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Organizers of the Taste Awards have changed the name of their best comedy category to the Bob Saget Award for Best Comedy and Humor to honor the late comedian.

The awarding body announced the change alongside the reveal of the finalist nominees and special achievement honorees for its 14th annual awards. “We are all honored to be able to remember Bob and his contribution to our culture, to families and to comedy with this newly renamed award,” said A.K. Crump, chair of the Taste Awards and CEO of TasteTV.

Saget, a beloved comedian and star of Full House and its follow-up, Fuller House, is survived by his wife, Kelly Rizzo, who runs the food and travel blog Eat Travel Rock, as well as his three daughters with ex-wife Sherri Kramer.

The Taste Awards celebrate the year’s best in food, fashion, health, travel and lifestyle programs in film, TV, podcasts, radio and photography across about 50 separate categories and honors. The first-ever finalists in the newly renamed comedy and humor category are Bermuda, Bring Back the Whistle Dog, Disco Sauce: The untold story of Penne Alla Vodka, Eat, Drink, and Handle Your Business, Hey Toby Hey Owen: This Is Not Sponsored by Valvoline, Let’s Make Food From Food With Michelle Ullmann, The SloFunkPump Christmas Special and The Trailer Park Cooking Show With Jolene Sugarbaker.

Among the 2023 special achievement award honorees are Hulu’s The Bear; Searchlight’s The Menu; Peacock and Hulu’s Baking It; Hulu, The CW and Food Network Canada’s Great Chocolate Showdown; and Netflix’s Selling Sunset. Other notable individual honorees and inductees are Padma Lakshmi, Selena Gomez and Gordon Ramsay.

Honors, including Hall of Fame inductions, will be presented on March 13 at the WGA Theater in Beverly Hills, the first in-person event since 2020. Winners from selected categories will also be announced ahead of the ceremony in mid-February.

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Organizers of the Taste Awards have changed

SZA Shuts Down Alleged Beef With Taylor Swift, Says She ‘Genuinely Loved’ Singer’s Album | Entertainment Tonight
































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*Many thanks to the Writer Emergency Pack Team for sending me both packs for the purpose of this review. All views are my own.*

Photo by: Hannah Taylor

The ‘Writer Emergency Pack’ was first released in 2014. The original pack included 26 card themes with an ‘Idea card’ and a ‘Detail card’ for each theme. The aim of the pack is working towards “getting unstuck” in your story. Each card features a theme which will help solve a roadblock in the story. As the cards cover a variety of themes, there will be a card to choose in order to solve any problem. 

A second release, the ‘Writer Emergency Pack XL’, campaigned on Kickstarter in September 2022, featuring 52 cards. The first 26 cards are the same as the first pack along with another 26 brand new card themes. The creator of the pack, John August is an American screenwriter, author and frequent collaborator with Tim Burton. Notably, working on the popular horror-family animation, Frankenweenie (2012). John August and Craig Mazin both run the popular podcast, Scriptnotes, where they discuss all things Screenwriting.

Example Card: The Original ‘Writer Emergency Pack’

(The Writer Emergency Pack Original – L: Idea Card/ R: Detail Card)

Photo By: Hannah Taylor

Example Card: The New ‘Writer Emergency Pack XL’

(The Writer Emergency Pack XL Version – L: Idea Card/ R: Detail Card)

Photo By: Hannah Taylor

Ways to Use the Cards:

The pack can be used in many different ways. It can be used as a writing exercise, for emergency writing procedures as the name suggests, as a ‘Cards Against Normality’ game or to use the cards as a starting point to either create an idea or to help start writing. 

1) Writing Exercise

The writing exercise can be followed directly by the points instructed. Another way to approach the exercise is to adapt the steps to suit the story you wish to tell. The ‘Writing Exercise’ suggests to write around a well-known story i.e. a classic and see where your chosen card takes the direction of your story. 

This exercise acts as a warm-up stage to eventually approach the cards with your own story. All in all, this exercise is intended to help the writer either start writing or help to make the writing flow more effortlessly.

2) Emergency Writing Procedures

Every writer has experienced a point in their stories where they feel trapped and unable to escape the pit they have created. Either that pit is within a character, a plot point or a specific scene. By taking a card at random, it can evoke ideas, emotions and feelings that the writer just might have needed to take their story further and to make it move. 

This exercise is great at allowing space for the writer to explore different pathways and new directions. Most importantly, the ‘Emergency Procedure’ exercise will force the writer to question whether this new direction is something they can incorporate into the story. The experimental exercise will get the story into a completely different and unexpected place. 

3) Cards Against Normality Game

Of course, the ‘Writer Emergency Pack’ includes an ironic writer’s spin on the original ‘Cards Against Humanity’ game. This game is recommended for three to six players. The gameplay consists of one storyteller and the players are the ‘retellers.’ The storyteller recites a story – whether made up, from real life or a classic tale. 

Then each player has fifteen seconds to choose from three of their cards. Each ‘reteller’ creates their own version of the ‘storytellers’ story using the theme on their card. The player with the best version of the story, voted by the whole group, wins the game and the role of ‘storyteller’ switches to the next player.

I played this game with my family. Although we didn’t fully understand the instructions at first, in a positive spin it created discussion. We found that you can adapt the game to suit the story, situation, audience or atmosphere. The game definitely ended in more laughs than we originally intended. However the best aspect about this game is its adaptability – taking the game either seriously or in a more humorous manner. Whichever tone is chosen, it can meander your scenarios from basic story points, to progressing into story development. 

Kickstarter Campaign

The Kickstarter project has reached $121,772 pledges and 2,963 backers from September to October 2022. With every pack sold, they will donate one pack to their partnering organisations. These include, NaNoWriMo’s Young Writers Program and 826LA (A non-profit writing and tutoring organisation). 

Also available for pre-order on the official website is the ‘Writer Emergency Survival Guide’ with illustrated journal pages to keep a writing log. The XL pack is available for pre-order and will ship in March 2023 to US and Canada residents with an opportunity to ship to international addresses in the near future.

The Writer Emergency Pack XL

The ‘Writer Emergency Pack XL’ features cards which are double the size of the original pack as they adhere to their title of an ‘XL’ version. Not only this, but they are doubled in the amount of cards included in the pack. 

The original cards in the ‘Writer Emergency Pack’ included 26 playing-sized cards. The new XL pack edition features 52 cards. Technically, there are 26 new cards added to this pack, whilst keeping with the original scenarios, which make up the first half of the pack. 

One thing both packs celebrate are their travel-friendly sizes. Both packs are small enough to fit in a bag to help with fixing stories when writing on the go. I find the new XL version still maintains the game card appeal even with its larger card size. 

Another great aspect which both packs share is their high-quality feel. The premium quality card is printed on a cross-hatch type material, which gives a smooth-to-touch feel. 

The Artwork

The artwork in the ‘Writer Emergency Pack XL’ matches the feel, tone and design of the original Writer’s Emergency Pack. They are designed in a way to help the writer remember the image and match the description with the artwork. 

(Idea Cards: L: WEP XL/ R: WEP Original)

Photo By: Hannah Taylor

(Detail Cards: L:WEP XL/ R: WEP Original)

Photo By: Hannah Taylor

Another great factor about this writer’s pack is how the themes can be easily memorised through the illustrations. When you think of the theme, the image immediately comes to mind. The pictures are unique to the themes and are both clever and well-thought out with adding a spark of humour at times. 

The Main Differences between the ‘Writer Emergency Pack’ & the ‘Writer Emergency Pack XL’.

  • Expanded from 26 cards to 52 cards.
  • Larger font size and image size.
  • Larger playing cards.
  • Image and description fits onto one card now instead of two cards.
  • ‘The Writer Emergency Pack’ Artwork  – The Writer & The Typewriter Theme
  • ‘The Writer Emergency Pack XL’ Artwork – The Writer & The Rocket Theme

The Writer Emergency Pack Original & XL Themes

Both packs feature a front cover theme which comes back into play on the cards ‘detail’ side. The writer is breaking away from their typewriter in the original pack. Perhaps signifying a break away into a new creative freedom when using the cards to help breakout new ideas and directions for the story. 

(Front Covers – L: WEP XL/ R: WEP Original)

Photo By: Hannah Taylor

In the new XL version, the writer is launched in a rocket, ready to take off with their stories using the cards in the pack to open up new story ideas and directions. Interestingly, the design, layout and colour scheme of the cards are kept the same.

