Mad King Ashnard are some of the most intimidating foes in the series.

Path of Radiance introduces many of the mechanics which would later be refined in Radiant Dawn.  While it may sound like they’d be bad here, they are still quite fun in this game.  Plus, given the player only has to worry about one army, there are no worries about any difficulty spikes.  It’s a moderately challenging game, though a little bonus awaits for those playing on harder difficulties.  More impressive is the variety of maps, each with different objectives, and none being particularly frustrating.  Path of Radiance is simply a joy to play, whether a newcomer or series veteran.

To see more about the Fire Emblem Engage, check out Nintendo’s website.

Fire Emblem is one of Nintendo's longest

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UNITED NATIONS — Al-Qaida and Islamic State extremist groups are driving insecurity in central Mali and continue to clash near populated areas in the northern Gao and Menaka regions, the U.N. chief said in a new report circulated Monday.

Secretary-General Antonio Guterres said “the level and frequency of incidents of violence remain exceptionally high,” with attacks by “violent extremist groups” against civilians accounting for the majority of documented human rights abuses.

“The attacks carried out against civilians by terrorist groups, the battle for influence among them and the violent activities conducted by community militias remain a chilling daily reality, as do the attacks against the Malian Defense and Security Forces and against MINUSMA,” the U.N. peacekeeping force, he said.

Guterres said in the report to the U.N. Security Council that “going forward, military operations to combat the extremist groups will continue to be a crucial component for the restoration of security.”

In central Mali, he said, the extremists are capitalizing on intercommunal conflicts to expand their influence and secure new recruits.

In the northern Gao and Menaka regions, Guterres said fighters from the al-Qaida affiliate Jama’at Nusrat al-Islam wal-Muslimin known as JNIM and the Islamic State in the Greater Sahara also continue to clash, causing civilian casualties and thousands to flee the violence.

He said the number of people displaced in Mali increased from 397,000 to 442,620 as of October, with some 1,950 schools closed affecting over 587,000 children. Humanitarian assistance is reaching only 2.5 million people of the 5.3 million in need, he said.

The secretary-general stressed that the ultimate success against the extremist groups will hinge of whether the operations are accompanied by efforts “to ensure respect for human rights and international humanitarian law, foster social cohesion, address structural fragility and deliver basic services.”

Mali has struggled to contain an Islamic extremist insurgency since 2012. Extremist rebels were forced from power in Mali’s northern cities with the help of a French-led military operation, but they regrouped in the desert and began launching attacks on the Malian army and its allies. Insecurity has worsened with attacks on civilians and U.N. peacekeepers.

In August 2020, Mali’s president was overthrown in a coup that included Assimi Goita, then an army colonel. In June 2021, Goita was sworn in as president of a transitional government after carrying out his second coup in nine months. France, Mali’s former colonial power, pulled out the last of thousands of French forces in August 2022 amid acrimonious exchanges with the transitional government.

In late 2021, Goita reportedly decided to allow the deployment of Russia’s Wagner group, a private military contractor with ties to the Kremlin that is also operating in Ukraine to support Moscow’s troops in the 11-month war.

The report does not name Wagner, but says MINUSMA “documented violations of international humanitarian and human rights law allegedly committed during military operations conducted by the Malian armed forces, accompanied by foreign security personnel and dozos,” who are traditional hunters.

It says the U.N. force also documented “some instances in which foreign security personnel appear to have committed violations of human rights and international humanitarian law while conducting both air and ground military operations in the center of the country.”

On the political front, Mali’s presidential election which had been scheduled for February 2022 is now slated to take place in February 2024.

Guterres pointed to progress in putting a single electoral management body into operation and the submission of a preliminary draft constitution. He urged authorities to expedite implementation of the electoral timetable published in July 2022.

Equally important to Mali’s lasting stabilization, he said, is implementation of the 2015 peace agreement signed by three parties — the government, a coalition of groups called the Coordination of Movements of Azawad that includes ethnic Arabs and Tuaregs who seek autonomy in northern Mali, and a pro-government militia known as the Platform.

“However,” Guterres said, “the recent decision by the movements to suspend their participation in the implementation process is cause for serious concern.”

The secretary-general stressed that the primary responsibility for moving the peace process forward lies with the parties, and he urged them “to engage constructively with each other and the international mediation team to overcome the current hurdles.”

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The annual CES Show concludes Sunday in Las Vegas, where after a muted post-pandemic return in 2022, the consumer tech event was energized with an estimated 3,200 exhibitors, including 1,000 startups. Final attendance hasn’t yet been announced; the Consumer Technology Association, which produces CES, had said in December that it was hoping to reach 100,000 delegates. 

Anticipating recession and inflation, CTA’s annual outlook for the year in consumer tech has retail revenue projections at $485 billion. That would put spending below what the sector experienced during the past couple years of pandemic-era business in this space, which peaked with $512 billion in 2021. It would be up from 2020, when CTA reported $467 billion in annual retail revenue.

Announced this week at CES, the association’s projections for the year include growth in technology services such as streaming and gaming, with an estimated $151 billion in consumer spending; automotive tech including batteries for EVs; and health and fitness services.

CTA has lowered expectations for sales in product segments such as laptops, LCD TVs, tablets, smartphones and gaming consoles compared with a year ago. In gaming, the association forecasts that portable gaming models (as opposed to home consoles) will gain traction with consumers who are spending less time at home. CTA projects that portable gaming models will generate $1.5 billion in 2023.

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The annual CES Show concludes Sunday in

The CW showed off new trailers for its upcoming series including for newcomer Gotham Knights, its newest DC series from Berlanti Productions and WBTV. The show just landed a March 14 premiere date when it will bow after the Season 3 premiere of Superman & Lois.

Superman & Lois, starring Tyler Hoechlin and Elizabeth Tulloch, also got a trailer. A promo for both showed during the CW’s coverage Sunday of the Critics Choice Awards. A third trailer, for the second half of Season 2 of All American: Homecoming which returns January 23, also dropped.

Originally picked up to series last May, Gotham Knights picks up in the aftermath of Bruce Wayne’s murder, with his adopted son Turner Hayes (Oscar Morgan) forging an alliance with the children of Batman’s enemies — Duela (Olivia Rose Keegan), Harper Row (Fallon Smythe) and her brother Cullen Row (Tyler DiChiara) — when they are framed for killing the Caped Crusader. The fugitives eventually become Gotham City’s next generation of saviors. Mischa Collins plays DA Harvey Dent, who is investigating who really killed Batman.

Chad Fiveash and James Stoteraux wrote the series with Natalie Abrams and executive produce with Greg Berlanti, Sarah Schechter, Leigh London Redman, David Madden and director Danny Cannon.

Superman & Lois, meanwhile, imagines Superman and journalist Lois dealing with all the stress, pressures and complexities that come with being working parents in today’s society. The third season opens after Superman’s blowout defeat of Ally Allston, when Lois’ undercover assignment reveals a deadly foe that promises to change the Kent family forever.

Based on the characters from DC created by Jerry Siegel and Joe Shuster, Berlanti and Todd Helbing executive produce with Schechter, Geoff Johns and Madden.