 

(Back Covers – L: WEP XL/ R: WEP Original)

Photo By: Hannah Taylor

Both card packs are consistent with the ‘Writer Emergency’ brand. The simple yet effective design features a white and orange colour palette with a solid structure of an ‘idea’ side and a ‘detail’ side to each card, used throughout the pack. 

The original card pack featured two cards for each ‘emergency’ with one idea card and one detail card. In the new and updated ‘XL’ edition, the cards are back-to-back with the ‘idea’ on one side and the ‘detail’ on the other side. This makes the cards easier to use in all the exercises. 

Both packs have clearly been curated by a writer who knows and understands how stories work. Each scenario is something that has been used countless times across cinema. But it is about identifying these themes and traits that make the ‘Writer Emergency Pack’ appealing. The cards force the writer to start imagining their protagonist in that situation. The scenarios could completely transform a story and turn it in a new direction. 

Conclusion 

Overall, the ‘Writer Emergency Pack’ makes the writer think about and ask the big and impactful but short question of – ‘What if?’ ‘What if my hero was forced to cooperate with the villain by being forced to work together – as the ‘Handcuffs of Fate’ card suggests?’

Or ask ‘What if the hero became part of a cult as the ‘Secret Society’ card gives consideration to – do they become a villain or were they the hidden villain from the start?’

There are countless avenues where the ‘Writer Emergency Pack’ can take the story. If one card does not seem to work it might work for a different story the writer has in mind. The different and overtly varied scenarios means the cards are bound to work with any story. There are 52 cards to choose from in the latest ‘XL’ edition – have fun exploring the different possibilities and pathways they can take you in your own stories. 

To purchase the latest edition, the ‘Writer Emergency Pack XL’ visit the Kickstarter Project page here. The pack is currently available for pre-order. Alternatively, the original ‘Writer Emergency Pack’ is available to purchase on the official website here. The packs can be a great gift for yourself, if you are a writer or a gift to a writing friend. 

Other important links to check out:

The post Review: The Writer Emergency Pack appeared first on Raindance.

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*Many thanks to the Writer Emergency Pack

Charlotte Hornets (11-30, 14th in the Eastern Conference) vs. Toronto Raptors (17-23, 12th in the Eastern Conference)

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

BOTTOM LINE: Pascal Siakam and the Toronto Raptors host Terry Rozier and the Charlotte Hornets.

The Raptors are 11-16 in conference games. Toronto ranks second in the NBA with 18.1 fast break points per game led by OG Anunoby averaging 4.8.

The Hornets are 5-19 against Eastern Conference opponents. Charlotte gives up 118.1 points to opponents while being outscored by 6.2 points per game.

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TOP PERFORMERS: Fred VanVleet averages 2.9 made 3-pointers per game for the Raptors, scoring 18.6 points while shooting 32.9% from beyond the arc. Siakam is averaging 25.7 points, 8.3 rebounds and 6.5 assists over the past 10 games for Toronto.

Rozier is averaging 20.6 points and 5.3 assists for the Hornets. LaMelo Ball is averaging 22.3 points, 5.5 rebounds and eight assists over the last 10 games for Charlotte.

LAST 10 GAMES: Raptors: 4-6, averaging 110.4 points, 42.0 rebounds, 22.7 assists, 8.9 steals and 4.9 blocks per game while shooting 43.7% from the field. Their opponents have averaged 110.7 points per game.

Hornets: 3-7, averaging 115.5 points, 45.9 rebounds, 26.9 assists, 9.3 steals and 5.2 blocks per game while shooting 45.1% from the field. Their opponents have averaged 120.3 points.

INJURIES: Raptors: Otto Porter Jr.: out (toe).

Hornets: Kelly Oubre Jr.: out (hand), Gordon Hayward: out (hamstring).

___

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

&copy 2023 The Canadian Press

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By Staff The Associated Press Posted January 9, 2023

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Prince Harry opened up about his life in and out of the Royal Palace in Sunday’s “60 Minutes” interview with Anderson Cooper, and while Harry and Meghan’s exit from the family takes up most of the interview, he also revealed that he didn’t immediately believe Princess Diana was dead after her fateful car crash in 1997.

“For a long time, I just refused to accept that she was gone. She would never do this to us, but also maybe this is all part of a plan,” Harry told Cooper, adding that he believed she had maybe faked her death and would eventually reunite with Harry and Prince William.

Harry said he had “huge amounts of hope” and that his brother William “had similar thoughts,” adding that he believed Diana might still be alive for “many, many years” after her death.

When he was 20, Harry asked to see the police report and photos from Diana’s crash. When asked why, he told Cooper he was still looking for proof.

“Proof that she was in the car. Proof that she was injured. And proof that the very paparazzi that chased her into the tunnel were the ones that were taking photographs — photographs of her lying half dead on the back seat of the car.”

Harry said he’s grateful that his personal secretary and advisor dissuaded him from looking at the more gruesome photographs, but it wasn’t until he was 23 and visited the Paris site of the crash that he finally believed his mother was gone.

“I wanted to see whether it was possible driving at the speed that Henri Paul was driving that you could lose control of a car and plow into a pillar killing almost everybody in that car. I need to take this journey. I need to ride the same route,” he said. “Because William and I had already been told, ‘The event was like a bicycle chain. If you remove one of those chains, the end result would not have happened.’ And the paparazzi chasing was part of that. But yet, everybody got away with it.”

He added that he and William have considered reopening the inquest into the event, which is still officially dubbed a “tragic accident,” and said he still doesn’t feel like he has all the answers.

“Truth be known, no. I don’t think I do. And I don’t think my brother does either. I don’t think the world does. Do I need any more than I already know? No. I don’t think it would change much.”

You can watch Prince Harry’s full 30-minute interview with Anderson Cooper at “60 Minutes.”

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Prince Harry opened up about his life

Akela Cooper, who wrote “M3GAN” with James Wan, hopes that the film’s success proves that horror movies don’t have to be “elevated” to succeed.

M3GAN, (aka MEGAN), from left: M3gan (voice: Jenna Davis), Violet McGraw, 2023. ph: Geoffrey Short / © Universal Pictures /Courtesy Everett Collection

©Universal/Courtesy Everett Collection

James Wan and Jason Blum have already hinted that more “M3GAN” sequels are in the works, but the wait to see more of the dancing, murderous AI doll might be even shorter than fans expect. In a new interview with the Los Angeles Times, screenwriter Akela Cooper (who wrote the film with her “Malignant” collaborator James Wan), teased that an unrated cut of the film with an even higher body count could be coming soon.

“There should be an unrated version at some point,” Cooper said. “I heard it is on the books. But yes, it was way gorier. Her body count in the script was higher than in the movie. It wasn’t a Gabriel [in ‘Malignant’]-scale massacre, but she did kill a bunch more people, including a couple of characters whom James was like, ‘I like what you did with those people, but I want them to live.’ I was merciless, but again, that is me. My humor is extremely dark.”

Cooper also expressed optimism that the success of “M3GAN” could pave the way for more unapologetically fun horror movies to break out, after years of “elevated horror” dominating the genre.

“It is exciting because for so long everyone was doing ‘elevated horror.’ Even going out and pitching, I would have people say, ‘We like it, but it’s too gory. It’s not elevated,’” she said. “An exec who read one of my specs and really liked it said, ‘It’s gory and no one’s doing gore right now. We have to wait for a horror movie that has gore to come out and be a hit, and then the market will shift.’ I was sitting there, like, ‘OK… we could lead that charge.’ Now I’m [hearing], ‘There’s gore, and it’s not a problem.’ I’m happy that I could have a hand in bringing back fun horror that doesn’t take itself so seriously. I’m reading about more horror movies that are wild, out-there ideas coming out or being bought. And some of them are original, which is good! I’m happy that I could steer that ship so that studio execs can be like, ‘Oh! There might actually be money in them thar hills.’”

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Akela Cooper, who wrote "M3GAN" with James

French brothers Jules and Gedeon Naudet are known for their documentary about New York firefighters that became “9/11” – an on-the-ground account of the Sept. 11 terror attacks in the city. Over two decades later, the brothers have made another docu about an attack on America’s democracy titled “January 6th.” Told from the perspective of the Capitol and Metropolitan police officers, journalists, senators and congressmen, the doc is meant to be an apolitical account of the attack on the U.S. Capitol in 2021. Then House Speaker Nancy Pelosi, Metropolitan Police Commander Robert Glover, and former congresswoman Liz Cheney, are among the 50 survivors who participated in the two-and-a-half-hour Discovery+ film.

The Naudet brothers spoke to Variety about their decision not to interview Capitol insurrectionists, making a film without political bias, and why they specifically wanted to partner with Discovery+.

Did you decide to make a doc about the Jan. 6th attack on the day of the riot or after?

Jules Naudet: It was after when we were watching the first day of Donald Trump’s impeachment, a couple of weeks after the attack on the Capitol. When they started the impeachment, there was a 20-minute video, which was a recap of the personal stories from inside (the Capitol) when the riot was happening. We were struck by the stories. People were talking about these moments of heroism, humanity, and discreet courage. It’s the same humanity that we always look for in all of our projects. We thought, okay, this is definitely a story we’d like to tell.

The majority of the Congressmen and women interviewed in the docu are Democrats. A few Republicans participated, including Troy Nehls (U.S. Representative for Texas’ 22nd district) and Adam Kinzinger (U.S. Representative for Illinois’ 16th district). Did you reach out to a few Senate and House Republicans or all of them?

JN: We sent emails to all 50 Republican Senators and about 115 Republican Congressmen and women. At the end of the day, all we got were four responses, which we were incredibly happy that we got. But yes, most Republicans did not want to participate. We wish we had more. We tried.

Capitol and Metropolitan Police Departments granted you full access to their officers. You’re the only doc team they have given that access to. How did you convince them to let you in?

JN: The most important part in our documentaries, and this one is no different, is the preparation that happens before filming. To be able to have access to these people who were there to participate takes a lot of work. We had to earn their trust. The Capitol Police took us about five months to get the authorization, and for the Metro PD it took us nine months. It’s about not rushing and being clear about explaining what we wanted and what we’ve done in the past. Our work on “9/11” and some of the other work we have done helped a lot.

Why was it so important that the police who defended the Capitol be part of the doc?

Gedeon Naudet: No matter how many politicians, senators, congressmen, even staffers, and journalists we interviewed, people would say, “They are Democrats” or “They are Republican.” We knew that the first line of defense was the police officers. Without them, you can’t tell the story. And without them, people can basically accuse you of being for one side or another.

Capitol Police Officer Eugene Goodman diverted the insurrectionists from the floor of the Senate. He received the Congressional Gold Medal for his heroic efforts and is arguably one of the most well-known January 6th police officers but is not featured in the film. Why?

JN: We tried, but he’s a very discreet individual. We tried to get absolutely everybody.

Why did you want to make this doc – about a very political situation – apolitical?

GN: Simply telling the facts and simply telling the story will do the job. The moment you try to be political, then you are making a film for just one audience.

JN: When you think about police officers, the senators, congressmen, and staffers involved in January 6th, we tend to see only their uniform or their title, but what we forget is under all of that, there is a human being. There’s a mother, a father, a son, a daughter. Seeing that terrible day through that human perspective is one way for the American public to really look at the attack and maybe not shy away from it. We want people to discover these people. We were never looking to make a documentary with a political message.

Did you ever consider interviewing any of the insurrectionists?

GN: No. In all our films, we always are interested in the victims and never the attackers. It’s always about how you would feel if you were someone in this place and have no idea what’s coming to you. At that moment, you discover yourself. That is what fascinates us.

JN: We are not investigative journalists. Journalists have to treat both sides, which is normal. What we do is slightly different. For us, it starts at a place of passion, a place where we are inspired by people, and that’s what we want to show. 
 
You pitched this project to several platforms and ultimately went with Discovery+. Why?

JN: We didn’t want a platform or broadcaster that might be seen as leaning Democratic or Republican. That’s why we thought Discovery+ was fantastic. “Honey Boo Boo” and “Deadliest Catch” are not exactly political lines in the sand, so we thought it was perfect to have this neutral platform where people can look at the story of that day through a different lens than the usual political or investigative one.

“January 6th” debuts Jan. 5th on Discovery+.

 

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French brothers Jules and Gedeon Naudet are

When we first encounter Benoit Blanc in the movie, he’s having a bath upstairs and playing Among Us over Zoom with Stephen Sondheim, Angela Lansbury, Natasha Lyonne, and Kareem Abdul-Jabbar – as you do. So, when the doorbell rings, it’s a man called Phillip who answers the door, played by Hugh Grant.

Hugh’s cameo prompted journalists at a press conference at the London Film Festival to ask whether Benoit is “queer”, to which Rian replied, “Yes, he obviously is”. Here’s hoping Hugh has a bigger part in Knives Out 3, and we get to see the couple on screen together!

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When we first encounter Benoit

Alexandra Daddario in Mayfair Witches; Jerrod Carmichael; A still from Velma

Alexandra Daddario in Mayfair Witches; Jerrod Carmichael; A still from Velma
Photo: Alfonso Bresciani/AMC; Randy Holmes/Getty Images; HBO Max

Welcome to What’s On, our weekly picks of must-watch shows. Here’s what you need to watch from Sunday, January 8, to Thursday, January 12. All times are Eastern. [Note: The weekend edition of What’s On drops on Fridays.]


The biggies

Anne Rice’s Mayfair Witches (AMC, Sunday, 9 p.m.)

Anne Rice’s Mayfair Witches Trailer: Starring Alexandra Daddario | AMC+

It’s witchin’ time. After last year’s charming Interview With The Vampire, AMC expands (not entirely successfully) its Anne Rice Universe with Mayfair Witches. The show is based on Rice’s complex trilogy about the Mayfair family. Alexandra Daddario plays Dr. Rowan Fielding, a neurosurgeon who discovers she has latent powers, so she ventures to New Orleans to learn more about her ancestry, and her mysterious connection with an ageless spirit named Lasher (Jack Huston). You can read The A.V. Club’s review here. 


The Golden Globe Awards (NBC, Tuesday, 8 p.m.)

Golden Globes 2023: Ana De Armas, Billy Porter & More to Present | E! News

In a surprisingly successful “it’s as if nothing bad happened” maneuver, the Golden Globes are back. Sigh. The awards ceremony run by the Hollywood Foreign Press Association faced its fair share of scandal, in part for its lack of diversity (and for reaping the benefits of Emily In Paris’ budget). After a Hollywood boycott in 2022, the Globes return for a live show hosted by Jerrod Carmichael. And if you thought the stars wouldn’t participate, think again. They’ve already lined up presenters like Ana de Armas, Jamie Lee Curtis, Colman Domingo, Natasha Lyonne, and Quentin Tarantino. Here’s the complete list of this year’s nominations.


Velma (HBO Max, Thursday, 3:01 a.m.)

Velma | Official Teaser | HBO Max

After serving as a creator on her last two shows, Never Have I Ever and The Sex Lives Of College Girls, Mindy Kaling returns to onscreen work (sort of) for the HBO Max animated dramedy Velma. Kaling voices the iconic Scooby-Doo character Velma Dinkley in the show, which follows Velma, Daphne (Constance Wu), Shaggy (Sam Richardson), and Fred (Glenn Howerton) as teens before they formed Mystery Inc. and added a lovable dog to the crew. They inevitably team up when a killer begins attacking their school. Look out for The A.V. Club’s review this week.


Hidden gems

All Creatures Great And Small (PBS, Sunday, 8 p.m.)

All Creatures Great and Small: Season 3 Trailer

The comforting British drama All Creatures Great And Small returns for a six-episode third season in the U.S., after previously airing in the U.K. Based on the James Herriot books, the show is set in England’s Yorkshire Dales in the late 1930s. The series follows a trio of veterinary surgeons at Skeldale House, including the eccentric Siegfried Farnon (Samuel West), who runs the practice, and young vet James Herriot (Nicholas Ralph).


The Makanai (Netflix, Thursday, 3:01 a.m.)

The Makanai: Cooking for the Maiko House | Official Trailer | Netflix

Created by Hirokazu Kore-eda, Japanese series The Makanai is based on Koyama Aiko’s manga, Maiko In Kyoto: From The Maiko House. Set in Kyoto, the show follows Kiyo, who becomes a Makanai (a person who cooks meals) at a house where apprentice geishas live together. Kiyo and her childhood friend join forces hoping to build a life, but end up pursuing different passions.


The Climb (HBO Max, Thursday, 3:01 a.m.)

The Climb | Official Trailer | HBO Max

Jason Momoa and rock climber Chris Sharma host the adventure reality series The Climb. In this competition, amateur climbers are put through a rigorous series of challenges to brave intimidating ascents. The winner will score a $100,000 cash prize.