The current season of All American: Homecoming debuted in October and last aired November 28. Marqui Jackson and series creator/executive producer Nkechi Okoro Carroll showrun the spinoff about the lives of students and athletes at an HBCU, and the struggles they face while trying to find their footing. Geffri Maya, Peyton Alex Smith, Kelly Jenrette and Cory Hardrict star in the drama, from Warner Bros Television and CBS Studios in association with Berlanti Productions, with executive producers Okoro Carroll, Jackson, Berlanti, Schechter and Robbie Rogers.

Check out the Gotham Knights trailer above and Superman & Lois and All American: Homecoming below.

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The CW showed off new trailers for

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Into the danger zone again? A Top

The cliffhanger: Jesse kills Gale

YouTube analysis score: 7.24/10

For a great many reasons, Breaking Bad is often referred to as one of the greatest TV series of all time. This cliffhanger, which sees Jesse kill Gale Boetticher on Walt’s orders, is the first of two on this list. Faced with the prospect that he will be killed, meth manufacturer Walt attempts to kill off his competition but is thwarted, so he enlists his accomplice Jesse to do it for him. Jesse doesn’t want to murder Gale, but for Walt it’s a kill or be killed situation.

The episode ends with Jesse pointing a gun at Gale and firing, but Gale’s death doesn’t happen on screen. Resultantly, fans speculated at the time that Jesse didn’t actually kill Gale, although the show’s creator Vince Gilligan has said he never intended for the scene to be a cliffhanger.

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The cliffhanger: Jesse kills GaleYouTube

Jennifer Lopez and Ben Affleck’s lives weren’t the only ones that changed when the pair eloped in July 2022.

In a new interview promoting her action-packed rom-com, Shotgun Wedding, with Josh Duhamel, the triple threat opened up their blended family. Affleck shares three children with ex-wife Jennifer Garner: 17-year-old Violet Anne, 13-year-old Seraphina Rose, and 10-year-old Samuel. Meanwhile, Lopez (or, as she’s now known legally, Jennifer Lynn Affleck) shares 14-year-old twins Max and Emme with her ex, Marc Anthony. 

“We moved in together, the kids moved in together, so it’s been like a really kind of emotional transition but at the same time, like, all your dreams coming true,” she said in an interview with Today, which aired on January 16. “It’s just been a phenomenal year. Like, my best year, I think, since my kids were born.”

During the interview, Lopez described her husband as “dreamy” and a “sweetheart,” before opening up about her upcoming album This Is Me…Now, which just so happens to be dedicated to the Dunkin’ Donuts barista. TIMN was announced 20 years after the release of her 2002 album This Is Me…Then, which documented Lopez and Affleck’s first love story. 

As she told Today, “It’s been such a journey. The thing that I think I’ve been wondering about my whole life is, like, is love real? Does true love exist?” She added, “It’s two people kind of coming together and saying, you know, I’m gonna be here no matter what. And we’re gonna get through it together.”

In a November 2022 interview with Zane Lowe, Jennifer Lopez said she and Ben Affleck had to “tread lightly and carefully” with their kids when they first fell back in love in the Spring of 2021. “We had our kids and we had to tread lightly and carefully so they could come along with us…Because they didn’t live those years before,” she said. “And they’re like, ‘Wow, they’ve known each other forever.’ And that’s it. We did know each other forever, and we had to live these separate paths and we did other beautiful things and we had these amazing children.”

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Jennifer Lopez and Ben Affleck's lives weren't

“I’ll get killed by Vecna, my bones will break,” Corio told IndieWire on the red carpet of the Critics Choice Awards.

Frankie Corio and Charlotte Wells at the 28th Annual Critics Choice Awards.

Kevin Winter/Getty Images for Critics Choice Association

In Charlotte Wells’ debut feature “Aftersun,” child actor Frankie Corio gives one of the best performances of the year as Sophie, a smart 11 year-old vacationing in Turkey with her loving father Calum (Paul Mescal) in the late 1990s. On the red carpet of the Critics Choice Awards on Sunday, the young star spoke about her fandom for another period piece in Netflix’s smash-hit science fiction series “Stranger Things.”

Corio spoke about “Stranger Things” to IndieWire Social Media Editor Veronica Flores on Sunday, and revealed the person she was most excited to meet during the ceremony was “Stranger Things” star Sadie Sink, who was nominated alongside Corio in the Best Young Actor category for her performance in the A24 film “The Whale” (the prize ultimately went to Gabriel LaBelle for his role in “The Fabelmans”). Saying she was a big fan of “Stranger Things,” Corio also said she would love to play a role in the Netflix series — specifically someone with a “big, dramatic death.”

“I’ll get killed by Vecna, my bones will break,” Corio said on the red carpet, referring to the villain of the show’s recent fourth season. “Basically, I’ll just recreate everything that’s already happened on the show, just with one character.”

Wells and Corio also spoke about how they’ve grown closer since the release of “Aftersun,” with Wells saying that although the two got along, Corio’s main focus was on developing her chemistry with Mescal with she was focused on the overall project. However, since then, doing press for the film has helped the two grow far closer.

“After filming for the movie stopped I started hating her. Joking!” Corio said. “No, we got a lot closer, and she’s my best mate.”

“Aftersun” topped IndieWire’s list of the 25 best movies of the year, with Chief Film Critic David Ehrlich writing that the movie is “A stunning debut that develops with the gradual poignancy of a Polaroid,” and a “honest movie about the way that we remember the people we’ve lost — fragmented, elusive, nowhere and everywhere all at once — it’s also a heart-stopping act of remembering unto itself. The film is currently available to rent and purchase on VOD and digital platforms.

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"I'll get killed by Vecna, my bones

Mafia boss Matteo Messina Denaro’s 30-year bid to evade justice came to a dramatic end today after the Italian ‘Godfather’ was finally arrested – but not without one last attempt to outrun the law.

Messina Denaro, head of the notorious Cosa Nostra gang and nicknamed ‘The Devil’ following a string of brutal murders, was captured when armed police swarmed a private medical facility in Palermo, Sicily, where he was undergoing treatment.

The 60-year-old had tried to outrun the police officers on foot and pushed his way through a series of hospital doors – but he only made it as far as a bar that was part of the same building where he had been seeing doctors for colon cancer checks. 

As the officers cornered the now frail mafia boss, Messina Denaro meekly gave them his name before they bundled him into a waiting black minivan in front of shocked patients and medical staff.

Italy’s most-wanted mafia boss, Matteo Messina Denaro (centre), was today arrested at a private hospital after 30 years on the run

Matteo Messina Denaro today

Matteo Messina Denaro in 1990s

Matteo Messina Denaro, Italy’s most wanted Mafia boss who had been on the run for 30 years, was arrested today. Pictured: A mugshot of Messina Denaro from today (left), and the Mafia boss in the 1990s 

Messina Denaro, right, is seen in a car with Italian Carabinieri officers soon after his arrest at a private clinic in Palermo, Sicily. He spent 30 years on the run after a string of crimes

Messina Denaro, right, is seen in a car with Italian Carabinieri officers soon after his arrest at a private clinic in Palermo, Sicily

Members of a Carabinieri police ROS unit outside the Maddalena clinic where Italy's most-wanted mafia boss Matteo Messina Denaro was captured by special forces in Palermo, Sicily, Italy, on Monday

Members of a Carabinieri police ROS unit outside the Maddalena clinic where Italy’s most-wanted mafia boss Matteo Messina Denaro was captured by special forces in Palermo, Sicily, Italy, on Monday

A composite picture shows a computer generated image released by the Italian police, right, in their efforts to track the mobster down, and a picture of Matteo Messina Denaro, left

A composite picture shows a computer generated image released by the Italian police, right, in their efforts to track the mobster down, and a picture of Matteo Messina Denaro, left

A composite picture shows a computer generated image released by the Italian police

A composite picture shows a computer generated image released by the Italian police of what Messina Denaro could look like in costume

Pictured: Police reconstructions of the face of Messina Denaro shared to the public, depicting what he could look like today as an older man, and in costume as a woman

The Mafia boss, who has not been seen in public for three decades, was pictured sitting in a police van wearing a brown leather shearling jacket, a white skull cap and his trademark tinted glasses shortly after his arrest. 

Messina Denaro, who had a 12-year-old boy strangled and his body dissolved in acid, was taken to a secret location by police immediately after he was detained.

A trigger man who once reportedly boasted he could ‘fill a cemetery’ with his victims, Messina Denaro was a leading figure in Cosa Nostra, the real-life Sicilian crime syndicate depicted in the Godfather movies.

For a mafia boss who evaded arrest for over 30 years, it was his frequent visits to a private clinic that led to his arrest.

Messina Denaro had been sitting in the private clinic waiting to see a doctor for colon cancer tests when he was surrounded and chased by a swarm of armed police officers

A member of staff who asked to remain anonymous told local media: ‘He’d been coming here on and off for about a year. He’d had an operation a few months ago and was back for more tests and chemotherapy.

‘When I turned up for work this morning at 6am it was all quiet and then he arrived to do his Covid test.

‘A few minutes later a police officer wearing full body armour as if he was going to war came in and said he was looking for a patient.

‘He said to remain calm and that armed officers were on every floor of the clinic. We had no idea who he was or what his background was.

‘The guy actually managed to get out and ran into a local bar but they tracked him down and that’s when all hell broke loose.’

Messina Denaro was sentenced in absentia to a life term for his role in 1992 in the murders of anti-mafia prosecutors Giovanni Falcone and Paolo Borsellino. Pictured: The scene of the murder of Falcone in Palermo, Sicily, in 1992

Messina Denaro was sentenced in absentia to a life term for his role in 1992 in the murders of anti-mafia prosecutors Giovanni Falcone and Paolo Borsellino. Pictured: The scene of the murder of Falcone in Palermo, Sicily, in 1992 

The mafia boss, who comes from the small town of Castelvetrano in Sicily, also faces a life sentence for his role in bomb attacks in Florence, Rome and Milan which killed ten people the following year

The mafia boss, who comes from the small town of Castelvetrano in Sicily, also faces a life sentence for his role in bomb attacks in Florence, Rome and Milan which killed ten people the following year

In 1993, Messina Denaro helped organise the kidnap of a 12-year-old boy, Giuseppe Di Matteo (pictured), in an attempt to blackmail his father into not giving evidence against the mafia, prosecutors say. The boy was eventually strangled, and his body dissolved in acid

In 1993, Messina Denaro helped organise the kidnap of a 12-year-old boy, Giuseppe Di Matteo (pictured), in an attempt to blackmail his father into not giving evidence against the mafia, prosecutors say

Messina Denaro was captured when armed police swarmed a private medical facility in Palermo, Sicily (shown on a map), where he was undergoing treatment

Messina Denaro, head of the notorious Cosa Nostra gang and nicknamed ‘The Devil’ following a string of brutal murders, was captured when armed police swarmed a private medical facility in Palermo, Sicily, where he was undergoing treatment

Messina Denaro is believed to have become the ‘boss of bosses’ following the death of Salvatore ‘The Beast’ Riina in November 2022. Messina Denaro was the last of three longtime fugitive top-level mafia who had evaded capture. 

As news of his arrest spread across Palermo, local residents emerged to applaud and shake the hands of the Italian paramilitary police officers involved in the operation. 

The residents were seen cheering and wiping away tears as they felt a wave of relief that Messina Denaro, who had coordinated years of terror in Italy, had finally been detained.

Messina Denaro, who called himself Andrea Bonafede (meaning, ‘Goodfaith’), had tried to run from the private clinic and hide but was caught by the police officers.

Italian Prime Minister Giorgia Meloni hailed the arrest as ‘a great victory for the state that shows it never gives up in the face of the mafia’.

Messina Denaro faces multiple life sentences. He was sentenced in absentia to a life term for his role in 1992 in the murders of anti-mafia prosecutors Giovanni Falcone and Paolo Borsellino. 

The mafia boss, who comes from the small town of Castelvetrano in Sicily, also faces a life sentence for his role in bomb attacks in Florence, Rome and Milan which killed ten people the following year.

Messina Denaro, 60, who had a 12-year-old boy strangled and his body dissolved in acid, was detained by Italian police at the Maddalena private clinic in Palermo, Sicily

Messina Denaro, 60, who had a 12-year-old boy strangled and his body dissolved in acid, was detained by Italian police at the Maddalena private clinic in Palermo, Sicily

Local residents emerged to applaud and shake the hands of the Italian paramilitary police officers who were involved in the operation (pictured)

Local residents emerged to applaud and shake the hands of the Italian paramilitary police officers who were involved in the operation (pictured) 

Local residents were seen cheering and wiping away tears as they felt a wave of relief that Messina Denaro, who had coordinated years of terror, had finally been captured. Some congratulated police officers who had been involved in the operation to arrest him

The residents were seen cheering and wiping away tears as they felt a wave of relief that Messina Denaro, who had coordinated years of terror, had finally been detained

In 1993, Messina Denaro helped organise the kidnap of a 12-year-old boy, Giuseppe Di Matteo, in an attempt to blackmail his father into not giving evidence against the mafia, prosecutors say.

The boy was held in captivity for two years before he was strangled and his body dissolved in a vat of acid.

Messina Denaro had been number one on Italy’s most-wanted list but the only known photo of him dated back to the early 1990. A new e-fit was created in 2014 with the help of an informant.

Police said in September 2022 that Messina Denaro was still able to issue commands around the running of the mafia in the area around the western Sicilian city of Trapani, his regional stronghold, despite his long disappearance.

In 2015, police discovered he was communicating with his closest collaborators via the pizzini system, where tiny, folded paper notes were left under a rock at a farm in Sicily. 

Local residents emerged to applaud and shake the hands of the Italian paramilitary police officers who were involved in the operation that saw Messina Denaro arrested

Local residents emerged to applaud and shake the hands of the Italian paramilitary police officers who were involved in the operation that saw Messina Denaro arrested 

Messina Denaro also used a five-year-old girl, Attilio Fogazza’s young daughter, to run secret handwritten messages between himself and other mafia top dogs. 