More good stuff

Alert: Missing Persons Unit (FOX, Sunday, 8 p.m.)

ALERT: MISSING PERSONS UNIT | OFFICIAL TRAILER | FOX

Another year, another police procedural. Alert: Missing Persons Unit is a cop drama set in Philadelphia. When officer Nikki’s (Dania Ramirez) son goes missing, she joins a special unit to help others in a similarly tragic situation. Nikki also teams up with her ex, Devon (Scott Caan), to find her long-lost son. The show also follows a “case-of-the-week” story. Look out for The A.V. Club’s interview with Caan this week.


Koala Man (Hulu, Monday, 12:01 a.m.)

Koala Man | Official Trailer | Hulu

Created by Michael Cusack, Koala Man is an animated comedy about middle-aged dad Kevin and his titular not-so-secret identity. His superpower is a burning passion for following rules and snuffing out petty crime in the Australian town of Dapto. Though it may seem like any other suburb, Dapto is full of cosmic and man-made evil that Koala Man is here to clean up. The voice cast includes Hugh Jackman, Sarah Snook, Jemaine Clement, and Miranda Otto.


How I Caught My Killer (Hulu, Thursday, 12:01 a.m.)

How I Caught My Killer | Official Trailer | Hulu

The true-crime docuseries How I Caught My Killer highlights the real-life stories behind unique homicide cases with interviews, archival material, and cinematic recreations. Each case provides a complex portrait of the person who lost their lives, and how the victims left behind case-breaking clues that helped solve their crimes.


Can’t miss recaps

Willow (Disney+, Wednesday, 3:01 a.m., season one finale)

RuPaul’s Drag Race (MTV, Tuesday and Friday, 8 p.m.)


Arriving now

East New York season one, NCIS: Los Angeles season 14 (CBS, Sunday, 8:30-10:30 p.m., winter premieres)

Bob’s Burgers season 13, Family Guy season 21 (FOX, Sunday, 9-10 p.m., winter premieres)

The Resident season six (FOX, Tuesday, 8 p.m., winter premiere)

The Conners season five, The Goldbergs season 10 (ABC, Wednesday, 8-9 p.m., winter premieres)

Vikings: Valhalla (Netflix, Thursday, 3:01 a.m., season two premiere)

Walker season four, Walker: Independence season one (The CW, Thursday, 8-10 p.m., winter premieres)


Ending soon

Alchemy Of Souls (Netflix, Sunday, 3:01 a.m., season one finale)

George & Tammy (Showtime, Sunday, 9 p.m., series finale)

Baking It (Peacock, Monday, 3:01 a.m., season two finale)

Single’s Inferno (Netflix, Tuesday, 3:01 a.m., season two finale)

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Alexandra Daddario in Mayfair Witches; Jerrod Carmichael;

Fox’s latest foray into the police procedural focuses on the Philadelphia Police Department’s missing person’s unit — telling the stories of all the ways that people might go missing while also diving into the mystery of two officers’ own missing child.

From The Blacklist showrunner John Eisendrath and Jamie Foxx, Alert: Missing Persons Unit follows police officer Nikki Batista (Dania Ramirez), who joined the Philadelphia MPU after her son Keith went missing to help other people find their loved ones, even as she searches for her own. Six years later, her world is turned upside-down when her ex-husband, Jason Grant (Scott Caan), shows up with a proof-of-life photo of their missing boy. Or is it?

The series premiere, which aired Sunday, plants a seed of doubt into viewers’ minds when their son, Keith, is seen ripping up the pages of a diary that contains specific details about his life at the end of the episode after a joyful reunion with his parents.

“We are suggesting that he has something to hide. Is he their son? That is a question that is going to be central to the show, and we will give the audience concrete answers in most episodes to the question that is being asked on that topic in each episode,” Eisendrath told Deadline about the mystery, adding: “What I like is the situation where the audience may be ahead of our heroes. The audience sees Keith ripping those pages out, his parents don’t see it.”

Eisendrath broke down the premiere episode with Deadline and gave some hints about what Nikki and Jason could uncover about the person claiming to be their long-lost son. Episode 2 of Alert: Missing Persons Unit will air Monday at 9 p.m. on Fox in the series’ regular time slot.

DEADLINE: How did you work to differentiate Alert from the many other law enforcement procedurals that exist on broadcast television?

JOHN EISENDRATH: I think there’s probably two answers to that question. The first is just that a missing persons procedural is very distinct, because the types of stories that one can tell about missing persons are incredibly varied. They can be people who have been taken and are desperate to be found. They can be people who’ve run away and have no interest in being found. They can be stories that involve a crime, anything from kidnapping to murder. They can be stories that have no crime whatsoever involved. So it’s a huge range of possible stories that I find to be very distinct from procedurals that are essentially crime shows. So that I think alone makes it unique. I think missing persons also is something — which I thankfully was wrong — but experienced a few hours of thinking that one of my children had once been taken. And I think that it is something so many of us live with, so many of us fear, so many of us can relate to. I really wasn’t ready to move forward on it until I thought that there could be an interesting puzzle at the center of the story, because for me that is particularly important. Once I imagined that there could be a mystery about Nikki and Jason’s son who had gone missing and has returned, and there could be a mystery about him and his return that would be the emotional core story, I thought that that was exciting and interesting and could pull the viewers along. You have this great irony of the two experts who spend all day trying to find other people’s missing loved ones who have lost a loved one of their own and then are so desperate to get him back that they may miss some clues that other people see about whether or not he is their child.

DEADLINE: As you mentioned, there are so many ways that a person could go missing. Where did you draw inspiration from for some of these stories we’ll see this season?

EISENDRATH: Some of the stories are ripped from the headlines. We’re always looking for the most relatable and emotional core to the story. When you’re thinking about a missing persons story, it’s easy to start thinking about what would be a circumstance that just would be so terrifying or tragic or sad or serious. Everyone has their own fear of one. So the writers, we just imagine putting caring, loving people in that situation. In my case, when one of my sons went missing, I was showing him how to ride his bike, and he started riding his bike, and we were on the block that we lived on and he went around the corner. I was so excited. I ran after him. I turn the corner, and he was gone. I went all the way around the block. He was nowhere to be found. I spent an hour going to restaurants, convenience stores, all in my neighborhood, asking ‘Have you seen this boy?’ and I thought, ‘Oh my god, I’m gonna have a child who’s been taken.’ It turned out that he was in the house the whole time. He’d gone all the way around the block and gone inside. I never bothered to look inside because I just thought he was gone. So we’re doing a story on the show where it begins with two parents teaching their child to ride a bike and they  go around the corner, and the child is gone. We start with something very simple that everyone can connect to, and then we build the mystery from there.

DEADLINE: I’m also glad you mentioned Keith, because by the end of the first episode it’s clear there is something off. Can you expand on what’s going on there?

EISENDRATH: It’s funny, because when I wrote the pilot, I was worried that I had not given enough clues to the viewer that there might be some mystery about Keith coming back. But everybody who watches television is so trained to look for the mystery that may or may not be there that no one missed the fact that by tearing up the pages in the diary, he might be wanting to hide something. So we are suggesting that he has something to hide. Is he their son? That is a question that is going to be central to the show, and we will give the audience concrete answers in most episodes to the question that is being asked on that topic in each episode. After the first episode, clearly there is a question about who he is. What I like is the situation where the audience may be ahead of our heroes. The audience sees Keith ripping those pages out, his parents don’t see it. So I’m hoping the audience is like, ‘Hey, Nikki and Jason, he ripped the pages out of the diary. Come on, guys. Look, you gotta know there’s something going on.’ Even in the pilot, you might sense that the sister, their daughter, is a little standoffish to Keith. Why is she standoffish? What does she know? It’s going to become evident to the parents, and once the parents start to wonder why their daughter is not bonding with their son that will begin a series of stories that will peel back the question about Keith.

DEADLINE: It’s also pretty clear that Keith returning is going to test some relationships. Mike and Nikki are already in a rocky place by the end of the episode.