Fogazza, who himself is on a murder charge, said in 2016 that Messina Denaro’s second-in-command Domenico ‘Mimmo’ Scimonelli approached his daughter to send the messages.

The right-hand man had taken his daughter for an ice cream and put the messages inside her jacket and backpack. 

The daughter and the rest of Fogazza’s family have been living in a secret location under police protection while he cooperates with the prosecutors as they attempt to bring down the ‘boss of bosses’ in the Italian mafia scene.    

Fogazza ran a car dealership in south-western Sicily and decided to collaborate with Palermo investigators after he was arrested last December for the murder of Salvatore Lombardo in 2009, who was killed after he stole a van from Scimonelli.

‘One day my daughter said Uncle Mimmo had taken her for a gelato and put the messages inside her jacket and her backpack,’ Fogazza told prosecutors in Palermo.

Messina Denaro’s arrest on Monday came 30 years and a day after the January 15, 1993, capture of convicted ‘boss of bosses’ Salvatore Riina in a Palermo apartment after 23 years on the run.

Scene of the murder of prosecutor Judge Giovanni Falcone in 1992

Scene of the murder of prosecutor Judge Giovanni Falcone in 1992 

Messina Denaro went into hiding in summer that year, as the Italian state waged a crackdown on the Sicilian crime syndicate following the murders of Falcone and Borsellino.

Mafia boss Bernardo Provenzano set the record for the longest time on the run. He was captured in a farmhouse near Corleone, Sicily, in 2006 after 38 years as a fugitive.

Once Provenzano was in police hands, the hunt turned to Messina Denaro.

That all three top bosses were ultimately arrested in Sicily will not surprise Italy’s police and prosecutors. Police have long said that such bosses rely on contacts and the loyalty of fellow mobsters and family members to move them from hideout to hideout, supply basic essentials, and operate under a code of silence known as ‘omerta.’

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Mafia boss Matteo Messina Denaro's 30-year bid

“Ex on the Beach” is changing things up. The MTV reality series is expanding with “Ex on the Beach Couples,” a brand new show that will follow six couples ready to get engaged, with one major issue standing in their way: an ex. Relationship expert and “Are You the One?” host Kamie Crawford, will host spinoff.

“Through a series of intense challenges to their relationship and strength building exercises, the couples will decide if they can finally move on from their ex and achieve their happily ever after,” the series’ official description reads. “In a dramatic finale the couples will choose to make the ultimate commitment to their partner and get engaged or split up and go their separate ways forever.”

“Ex on the Beach” premiered on MTV in 2018 and has aired for five seasons, featuring stars from “Love Island,” “Big Brother,” “Too Hot To Handle,” “World of Dance,” “The Challenge,” “Double Shot at Love” and “Paradise Hotel.”

The show’s new format is similar to the Kinetic Content-produced Netflix series, “The Ultimatum,” during which couples must decide to marry their partner or move on with someone new. However, MTV’s show adds in the element of an ex who each person may or may not be still hung up on.

“Ex On The Beach Couples” is produced by Entertainment One (eOne) company Whizz Kid Entertainment and ITV Netherlands. Executive producers include Malcolm Gerrie and Lisa Chapman (Whizz Kid); Matt Anderson, Nate Green and Cooper Green (Purveyors of Pop); Tara Long (eOne); Dan Caster and Diana Morelli (MTV); Keith Burke and Lisa Marie Tobin. Merrick Stone co-executive produces for MTV.

The experiment will premiere on Thursday, Feb. 9, at 9 p.m. ET. One week later, it will debut internationally in more than 170 countries. Scroll down to meet the couples:

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“Ex on the Beach” is changing things

Three popular ecommerce plugins for WordPress (WP) installations, open to SQL injection attacks since December 2022, have been patched, protecting businesses from threat actors modifying or deleting their websites.

The three affected plugins, as discovered by Tenable security researcher Joshua Martinelle (opens in new tab) (via BleepingComputer (opens in new tab)), were ‘Paid Memberships Pro (opens in new tab)’, a subscription management tool active on over 100,000 installations, ‘Easy Digital Downloads (opens in new tab)’, an e-commerce tool active on over 50,000 installations, and ‘Survey Marker (opens in new tab)’ (a market research  tool with over 3,000 active installations)

SQL injections are security flaws that allow attackers to input data into website forms or URLs to modify databases. Attackers can use vulnerabilities that allow SQL injections to inject scripts designed to modify websites, or gain unauthorized access to their backends.

WordPress SQL injections

While all websites can be vulnerable to SQL injection during development, WordPress installations, hosted on a popular, centralized platform stocked with many common plugins, are a popular target for threat actors looking for exploits. 

In January 2023 alone, TechRadar Pro has reported on other WP plugins offering live chat functionality being leveraged, over the course of three years, to execute JavaScript code that redirects users to malicious websites, as well as another similar exploit targeting a plug-in adding gift card functionality to online stores.

Thankfully, after disclosure of the flaws and the release of proof-of-concept exploits (PoCs) by Martinelle to WordPress on 19 December 2022, the developers of the plugins moved fast to address the flaws, with fixes being released in a matter of weeks, or even days. 

A fix for ‘Survey Maker’, as part of version 3.1.2 of the plugin, was released as soon as the 21st of December. ‘Paid Memberships Pro’ followed on the 27th, with a fix rolled into version 2.9.8, and ‘Easy Digital Downloads’ followed on 5 January 2023 as part of version 3.1.0.4.

If they haven’t already, affected users are advised to update these plugins to the latest versions to protect themselves from SQL injection attacks for the foreseeable future. 

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Three popular ecommerce plugins for WordPress (WP)

Director Baz Luhrmann, who coined the term “Red Curtain Trilogy” for his films “Strictly Ballroom,” “Moulin Rouge” and “Romeo and Juliet,” says his latest film, “Elvis,” marks a visual shift in his catalog from red to blue.

At Variety‘s Artisans Screening Series, Luhrmann discussed how blue was a primary color used to ground “Elvis” and his rise from Mississippi to the bright lights of Las Vegas. The director was joined by costume designer, production designer and producer Catherine Martin, cinematographer Mandy Walker, editor Jonathan Redmond, production designer Karen Murphy and re-recording mixer Andy Nelson.

Martin, who is married to Luhrmann, explained that Colonel Tom Parker (Tom Hanks) loved blue, so when it came to designing sets with co-production designer Murphy, that color was at the front of her mind.

Said Martin, “The thing about Priscilla [Presley] and her costuming in that period, there was meant to be an ingénue quality about her and freshness. She brought something vital and encouraging to Elvis in the story.”

Martin dressed actress Olivia DeJonge, who plays Priscilla, in tweeds and gingham prints, which represented a freshness. She said, “Priscilla has a sense of agency… She has made an extraordinary life for herself despite the extraordinary things that have happened to her. You see a progression in her costumes, and when she goes into the trailer, she is his port in the storm, and she is a moral center for him.”

For Elvis, Martin designed a lot of Napoleonic collars and big oversized collars that would sit outside his oversized blazers. The idea was that the collars would help draw attention to Austin Butler’s face.