EISENDRATH: I’m a huge soap opera fan, I love a good love triangle. But I think what is particularly unique about this one is that everyone’s position is very sympathetic. Jason and Nikki did not get divorced because they mistreated one another, cheated on one another, didn’t love one another. Their marriage floundered because their child was taken and their marriage couldn’t sustain that tragedy. She meets an amazingly nice person in Mike, and we see that they get engaged when we first get to know them. And then yes, Keith comes back. Well, Mike, who by the end of the pilot feels a little bit like the odd man out, understands why he’s the odd man out. He understands that Nikki and Jason need the time to reconstruct their family. Nikki is very clear with both the men in her life that this is a very delicate balancing act between wanting to get her family back and also continue her relationship with Mike. Jason’s in the same position. He desperately wants to spend time with his old family, but he also has moved on in his life. So it’s a situation that not only strains the relationships between Mike and Nikki and Jason, but it also will cause friction between Nikki and Jason because they won’t always agree on how to move forward with Keith, both on the question of who he is, and on the question of how to just reintegrate a now grown child into their world.

DEADLINE: I wanted to also ask about Kemi, because I think she adds a great element to the MPU. Why did you decide to have a character who is faith-oriented, but to also move away from a Christian-centric narrative there?

EISENDRATH: I have had the pleasure and experience of knowing a shaman, a very close member of our extended family. This person has shown me the power of belief in a unique way and the approach to solving emotional problems and practical problems through ritual. I think that from that experience, I have come to believe in its value, and I think [it’s interesting] in a police setting where the solution to the crime or the mystery of the missing person is ultimately going to be fact based. Kemi is not a mystic. Kemi cannot see into the future. Kemi cannot predict the outcome of a scenario based on her belief. But the people who come into the MPU are desperate. They are at their worst possible moment, and I think that someone like Kemi can offer the type of comfort and hope that people in those circumstances desperately need. That affords her being there for the chance to both solve the underlying problem that brings them there, which is the most important thing — finding the missing loved one — but also offer aid and comfort along the way. As for the non-Christian part of it, I think the belief is universal. I don’t think that any particular culture or any particular religion has a corner on that market. And I think that yes, it’s great to see someone channeling a non-Western type of belief, if for no other reason than it will dramatize how similar it is to every other type of belief.

DEADLINE: Can we expect our questions about Keith to be answered by the end of the first season, or are you planning for this to span longer than that?

EISENDRATH: Fingers crossed there will be more than one. I think that we are going to give the audience very clear answers about Keith, almost in every episode, and certainly I think that they will get some satisfaction by the end of the season. They can wait and see whether it’s the end of the story or not, but there will be no shortage of questions and answers regarding that mystery this season.

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Fox’s latest foray into the police procedural

Sunday’s Mayfair Witches premiere may not have included any demonic crock-pots magically springing to life, but the kickoff to AMC’s latest Anne Rice adaptation still delivered a surprise ending fit for a Pearson.

The first episode introduces us to Dr. Rowan Fielding (Alexandra Daddario), a brilliant surgeon with commitment issues and untapped magical potential. (Surely we can all relate to at least one of those things, no?) When Rowan learns that her adoptive mother’s cancer is back, she turns to her hospital’s chief of surgery, who not only sneers at the idea of Rowan getting her mother into an experimental stem cell trial but also chastises her supposed arrogance. These unkind words don’t sit well with Rowan, who kinda-maybe-accidentally gives the jerk a brain aneurism.

Rowan’s mother Elena insists that she isn’t to blame for the incident, but the follow-up phone call Elena makes to a mysterious agency tells a different story. She’s desperate to find out if something has “changed” about her daughter, and she’s assured that an agent is being sent to investigate. The agent, Ciprien Grieve (Tongayi Chirisa), assures Elena that Rowan is safe from “the man” for now and promises to continue protecting her after Elena is gone.

Rowan then applies to work at Revenia, the company responsible for the aforementioned stem cell trial, but she and her new boss don’t exactly get off on the right foot. He first pees in front of her (what even?!), then tells her to choose which patient she’d like her mother to replace in the trial. None of this sits right with Rowan, so she reads Jerk No. 2 for filth, ultimately sending him toppling to the floor just like the last guy who pissed her off. Sensing a pattern yet?

The premiere also introduces us to Dierdre Mayfair, a young troublemaker who is sent to live with her aunts after her mother’s alleged suicide. She doesn’t believe her mother purposely jumped from the balcony, a suspicion she shares with her uncle Cortland (Harry Hamlin), a southern gent whose legendary parties are as over-the-top as his accent. It’s at one such party where Cortland introduces Dierdre to a boy named Patrick, and they hit it off immediately. They share a dance, which leads to some weird sex — and before you know it, Patrick is being taken away in a stretcher.

Patrick and Dierdre’s night together, while tragic, also results in a pregnancy. An increasingly desperate Dierdre attempts to take her own life months later by jumping from the balcony, but she’s stopped by a man named Lasher (Jack Huston). The twisted character tells her that the baby she’s carrying will change her life, and he asks Dierdre if she’ll take him to be hers forever.

We’re then treated to a real gut punch of a montage, juxtaposing the birth of Dierdre’s baby with the death of Rowan’s mother.

As for the big This Is Us-style twist I mentioned earlier, here it comes: We’ve been watching events unfold in two different timelines, and Dierdre’s baby grows up to be — wait for it — Rowan! Present-day Dierdre, now 47 years old (and played by the great Annabeth Gish), suffers from a strange affliction that prevents her from speaking. Or is it just that she’s too heavily medicated to communicate with anyone? Either way, her physician is determined to figure out who she really is… and something tells me that Rowan will soon be doing the same.

OK, let’s talk: Are you ready to join the Mayfair Witches‘ coven, or did this premiere not bewitch you like you hoped? Weigh in via our polls below, then drop a comment with your full review.


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Sunday’s Mayfair Witches premiere may not have

Director Gina Prince-Bythewood’s goal for The Woman King was to create a sprawling epic based on a group of all-female warriors in Africa. She tasked cinematographer Polly Morgan with capturing the beauty of the landscape and leaning into the colors of the environment, which could be a challenge for scenes taking place at night. The Woman King tells the story of the all-female Agojie warriors in the African Kingdom of Dahomey. Filming in Africa presented a challenge for the production, but the location allowed Morgan to highlight the colors and tones of the period.

DEADLINE: What were the early conversations with Prince-Bythewood about what she wanted for the cinematography?

POLLY MORGAN: I think Gina wanted to lean into the genre of historical epics and give the movie a lot of scope and really capture the beauty of the landscape and lean into the colors of the environment. We wanted to have really beautiful, natural, saturated color, highlighting the reds of the earth and the greens of the forest and jungles and capture the beautiful light and lean into flares and back light. She wanted it to be a striking movie, one that would feel iconic and could stand the test of time alongside all the other historical epics that we love and she also felt strongly about making sure that the women were captured in a beautiful way that not only showed off their physicality and all the work that they had done to prepare for the roles, but also their beauty and their vulnerability.

DEADLINE: How do you making sure that you’re properly catching that?

MORGAN: Well, not to get too technical, but I think when you are lighting a movie for a theatrical release, you really have to be conscious of the fact that a projector is half as bright as the screens that we would watch at home. And just to make sure that when you’re exposing the image you have a really thick negative, and there’s a lot of detail and information there. As a photographer, I really like to have a lot of detail in my images. I don’t like it when areas fall off into pockets of deep black and there’s nothing there. I really wanted to capture not only the beauty of these women, but also all the sort of textures and specifics of the environment, even at nighttime, so I had to make sure that I had a really good base illumination that would expose the negative.

Once I had that base illumination, I would make sure that I focused on the skin tones and I was able to model and sculpt the light and play with color contrast. At night, the ambient moonlight was a nice cool hue and then we would contrast that with the warmth of fire. We actually used real fire to light their faces, and not just modern LED tubes, which I found a lot more evocative with the lighting. You would see the flames reflected in their eyes and just that natural flicker that only an actual fire source could give you.

DEADLINE: What was it like shooting on location in Africa?

MORGAN: Luckily, I’m someone that loves a challenge because logistically to shoot in the middle of nowhere always kind of puts you outside your comfort zone, because you don’t have the resources to fall back on if something goes wrong, like if a generator fails for example. So, we just really made sure that we were very thorough in our preparation and we really prepped in advance on exactly how we wanted to execute everything, and we made sure that we had all the tools and manpower that we needed to pull it off. But, to actually shoot on location was so incredible. Not only for the cast, but for the crew to really get away from modern life and really delve deep into the story and you just feel that you were actually back there in the 19th century with these warriors.

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Director Gina Prince-Bythewood’s goal for The Woman King was

In the Pitch Perfect movies, there is not much to be said about Bumper other than his back-and-forth dynamic with Amy and that he leads the Treblemakers.