Luhrmann said, “He copied Napoleon’s collars. When I think about Napoleonic characters, one also thinks about counts… and the vampirish quality.”

As the filmmaker pointed out, not only was blue used to mirror Presley’s psychological state of spiraling, it showed “that he is created of the night.” He said, “So, that scene (the ’68 special) when he’s ‘caught in a trap,’ he can’t get out and the blue reflected that.”

Does this mean Luhrmann is embarking on a “Blue Curtain Trilogy”? “I’m not sure it’s a trilogy because I might retire,” the director said. “But this language shifts and blue became a key color.”

Watch the full video above.

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Director Baz Luhrmann, who coined the term

As COVID–19 cases continue to surge in China, soaring demand for Western-developed treatments have led some citizens to turn to the black market. That trend was on display this weekend when HK$600,000 ($77,000) worth of illegally imported drugs bound for the mainland were seized by Hong Kong customs officials.

Officers discovered medicines—mostly intended for the treatment of COVID-19 to be sold on the mainland—in the luggage of three travelers arriving from India and Thailand, the South China Morning Post reported.

Two local men returning from Thailand on Sunday were arrested for holding around 9,000 tablets of Primovir, an Indian-made generic version of Paxlovid, which is not a licensed treatment in Hong Kong or the mainland.

Both suspects were released on bail pending further investigation.

Officers were also reportedly searching for a third suspect, a mainland man returning from India with 2,000 tablets of antivirals including Primovir and Paxista, another generic version of Paxlovid, and Merck’s Molnupiravir.

At present, the only oral drugs licensed and registered for at-home treatment of COVID-19 in Hong Kong are Molnupiravir and Paxlovid. The latter drug has been shown to reduce the risk of death and hospitalization among patients who take it early on after symptoms occur, while Molnupiravir has been shown to cut down recovery time. Last February, Paxlovid became the first oral pill to be authorized in China for treating COVID-19.

Read More: Why China Can’t Just End Its Zero-COVID Policy

But Paxlovid and Molnupiravir are in short supply in the country of 1.4 billion people, which has largely sought to use homegrown treatments to combat COVID-19. Both Paxlovid and Molnupiravir are being sold for as much as eight times the market price on the black market.

Earlier this month, the Chinese government failed to reach an agreement with Pfizer to include Paxlovid under its national insurance plan, citing high costs as the reason. But the government agreed to cover the costs of traditional Chinese medicine Qingfei Paidu and Azvudine, a homegrown antiviral drug.

There is limited evidence on Azvudine’s effectiveness, CNN reported.

After three years of some of the world’s strictest COVID-19 restrictions, China began dismantling its zero-COVID policies in December amid unprecedented protests. But an “immunity gap” driven by low levels of natural infection, less effective Chinese vaccines, and an under vaccinated elderly population has prompted concerns that hundreds of thousands of people could die in the coming months.

On Saturday, Chinese authorities said nearly 60,000 people with COVID-19 had died in hospitals from Dec. 8 to Dec. 12. According to local reports, thousands more cases and deaths are expected during the Lunar New Year holidays beginning on Jan. 21.

According to Reuters, state media has frequently covered stories of rural hospitals and clinics shoring up supplies of drugs and equipment ahead of a continued surge in COVID-19 cases.

“The peak of Covid infection in our village has passed, but the spring festival is approaching and there are still left-behind villagers, especially elderly people, at risk of secondary infection,” said a doctor in Shaanxi province, Reuters reported.

“If the anti-viral and other drugs were more abundant, I would be more confident,” the doctor added.

More Must-Reads From TIME


Write to Armani Syed at armani.syed@time.com.

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Last Updated: September 01, 2020, 12:52 IST

C U Soon

Cast: Fahad Faasil, Roshan Mathew, Darshana Rajendran

Director: Mahesh Narayanan

Young women being lured into prostitution is not something we haven’t seen before on the screen. Especially when they are picked from poorer countries like India and sent to generally the Middle East. Their mobile phones and passports are taken away, and the shocked women – who had been promised jobs abroad as maids in rich households – are mentally and physically abused into submission.

There have been several films on this. Even a few weeks ago, Khuda Haafiz, tackled the same subject of how a newly-married woman is sent to the Gulf on a professional assignment (with the promise that her husband would soon be able to join her), that ends up in her being forced to serve as a call girl.

C U Soon is about Kevin Thomas (Fahad Faasil), who is a cyber specialist living in the United Arab Emirates. When his cousin, Jimmy Kurian (Roshan Mathew), also living in the UAE, falls in love with Anu (Darshana Rajendran) – having met her on the web – he feels he ought to know more about her. So, he asks Kevin for help, who gives a clean chit about the girl, who is in the UAE as well.

Everything seems hunky-dory. Anu even moves in with Jimmy – although it is illegal for a man and woman to stay together in that part of the world without being married. But when Jimmy notices bruises on Anu’s face, he presumes that it must have been her father ill-treating his daughter.

It is at this point the film takes on the form of a thriller. While Khuda Haafiz packed in a lot of action, C U Soon remains within the four walls of a house or sometimes Kevin’s or Jimmy’s office. Kevin uses his cyber-security skills to decipher the CCTV footage of Jimmy’s flat. There is a lot of prying and spying, and the messages between Kevin and Jimmy on their computer or mobile phone screens are placed in a way that they do impede the narrative. In fact, much of the plot unfolds through phone/computer messages.

Mahesh Narayanan’s latest Malayalam work, C U Soon, which premiered on Amazon Prime Video, beats the same theme but is interestingly made and exciting to watch. An excellent script and innovative editing lift this love story of despair and hope without getting into the usual melodramatic mode.

Though shot during the lockdown with virtual mediums, the movie has its constraints. Obviously, there can only be a single character on the screen at a time, and I wonder why the director did not use, for instance, Zoom.

Another problem, Narayanan himself pointed out in a conversation with Scroll, “… cutting from continuously filmed action to any other shot, or using lengthy montages to denote the passage of time, could not be employed as they are in traditional movies…There I apply virtual cinematography. It is where I have edited the film, and then tweaked with the footage, amplify a section, pan across the screen, zoom in or zoom out to add tension and drama to the movie”.

However, the result is truly wonderful and there is never a dull moment. In those 90 minutes, C U Soon takes to unfold its storyline in an amazingly innovative way. Certainly, Narayanan’s skills as a storyteller are impressive, and he turns a weather-beaten incident into a riveting watch. In the end, what stands out is not so much that Anu is brutally treated, as it is her love story – one of anger, anguish and sheer helplessness. Jimmy’s despair is explored with sensitivity.

An incredibly great performance by Faasil — whose calm and subtle, but intelligent handling of his cousin’s mess, adds to the novelty of telling a tale in these trying times, when conventional forms of making cinema are on hold.

Rating: 3.5/5

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Last Updated: September 01, 2020, 12:52 ISTC

Interviews can be a truly nerve-racking experience. There is the pressure of giving the right answer, selling the product efficiently and not looking like a complete fool. And then there’s what the reporters have to go through! But Kate Winslet has one budding reporter’s back, encouraging her when she showed how nervous she was doing her first professional interview.