Bumper’s character is never entirely explored. He is not the main villain in the first movie, even if he leads the primary rival a cappella group. Instead, even though Pitch Perfect is an ensemble, Beca is the protagonist, and Barden Bellas Captain Aubrey Posen is Beca’s central foil.

In Pitch Perfect 2, three years after ditching the Trebles for a backup singer gig for John Mayer, Bumper has returned to Barden as a security guard for seemingly no reason other than to give him a role in the movie.

Overall, Bumper’s relationship with Amy is the biggest thing he has going for him. Even his post-credits appearance on The Voice comes across more as a joke, even though multiple singers turn their chairs for him.

Since Bumper was never a leading character, his interest in pursuing music professionally was rarely expanded on, and it was never quite clear what his endgame hope was.

However, early in Bumper In Berlin, it is suggested that Bumper is good at improvising, a quality he most certainly does not show in the Pitch Perfect movies.

Bumper In Berlin tries to show Bumper’s strengths, such as using him being booed on stage as a background to build a short cover of Taylor Swift’s “Message In A Bottle.”

However, the entire concept of the show relies on character elements that did not exist before the spinoff started. Bumper is portrayed as an underdog whose life never picked up after a failed try on The Voice.

Even if that part could be justified in the sense that Bumper did not get anywhere after briefly working for John Mayer, he was so excited to leave for Los Angeles that it did not make sense why he would return to work at Barden at all. Did he need money? Did he want to return to where he had once been successful? Unfortunately, Pitch Perfect 2 does not expand on Bumper enough to explain his reasons.

Meanwhile, previous Das Sound Machine co-leader and Barden Bella’s rival, Pieter, is suddenly meant to be portrayed as empathetic to the audience after being an antagonist throughout Pitch Perfect 2 and never showing another side of his personality.

Granted, Bumper In Berlin explains how Pieter’s life drastically changed. Still, Pieter was a comical villain previously, so showing him as anything else without seeing the character development seems off-putting.

People can change, but in this case, it seems Bumper In Berlin relies on the audience excusing character development that was not seen, given it has been years since their characters appeared on-screen.

It certainly does not help that the spinoff picked two characters with no substantial history to run the series. On top of that, neither has a strong sense of chosen family bond, which was one of the highlights of the original trilogy.

Although Bumper and Pieter may have always shown charisma in the past, the Peacock spinoff is more of a show to watch for fun and nostalgia but lacks the heart of the original trilogy.

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In the Pitch Perfect movies, there is

With overt ties to slavery, Confederate statues are an easy target for removal as America slowly undergoes its institutional racial reckoning. Directors Sara Newens and Mina T. Son’s documentary Racist Trees attempts to look at something far more obscure but no less divisive.

Written by Newens and Joanna Sokolowski, the film follows a small Palm Springs community that questions the origins of a row of non-indigenous, invasive tamarisk trees. These trees cordon off a predominantly black community from a wealthy, exclusive (and formerly whites-only) golf course. The question is, was it done with malicious intent, or was it for the protection of errant golf balls from sailing through windows or onto private property?

Divided into chapters, the movie looks at the formation of the man-made desert oasis known as Palm Springs. Particularly, Racist Trees focuses on the tiny community of Crossley Tract, a stretch named after its founder, African-American entrepreneur Lawrence Crossley. Originally the area was reservation land exclusively occupied by the indigenous Cahuilla people. In the 1900s, it was rebranded as a luxury resort destination, with the nearby film industry taking a particular interest by the 1930s.

Then, in 1959, residents living on a square mile of land serving as public housing (now considered downtown) were summarily booted from their homes to make room for a newly planned golf course. Today, residents of Crossley recognize the rising property values of surrounding communities while their homes remain stagnant. They want the trees gone, not only because they are a nuisance but because they also block the stunning mountain views, thus stagnating the value of their homes.

“…trees cordon off a predominantly black community from a wealthy, exclusive (and formerly whites-only) golf course.”

But the trees represent more than merely ornamental repercussions. The tamarisk also serves as an inviting home for rats and snakes. On top of that, according to an arborist, the trees can actually combust in the sweltering desert sun. Past requests by residents to remove the trees have been rejected by the city council. But, now they have a white spokesperson, Trae Daniel, who has access to a larger megaphone, and the council suddenly is taking notice. And lest you think this is an example of a “white savior” scenario, think again. Daniel happens to be a real estate agent who sees the inherent value in the area’s possible gentrification.

Opponents of the move weaponize the absurdist title, Racist Trees: “How can a tree be racist?” This obfuscates the fact that inequality and prejudice can be found throughout this country’s foundational and continual formation. While the trees themselves are neutral, land developers have attempted to marginalize communities through deceptive means. That is no concern to the likes of weaselly fascist Tucker Carlson, who begins to fan the flames of hate by inviting Daniel on his program. The man then vomited out such nonsensical arguments such as “What racist sentiments have they expressed to you?” and “How can you prove these trees are racist?” That’s all that was needed to incite his Pavlovian white nationalist base and make the story gain national traction.

The mayor of Palm Springs, an out-and-proud gay man, contends his city is open and accepting to all and shirks any thought of it being seen as “racist.” And while the white residents of the surrounding neighborhoods similarly contend in city hall meetings that their objections aren’t race-based, the flurry of anonymous emails and social media posts from those same residents suggests otherwise.

Using interviews with residents following the legal case, Newens and Son takes a fascinating look into the debate that does not always point to the expected outcomes. The argument is never as cut-and-dry as the title would imply. Racist Trees is a captivating peek into institutional equality within a small community and, like Descendant, demonstrates the lengths some go to ensure that history is never heard.

Racist Trees screened at the 2023 Palm Springs International Film Festival.

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With overt ties to slavery, Confederate statues

It’d been this critic’s assumption that “Alert: Missing Persons Unit,” a new drama launching on Fox, would resemble “Without a Trace,” the case-of-the-week crime story that aired on CBS during what we might call that network’s Golden Age of police procedurals. There, each week brought a new intrigue around a person who’d disappeared, and, eventually, a resolution.

“Alert,” which was created by John Eisendrath of “The Blacklist” and Jamie Foxx of movie stardom, pumps up the formula. The searches for the missing each episode feature not just high dramatics but graphic onscreen violence; the show’s second episode, for instance, begins with a fellow being beaten bloody with a baseball bat to the head. Ouch! The show has, in the two episodes provided to critics, something of a throughline from the first. We follow the professional and personal lives of two formerly-in-love cops (Scott Caan and Dania Ramirez) whose marriage was ruined by the disappearance of their son. Together, they cope with the long tail of surviving a crime done against their child, and their family.

Elements of this storyline in the first two episodes truly beggar belief, and a sense of boundless evil surrounding the comings and goings of the Philadelphia Police Department and of a single family come to overwhelm the story in moments. And yet Caan and Ramirez are pros, and sell the double experience both characters are having — working cases involving missing children while swallowing to blot out the grief of having lost their own.

It’s tempting to leave it there. But it must be said: There’s something a little odd about a show debuting in the post-Pizzagate era that depicts the world as an endless procession of bad men seeking the opportunity to traffic children. It’s not that it never happens, but placing crime of this sort as the very central concern of a number of career city cops seems to overstate the case in manners that flatter the conspiracy-minded.

But, well, we live in conspiracy-minded times. And the show’s central mystery remains to be untangled in ways that may, this viewer hopes, veer farther from Q than they may first appear. This is a well-enough-made show that is far from the most egregious example of television valorizing the cop at the expense of all other facets of society. It’s hard to see how its stories — both finding enough spins on missing-persons cases to keep the show fresh, and continuing to unpack the family tragedy at the show’s center — can continue for a long time before growing exploitative. (The explosion of violence in Episode 2 was not an auspicious sign.) Time will tell if its high-octane, fast-burning formula, converting frightening crime into a weekly thrill ride, is enough to keep it from vanishing, well, without a trace.

“Alert: Missing Persons Unit” will premiere Sunday, January 8, following Fox’s broadcast of the NFL; it will premiere in its time period Monday, January 9, at 9 p.m. ET/PT.

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It’d been this critic’s assumption that “Alert:

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LAS VEGAS — American shoppers, regulators and companies face a problem: Tech products often hit the market with giant safety and privacy flaws.

At the same time, CES, a giant annual consumer electronics exhibition in Las Vegas, brings a flood of new gadgets. It might be pouring gas on a fire, privacy and security experts say.