While on the promotional circuit for Avatar: The Way of Water, Kate Winslet sat down with a young reporter from the German public TV network ZDF (Zweites Deutsches Fernsehen). Her assigned interviewee was a young reporter who admitted it was her first time conducting an interview.

“This is your first time doing it?” asked Kate Winslet, with occasional meek responses from the reporter. “Well guess what? When we do this interview, it’s going to be the most amazing interview ever. And do you know why? Because we’ve decided that it is going to be.” Winslet continued, “So we’ve decided, right now, me and you, this is gonna be a really fantastic interview. And you can ask me anything that you want and you don’t have to be scared. Everything’s gonna be amazing. OK, you got this! OK, let’s do it!”

You can watch the video clip of Kate Winslet and the junior reporter below:

After the interview, Kate Winslet also posed for a selfie with her interviewer.

As a whole, Kate Winslet never fails to dazzle audiences. With seven Oscar nods and one win (2007’s The Reader), she is one of the most nominated actresses in Academy Awards history. And while Avatar: The Way of Water is climbing the box office charts, did you know she also broke another kind of record? That’s right, Kate Winslet broke her own on-set breath-hold record, previously topping Tom Cruise. Yeah, pretty amazing.

While conducting a celebrity interview can offer a lot of pressure–especially for someone new to the field–hopefully the young journalist can carry some of the advice offered by Kate Winslet throughout her career. We wish her the best of luck!

How do you feel about how Kate Winslet handled the interview? Let us know in the comments section below.

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Interviews can be a truly nerve-racking experience.

Another animated Netflix series bites the dust.

The streamer has axed Hamish Steele’s Dead End: Paranormal Park after two seasons.

Steele took to Twitter to break the news, saying, “I have held onto this news for a while now, hoping that we could reverse it, change it, make something good out of it. But sadly I don’t think that’s possible right now. It’s with a heavy heart that I tell you Dead End is over.”

Based on the graphic novel series DeadEndia, the show follows two teenagers and a talking dog who team up to fight demons in a haunted theme park, saving the world from a supernatural catastrophe.

Steele added the show even had a writers’ room for season 3.

“We have scripts and designs and outlines ready to go,” Steele said. “It was always the plan to give these characters the proper ending they deserve. But sadly, the powers that be don’t want any more. Honestly, we were lucky to make it through everything happening in the last few years.”

However, there is a silver lining.

Steele said he’s working on a third and final DeadEndia book, which he hopes will provide fans with some closure as Season 3 was going to be based heavily on the book.

“I continue to pitch shows with the same heart as Dead End,” he said. “But until then, I hope Barney, Norma, Pugsley, Courtney and the whole Phoenix Parks crew will continue to give you comfort in times of darkness.”

Dead End: Paranormal Park is not the first animated series to be canceled over the last year. The streamer shelved its version of the children’s comic book series Bone in April 2022. A month later in May, it canceled Ava DuVernay’s Wings of Fire, preschool series Antiracist Baby and movie With Kind Regards From Kindergarten. In October 2022, it axed the adult animated comedy Bad Crimes before it even hits our screens. And just this past week, Netflix canceled Inside Job Season 2.

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Another animated Netflix series bites the dust. The


The governor presented AJ and Conrad with an offer they couldn’t refuse.


By the end of The Resident Season 6 Episode 12, the bad boys of Chastain strike a deal with the devil to save the hospital. Meanwhile, Ian and Padma saw some possible closure for their arcs. And Devon compromised, for Bell’s sake.


Join Laura Nowak, Leora W, and Meaghan Frey as they discuss the hour.


Do you think dividing up the two-hour finale worked better for building up momentum?


Laura: I would have rather had it as a 2-hour finale. Plus, I feel awful that the 9-1-1:Lonestar fans got the premiere pushed back again.


Leora W: It worked, but I’m also biased because I don’t have time in my busy schedule to watch two hours of the Resident in one night, so it worked out well for me!


Meaghan: This episode worked well enough as a stand-alone episode, so I’m OK with them stretching it out two weeks. I’m not usually a fan of two-hour episodes unless there is action throughout most of it. While this episode was great, it felt similar to a standard episode of The Resident.


With AJ’s prodding, Conrad returned to form with that deal struck with the governor. React!


Laura: I loved that AJ and Conrad were willing to take a chance for the greater good of Chastain and other Atlanta hospitals. I loved AJ reminding Conrad that they had dirt on the governor. Those two are such a fun team.


Leora W: I feel like there will be consequences, and those consequences better not kill off Sammie! I do not miss Conrad being a renegade. I like that he’s grown, though he grew the most when Nic called him on his shit.


Meaghan: I fall somewhere in between Laura and Leora. While I understood why they made the decision that they did, you know there will be consequences to their decision.


They’re putting a lot of trust in the governor, and that man hasn’t earned an ounce of it. AJ can say they will just blackmail him by threatening to expose his health history, but I don’t think that would be enough.


What if the governor goes downhill before getting the heart? He could expose what they did and say they made the decision for financial gain vs. doing what is medically necessary, which could, in turn, set Chastain up for a major lawsuit.


Did they rush the resolution with Ian? Should he have told Kit the truth instead of resigning?


Laura: I’m curious why/when Cade changed her mind on keeping his secret, or did that only apply to telling Conrad? She finally seemed at peace with her dad, even with him resigning, which was nice. I wish he’d owned up to it as part of his amends, but things were so chaotic there.


Leora W: It was so weird that Ian and Cade seemed on good terms at the end, given how they left things the last time we saw them. I expected her to blow up at him about not telling Kit, which would have been deserved. It was realistic for him to back out of coming clean. I won’t miss Ian, but I will miss what he brought to Cade’s arc.


Meaghan: In a perfect world, Ian would have come clean to Kit instead of resigning, but he isn’t there yet. He is still early on in this phase of his recovery. It says a lot about how seriously he is taking his recovery; he knew returning to work right now would be detrimental to his sobriety, so he is taking a step back.


Eventually, Ian will feel stable enough and have better-coping mechanisms in place to be able to re-enter that environment. I would feel differently if he had decided to return to work and kept the truth from her.


Or, I could be reading the whole situation wrong, and he only quit to avoid telling Kit and will move to another hospital where he will fall back into old habits. For Cade’s sake, I hope it is the former.


What are your thoughts on Cade and James’ sudden pairing and James potentially becoming serious with Cade? Did you enjoy it? Did it feel contrived?


Laura: It probably was contrived, but at least they had chemistry. I didn’t mind it, but it’s no secret I love Ian Anthony Dale (James).


Leora W: Pair the spares is a classic trope, but it worked well enough. Both of these characters deserve love, though it did feel like James was more invested than Cade at this juncture. That makes sense for her character, though. It would be weird if she were all in.


Meaghan: I instantly liked these two together more than James and Billie or Cade and Conrad. The chemistry just felt way stronger. I’m more than happy to see these two continue their relationship if we get another season.


Are you relieved that Devon compromised with Marco, for Bell’s sake?


Laura: Yes. While Devon has his morals, Chastain is a family. As you mentioned in your review, I wish we could have seen Devon tell Bell the news. Those family moments between co-workers mean so much.


Leora W: I don’t know. I feel like a lot of people were compromising their morals, and with how they deliberated about it, it feels like consequences are coming. That said, I’m less nervous about Devon’s comprising his morals having consequences than I am for AJ and Conrad.


Meaghan: I’m OK with this one. Sure, Devon will be wasting time and resources on a cause he doesn’t believe in, but it doesn’t actually hurt anyone — other than Devon’s sanity.


Should we have spent more time with Padma and her PPD arc?


Laura: I wish we could have seen AJ visit her. Hopefully, we’ll see that in the finale, but I do appreciate the focus on the twins. This episode was pretty packed, so I’m glad we got what we did.


Leora W: Absolutely. It hasn’t even been a week, and suddenly she’s fine? No. Too easy. It needs to take more time. Also, Padma did knitting classes as therapy?


Sorry, but as a friend of mine pointed out, no psych ward is going to give a woman who tried to kill herself a week ago a needle, be it for knitting or any other reason.


Meaghan: This is something I was worried about. I can, reluctantly, get past them skipping to the end of her treatment so that we can see her in a better place before the end of the season. If they were going to do that, though, they needed to have more time pass since the last episode.


As Leora said, a week is not enough time, and it feels like they are just trying to wrap it up in a neat bow rather than show that it’s a process that takes time.


Did you like Cade and Billie working together on Thea’s case? What are your thoughts on it?


Laura: I enjoyed them immensely and wish we could have seen more of that. I hate women fighting over a guy and prefer them supporting each other and working together.


Leora W: I agree with Laura. I hope we get more of this dynamic if the show is renewed.


Meaghan: I loved it. These two should’ve been friends from the get-go instead of pushing the Conrad-Cade-Billie love triangle. Please give us more of this. We haven’t had any strong female friendships since Mina and Nic left. We are overdue for one.


What are your predictions for the finale? What would you like to see? How do you want the season to be wrapped up?


Laura: When I said I wanted to see Sammie, I didn’t mean I wanted her to become ill. I hope that Greg, Jake, and Sammie make it and reunite with Kitbell and see Gigi for her 6th birthday. I love that they are one big happy family.


Leora W: Not really sure. I want Sammie to live and the hospital to be saved. I also think I’m ready for Bell to retire but still be on the show, just not operating anymore.


Meaghan: All I could think of when they showed Sammie in distress is how you said you wanted to see her again, Laura!Sammie better live. If next week is the series finale, I don’t want to see it go out with Jake and Bell having to mourn Sammie’s death.


I hope the hospital gets through this governor storyline in one piece, especially because it doesn’t feel likely to return.


I, too, would like Bell to retire from surgery and take on more of a teaching role. He still has so much to offer to the hospital, but he needs to accept his limitations for the sake of patients.


Is there anything else you’d love to address?


Laura: So far, this hour felt very much like it could be a season or series finale. Most of the characters are getting a resolution to their arcs.


Leora W: I’ve been rooting for Billie and Conrad for a while but seeing them in bed together made me miss Nic. I’m not sure if I want another season. The show hasn’t been as good these past couple of seasons. That said, if it happens, I’ll watch it.


Meaghan: It feels like the writers are resigned to this being the last season, and I think I’m OK with that. The Resident has told some incredible stories and left its mark on the medical genre. I personally never got past Nic and Mina leaving.


It just hasn’t been the same for me since. Their departures just took away too many of the show’s best dynamics. However, if the show does continue, I’ll be right there with them.


Over to you, Resident Fanatics. Do you agree with us? Do you disagree? Sound off below!


The season finale of The Resident airs Tuesday at 8/7c on FOX.

Jasmine Blu is a senior staff writer for TV Fanatic. Follow her on Twitter.

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The governor presented AJ and Conrad with

On Aug. 28, 1963, the Rev. Martin Luther King Jr. delivered the “I Have a Dream” speech that inspired America — and shamed it into honoring the principles on which it was founded.

Clarence Jones, who co-wrote an early draft of the speech, recalled to TheWrap in 2013 how King came to deliver the most famous part of his speech for the March on Washington.

As he looked out at the crowd, King said it would “go down in history as the greatest demonstration for freedom in the history of our nation.”

King was well into his prepared remarks, Jones said, when his favorite gospel singer, Mahalia Jackson, cried out, “Tell them about the dream, Martin! Tell them about the dream.”

And then King went off his script — and the speech became known as “I Have a Dream.”

“When Mahalia shouted to him, I was standing about 50-feet behind him… and I saw it happening in real-time. He just took the text of his speech and moved it to the left side of the lectern. … And I said to somebody standing next to me: ‘These people don’t know it, but they’re about to go to church.’ I said that because I could see his body language change from the rear. Where he had been reading, like giving a lecture, but then going into his Baptist preacher mode,” Jones said.

“Had there been anyone else — anyone else — who had shouted anything to him — I think he would have been a little taken aback. I’m not so sure he would have departed from the text of his speech. But Mahalia Jackson was his favorite gospel singer. When Mahalia said that it was almost like a mandate to respond.”

Watch the historic speech above.

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On Aug. 28, 1963, the Rev. Martin

Coming off arguably their most successful year as a group in 2022, alt/rock trio AJR is already off to a fast start in 2023. In addition to finishing up the score to Broadway musical Harold and the Purple Crayon, adding the final touches on their fifth studio album, and planning a tour to go along with their album, the group nabbed not one but two IHeartRadio award nominations.

If you cannot wait for the brothers to release their own content to get your AJR fix; the group will be featured in a song on Quinn XCII’s latest album The People’s Champ — due out on January 27, 2023 — the song is titled “Too Late”, this feels like a collaboration that has been in the works for a long time considering both artists were set to tour together in the summer of 2020. However, the Covid-19 pandemic ultimately canceled the entire tour and it was never rescheduled.

AJR’s nominations include Best Duo/Group and TikTok Bop of the Year for their hit song World’s Smallest Violin. The song was the 11th tack on the band’s 2021 album OK Orchestra. Moreover, in addition to its popularity on TikTok, it was also a fan favorite on other short-form video sites such as Instagram Reels and YouTube Shorts. Currently, World’s Smallest Violin is the group’s most popular song on Spotify and is rapidly approaching 200 million streams on the platform.

Tough Competition for AJR

For this year’s IHeartRadio Music awards 67 artists are nominated for more than one award including AJR and 10 categories will be determined by the fans. The fan-voted categories will be powered through IHeartRadio.com and social media.

AJR is nominated for one regular award (Best Duo/Group of the Year) and one fan-voted award (TikTok Bop of the Year) there are 11 other noms in the TikTok Bop category, let’s examine the competition below:

  • “About Damn Time” – Lizzo
  • “As It Was” – Harry Styles
  • “Bad Habit” – Steve Lacy
  • “Bejeweled” – Taylor Swift
  • “Big Energy” – Latto
  • “CUFF IT” – Beyonce
  • “Evolver” – Anitta
  • “Just Wanna Rock” – Lil Uzi Vert
  • “Made You Look” – Meghan Trainor
  • “Super Freaky Girl” – Nicki Minaj
  • “Unholy” – Sam Smith and Kim Petras
  • “World’s Smallest Violin” – AJR

Because this award is voted on by the artist’s fan army and not based solely on the most popular TikTok song, Taylor Swift will likely walk away with the honors in this category.