“I think there is a chronic problem with consumer electronics, that they are not giving people the full picture that they need to evaluate whether they want to use these tools,” said Cindy Cohn, executive director of the privacy rights organization Electronic Frontier Foundation.

Last week, the CES show floor buzzed with thousands of companies slinging health wearables, smart TVs, autonomous vehicles and other gadgets that rely on data from our bodies or homes. Many pitch themselves as the next great thing — but almost none directly address how they treat customer’s data after it’s collected or their approach to safety and security.

The best (and strangest) tech we found at CES 2023

“CES doesn’t seem to have a theme this year other than throwing everything at a wall and seeing what sticks,” said Kyle Wiens in a YouTube live stream. Wiens is CEO of iFixit, which advocates for consumers’ right to repair their devices. “There are negative externalities to our society when that happens.”

Cohn and representatives from iFixit, Consumer Reports and other consumer advocacy groups rounded up a CES “Worst in Show,” calling out which products could have the greatest negative impact on privacy, consumer choice and the environment. They included some of this year’s breakout favorites, such as the U-Scan urine sensor from connected health care company Withings, which analyzes hormone levels in urine and is gearing up for U.S. launch. After the Supreme Court overturned the right to an abortion in June and some states banned abortion, hormonal changes could potentially become evidence of a crime. Withings said it stores that data indefinitely and, if subpoenaed by law enforcement, would “comply with all legal requirements in the territories in which it operates.” It said it doesn’t otherwise share data with third parties.

Media tend not to ask tough questions on safety at CES, and companies tend not to volunteer the information, Cohn noted.

“Literally only one company even mentioned [privacy or safety], and ironically, it was a sexting app,” said Leanna Miller on the show floor. Miller said she works for a small company that makes reusable writing tablets and came to CES to browse all the new products. The company she referenced was Blyynd, an adult network that claims to use encryption to promote safe sexting.

With few exceptions, tech companies address safety when problems arise rather than taking more time to test products and build in safe features, said Cybersecurity and Infrastructure Security Agency (CISA) director Jen Easterly, in an interview on the sidelines of CES.

These companies’ incentives are “really focused on cost, capability, performance and speed to market, and not on basic safety,” she said.

Easterly’s CES address alongside CrowdStrike CEO George Kurtz focused on the rapidly rising cost and danger of cybercrime, which often relies on hastily shipped products, they said. It was the first time a cybersecurity official of Easterly’s rank has spoken at the show.

Buggy software in off-brand smart home devices is a hacker’s playground

“As we think about the world we’re living in, we cannot accept that in ten years [cyber risks] are going to be the same or worse,” she said during the talk.

That may depend on consumers demanding safer products or the government regulating software, though Easterly noted she doesn’t support “burdensome” regulation. Regulation could come in the form of stricter privacy safeguards or clearer communication with consumers about the risks a product poses. The White House has backed the idea of a nutrition-label-style “software bill of materials” telling buyers which software components a product contains.

Just last week, for instance, the European Union fined Meta $414 million for burying information about its targeted advertising business in its terms of service rather than obtaining its users’ meaningful consent and giving them an option to decline. Meta has said it intends to appeal the ruling and the fines. Risky technology such as facial recognition is also the subject of scrutiny in the E.U.

Meanwhile at CES, companies touting facial recognition technology spatter the show floor. Miko, a Disney-backed robot that claims to keep kids engaged, comes equipped with facial recognition and uses its camera to analyze children’s moods and map elements of your home, its website says. Its CEO said all facial recognition data is stored on the device and not the cloud.

Then there’s the camera-enabled smart home devices — such as the autonomous mower Landroid Vision that navigates its way around your yard. Its maker, WORX, said all images the mower captures are anonymized and any faces or house numbers are blurred before the images are sent to the company’s cloud storage. Its privacy policy leaves room to share data for advertising.

Companies could choose to make useful, private, repairable products, said iFixit’s Wiens during the Worst in Show announcement, but what is the real purpose of a $200 travel mug with location-sharing capabilities and an irreplaceable battery?

“We already have thermoses,” he said. “They’re phenomenally successful. They’ve been around for a very long time.”

Jamie Kaplan, vice president of communications at CES-producer Consumer Technology Association (CTA), said the show has encouraged innovation, entrepreneurship and economic growth. This year, CTA hosted 3,200 exhibitors.

“CES requires exhibits to comply with U.S. law, which favors innovation and focuses on restricting bad behavior rather than banning new and innovative products,” she said in a statement.

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Bernard Kalb, a veteran journalist and the first anchor of the CNN series “Reliable Sources,” died on Sunday at the age of 100.

Kalb died at his home in Maryland. The Washington Post first reported his death from complications after a fall.

Kalb was the founding anchor and panelist on CNN’s weekly series “Reliable Sources” when it launched in 1993, remaining in the post until 1998. He was succeeded by Howard Kurtz, who was then succeeded by Brian Stelter until the show was canceled in August 2022.

Before “Reliable Sources,” Kalb built an esteemed career as a journalist, working for the New York Times, CBS News and NBC News with a particular interest in international affairs.

After traveling with Henry Kissinger on diplomatic missions alongside his brother, journalist Marvin Kalb, the Kalb brothers wrote the 1974 biography “Kissinger, A Biography.”

Kalb was appointed Assistant Secretary of State for Public Affairs in 1984 for the U.S. State Department under Ronald Reagan’s administration. Kalb later quit when Bob Woodward revealed a secret plan from the White House that aimed to plant false information in the U.S. media in order to weaken Libyan leader Moammar Gaddafi, saying he knew nothing of it.

Kalb spent his later years as a moderator and lecturer.

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Bernard Kalb, a veteran journalist and the

From DJ-turned-producer Uncle Waffles’ club-filling take on Amapiano to singer/songwriter Hailey Whitters’ middle-American storytelling, some of the best music of 2022 may have slipped under the radar for some listeners. Even some great albums by veterans, including Willie Nelson’s poignant A Beautiful Time and Ozzy Osbourne’s unexpectedly strong Patient Number 9, may not have connected with as many listeners as they deserved.

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The new episode of Rolling Stone Music Now is an exhaustive look at some relatively under-the-radar music from last year, drawing from Rolling Stone‘s lists of the best country and Americana and metal albums, as well as our first-ever list of the year’s greatest Afropop songs. (To hear the whole episode, listen on Apple Podcasts or Spotify or press play above.) Mankaprr Conteh, Kory Grow, and Joseph Hudak join host Brian Hiatt for the discussion.

Download and subscribe to our weekly podcast, Rolling Stone Music Now, hosted by Brian Hiatt, on Apple Podcasts or Spotify (or wherever you get your podcasts). Check out six years’ worth of episodes in the archive, including in-depth, career-spanning interviews with Bruce Springsteen, Mariah Carey, Halsey, Neil Young, Snoop Dogg, Brandi Carlile, Phoebe Bridgers, Rick Ross, Alicia Keys, the National, Ice Cube, Taylor Hawkins, Willow, Keith Richards, Robert Plant, Dua Lipa, Questlove, Killer Mike, Julian Casablancas, Sheryl Crow, Johnny Marr, Scott Weiland, Liam Gallagher, Alice Cooper, Fleetwood Mac, Elvis Costello, John Legend, Donald Fagen, Charlie Puth, Phil Collins, Justin Townes Earle, Stephen Malkmus, Sebastian Bach, Tom Petty, Eddie Van Halen, Kelly Clarkson, Pete Townshend, Bob Seger, the Zombies, Gary Clark Jr., and many others. Plus, there are dozens of episodes featuring genre-spanning discussions, debates, and explainers with Rolling Stone’s critics and reporters.

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From DJ-turned-producer Uncle Waffles’ club-filling take

Last Updated: September 23, 2020, 17:46 IST

Halahal

Cast: Sachin Khedekar, Barun Sobti

Director: Randeep Jha

Lately, Barun Sobti has impressed me with his range in projects like Tu Hai Mera Sunday, 22 Yards and Asur, and he continues his good work in director Randeep Jha’s Halahal, a murder mystery with a medical college scam at the centre.

Dr Shiv (Sachin Khedekar) is an obvious name for the protagonist in a film titled Halahal (poison), but to his credit, he has balanced both the absorber and destroyer act with finesse. He has done similar roles in the past but he has tried to add layers to the role of a helpless father set out to find the truth of his daughter’s death. However, the story finds its momentum only after a morally ambiguous cop Yusuf’s (Barun Sobti) entry.