The 2023 IHeartRadio Music Awards are set to take place on March 27, 2023, at 8:00 PM EST. Tune in or set those DVRs to see if AJR or any of your favorite artists take home any hardware.

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(L-R) Ryan Met, Jack Met and Adam

Canada hits above her weight as far as creatives in the film industry are concerned. Not only is this an occasion for national pride, its interesting to see how Canadian filmmakers have navigated through their own personal branding to stake their place it become Canadian filmmakers known in Europe.

Have a look at these creatives, and see what you can learn that’s relative for your own career

Canadian Film Directors

David Cronenberg

David Cronenberg is one of the best Canadian movie directors, screenwriters, and actors specialising in directing horror movies. Not only has Cronenberg’s films won various awards, but he also has millions of fans worldwide.

Even critics appreciate the innovation and creativity Cronenberg brings in the horror genre of the Canadian film industry. Some of the top David Cronenberg’s movies are Videodrome (1983), the Fly (1986), the Dead Zone (1983), the Brood (1979), Naked Lunch (1991), Crash (1996), Maps to the Stars (2014).

In addition, Cronenberg makes substantial efforts to employ horror and science fiction characteristics in his movies using different techniques and technological aspects, causing viewers on the edge of their seats while watching a movie.

Of special interest is how his debut movies were done with minimal budget, Raindance style.


2. Denis Villeneuve

Denis Villeneuve is a Montreal-based movie director and writer famous for directing sensitive, inventive, and visually intensive science-fiction movies. Villeneuve has directed numerous movies, and each film focuses on human issues like pain, sorrows, suffering, dark nature, trauma, dilemmas, etc.

The cutting-edge elements, intense, thrilling story, and unmatched cinematics make Villeneuve the best director. Some of the best movies directed by Denis Villeneuve are Arrival (2016), Dune (2021), Blade Runner 2049 (2017), Incendies (2010), and Prisoners (2013). Each movie will give you a thrilling experience and feel delighted to watch.

 


3. Norman Jewison 

Born in Toronto, Ontario, Norman Jewison is one of the best Canadian directors with various blockbuster television series and films. Jewison is famous for depicting and showcasing the American social traumas and problems in his movies.

Besides, Norman Jewison has won many awards for his splendid work, including the best director at the Berlin Film Festival, Director Guilds’ lifetime achievement awards, BAFTA award, and many others.

It is always an amusement to watch Norman Jewison’s blockbuster movies, including F.I.S.T (1979), Jesus Christ Superstar (1973), a soldier’s Story (1984), Best Friends (1982), and Bogus (1986).

Moreover, Jewison is different from other American and Canadian directors because he uses a blend of various genres to ensure entertainment, comedy, visual appeal, and thrill to keep audiences challenged.

 


4. Denys Arcand 

Denys Arcand is one of the top Canadian movie directors who has earned a reputation for movies in various genres, including art, life, trauma, violence, human suffering, and political thrillers.

Arcand’s intellectual curiosity, commitment, and passion for state-of-the-art movies with innovative cinematics, story, script, dialogues, and cohesive entertainment make him a creative director.

Denys Arcand has won many awards, including Crane Grand Prix in 1989, Academy awards for the best international feature film in 2004, Cesar Award for best film and best director in 2004, and many more.

Some of the blockbuster movies directed by this renowned Canadian film director are the Barbarian (2003), the Decline of the American Empire (1986), Days of Darkness (2007), and Cotton Mill, Treadmill (1976).

His first english language film, the brilliant Love and Human Remain, premiered at Raindance in 1993

 


5. Deepa Mehta

Deepa Mehta is a famous producer and director who has received global acclaim for her state-of-the-art, provocative, emotional, and thought-stimulating movies, especially on social justice, human rights, crime, heroic, musical, drama, and romantic genres.

Some of her best movies are the trilogy Fire (1996), Earth (1998), Midnight Children (2012), Water (2005), and Funny Boy (2020). Deepa Mehta is also well-known for her work in Bollywood cinema, adding Hindi elements to most of her movies.

Anyway, each movie is the epitome of creativity that showcases her essence for vivid cinematography. Mehta won Canadian Screen Award for best screenplay in 2003 and the Canadian Lifetime achievement award in 2019.

 

6. Elliot Grove

Elliot Grove was born and raised in an Amish/Mennonite community just north of Toronto. He was always told never to go to the movie theatre, ‘Because the devil lived there”.

His first movie experience was on a hot summers day. A part on the farm broke down, and he, at the age of 16, was sent ionto the blacksmiths to get the repair. Realising it would take three long hours for the repair, and not worth the tri back to the home farm, he found the Devil’s cinema, just up from the house of the Lord. he paid his 99 cents, and went in. They turned the lights off, the curtains opened and the fiorst face of the devil saw at the most tender age of sixteen, was, Lassie Come Home.

Eliot founded Raindance anfdthe British Independent Film Awards. He has producer 9 features and over 700 shorts. he has absolutely NO film school training. And he presents the Saturday Film School in Toronto  February 11th.

Here is a feature film he producer for less than $100,000.

Did You Know?

• Members of Raindance support indie film, and enjoy a range of benefits. Join here

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Canada hits above her weight as far

Police say all residents are safe and accounted for after a fire broke out in a retirement home in Sarnia, Ont.

The fire at Fairwinds Lodge retirement residence, 1218 Michigan Ave., was reported Sunday shortly after 11 p.m.

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According to investigators, the fire broke out in the building’s north wing, resulting in a room-by-room search and the evacuation of all 120 residents from the 113-unit facility.

Sarnia fire officials said all stations were mobilized and the Port Huron, Point Edward and St. Clair Township fire departments provided additional support. Roughly 75 firefighters battled the blaze until it was largely under control by 1:30 a.m. Monday.

Sarnia Transit buses were used to assist in transporting residents of the home to temporary shelters. As of 2 a.m., police said about half of the residents had been relocated with family, and 61 were in temporary housing at Lambton College.

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Temporary housing shelter set up at Lambton College in Sarnia, Ont., after 120 residents of Fairwinds Lodge retirement residence were forced to evacuate due to a structure fire on Sunday, Jan. 15.


via Sarnia Police Service

All residents should be relocated with family or have alternative housing by noon Monday, police said.

“I would like to thank our cross-border partners with the Port Huron Fire Department, neighbouring fire services, EMS, Police, Sarnia Transit, and Lambton College for their quick response and assistance in ensuring all residents were evacuated, accounted for, and sheltered safely,” wrote Sarnia fire chief Bryan Van Gaver in a statement.

Ontario’s Office of the Fire Marshal will investigate.

Michigan Avenue, from Murphy Road to Blu Aire Gate, will likely remain closed to traffic into Monday afternoon, according to police.

Individuals concerned with family members housed at Fairwinds Lodge can call the facility’s management company, Sienna Senior Living, at 1-866-959-4848.

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

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Police say all residents are safe and