It’s one of those thrillers where the writers put emphasis on bringing out the grey side of even the most sophisticated-looking characters. In a funny way, a character actually announces that the world revolves around money and not the sun, in case you don’t get enough hints by what’s happening on screen!

You know the kind of film where even the closest friends try to con each other. You’ll be immediately reminded of Anurag Kashyap’s Ugly, but that’s not a co-incidence because Jha was in the direction team of that film. Also, one of the writers—Zeishan Quadri—has worked with Kashyap in Gangs of Waaseypur. But what makes Jha a promising talent is that he has tried his best to not be very gimmicky in his storytelling and has stuck with a matter-of-fact tone.

This is where Barun Sobti comes handy as he hasn’t shown much affinity for theatrics. His calm demeanour, which made Asur such a lovely watch, has added dimensions to Halahal as well. His restrained body-language keeps the audience intrigued about his intentions and who wouldn’t want such a trait for a mystery thriller. In fact, his objective chemistry with Sachin Khedekar is the highlight of the film as the two rely on dialogues to reveal plot points at crucial junctures.

Read: Sadak 2 Movie Review

Read: Dolly Kitty Aur Woh Chamakte Sitare Movie Review

However, Halahal never gets as dark as I wanted it to be in order to attain more shock value. Gritty characters need enough time to unfold on screen, but Halahal simply touches and moves on at some really important narrative points.

Set in the Western Uttar Pradesh and the adjacent Haryana, Halahal has a sinister tone but it also has many parties involved and that stops the audience from focusing on the crime and its primary architects. Also, many transitions hamper the flow of the 96-minute film.

Minor flaws overlooked, Halahal is engaging for sure, and its lead talents are quite impressive. With careful project selection, the director can offer much more.

Rating: 3/5

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Last Updated: September 23, 2020, 17:46 ISTHalahalCast:

The Palm Springs International Film Festival (PSIFF) kicked off last night with its Opening Night screening and World Premiere of ‘80 For Brady’. Guests in attendance from the film included Lily Tomlin, Jane Fonda, Rita Moreno, Sally Field, Harry Hamlin, director Kyle Marvin, executive producer Mike Covino, and writers Sarah Haskins & Emily Halpern.

Additionally, the PSIFF Opening Day included the World Premiere of ‘Shot in the Arm’ with executive producer Neil deGrasse Tyson and director Scott Hamilton Kennedy, alongside Talking Pictures screenings with Angela Bassett and Ruth E. Carter (‘Black Panther: Wakanda Forever’), Colin Farrell (‘The Banshees of Inisherin’), and Bill Nighy and writer Kazuo Ishiguro (‘Living’).  

 

PALM SPRINGS, CALIFORNIA – JANUARY 06: Jane Fonda, Rita Moreno, Lily Tomlin and Sally Field attend the world premiere opening night screening of “80 For Brady” during the 34th Annual Palm Springs International Film Festival on January 06, 2023 in Palm Springs, California. (Photo by Vivien Killilea/Getty Images for Palm Springs International Film Society) 

 

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PALM SPRINGS, CALIFORNIA – JANUARY 06: Lily Tomlin, Jane Fonda, Rita Moreno, and Sally Field speak after the world premiere opening night screening of “80 For Brady” during the 34th Annual Palm Springs International Film Festival on January 06, 2023 in Palm Springs, California. (Photo by Vivien Killilea/Getty Images for Palm Springs International Film Society) 

 

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PALM SPRINGS, CALIFORNIA – JANUARY 06: (L-R) Harry Hamlin, Jane Fonda, Rita Moreno, Kyle Marvin, Lily Tomlin, and Sally Field attend the Premiere Screening of Paramount Pictures’ “80 For Brady” at the 34th Annual Palm Springs International Film Festival on January 06, 2023 in Palm Springs, California. (Photo by Phillip Faraone/Getty Images for Paramount Pictures) 

 

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PALM SPRINGS, CALIFORNIA – JANUARY 06: Ruth E. Carter (L) and Angela Bassett (R) attend the 34th Annual Palm Springs International Film Festival’s Talking Pictures Screening of “Black Panther: Wakanda Forever” Q&A on January 06, 2023 in Palm Springs, California. (Photo by Amy Sussman/Getty Images for Palm Springs International Film Society) 

 

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PALM SPRINGS, CALIFORNIA – JANUARY 06: Colin Farrell speaks onstage at the Talking Pictures Screening of ‘The Banshees of Inisherin’ at Palm Springs Convention Center on January 06, 2023 in Palm Springs, California. (Photo by Emma McIntyre/Getty Images for Palm Springs International Film Society)  

 

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PALM SPRINGS, CALIFORNIA – JANUARY 06: Bill Nighy and Kazuo Ishiguro attend a screening of “Living” during the 34th Annual Palm Springs International Film Festival on January 06, 2023 in Palm Springs, California. (Photo by Vivien Killilea/Getty Images for Palm Springs International Film Society) 

 

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PALM SPRINGS, CALIFORNIA – JANUARY 06: Scott Hamilton Kennedy, Rita Moreno and Neil deGrasse Tyson attend the world premiere opening night screening of “80 For Brady” during the 34th Annual Palm Springs International Film Festival on January 06, 2023 in Palm Springs, California. Scott Hamilton Kennedy and Neil deGrasse Tyson’s film, “Shot in the Arm”, had its World Premiere earlier on Friday at the PSIFF. (Photo by Vivien Killilea/Getty Images for Palm Springs International Film Society) 

 

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The Palm Springs International Film Festival

Prince Harry has made his first TV appearance since his highly-anticipated memoir, “Spare,” leaked on Thursday.

The pre-recorded interview, which aired in the U.K. at 9pm local time on public service broadcaster ITV, saw Harry address some of the most explosive claims in the book, included his drug-taking and his fractured relationship with his family.

He said he was “grateful” for the chance to tell his story in the memoir and said if he’d still been part of the royal family he wouldn’t have had that opportunity.

Among a wide-ranging discussion, which was broadcast over 90 minutes with commercial breaks, Harry slammed former “Top Gear” host Jeremy Clarkson following a newspaper column last month in which the “Clarkson’s Farm” star wrote that he “hates” Meghan on a “cellular level” and suggested she be made to “parade naked” through Britain while people “throw lumps of excrement at her.”

“[It was] horrific, hurtful and cruel towards my wife,” Harry told Bradby of Clarkson’s column. “It also encourages other people around the U.K. and around the world, particularly men, to go and think that it’s acceptable to treat women that way.”

British tabloid The Sun, which published Clarkson’s column, later apologized for it while Clarkson said on Twitter he was “horrified to have caused so much hurt” although stopped short of an apology.

Harry also discussed his recent six-part Netflix documentary, “Harry & Meghan,” saying he was “relieved” it was complete. “The Netflix documentary and the book [“Spare”], one being our story and one very much being my story, they were look-back projects,” he explained. “They were necessary, they were essential, for historical fact. I don’t want my kids or other people at that age growing up thinking, ‘Oh wow, that’s what happened.’”

“It’s been a painful process, cathartic at times, but going back over old ground to be able to get these projects right has taken a lot of energy and there’s a lot of relief now that both these projects have been completed and now we can focus on looking forward and I’m excited about that,” he continued.”

Harry also told interviewer Tom Bradby he felt “compassion” for his father having to tell him his mother Princess Diana had died following a car crash in 1997 as well as detailing his memories of his mother’s funeral, where he famously walked behind her coffin on its way to the funeral service alongside his brother William, father King Charles II and grandfather Prince Philip. He told Bradby that when he took part in his grandmother, Queen Elizabeth II’s funeral last September, which followed the same route as Diana’s, he and William joked with each other “at least we know the way.”

Prince Harry gives an interview to ITV’s Tom Bradby ahead of the publication of his memoir, ‘Spare.’
Courtesy of ITV

Harry also discussed conspiracy theories that continue to swirl around his mother’s death, saying: “There’s a lot of things that are unexplained.” But, having reviewed the files relating to her death, he said he didn’t “really see the point” of opening up another inquiry.

In the interview Harry also said it was “important to acknowledge” his drug-taking, which he details in the book, but side-stepped a question from Bradby about whether his taking cocaine as a member of the publicly-funded royal family was a matter of public interest, with British newspapers covering it in the early to mid 2000s.

Harry also insisted that he had not written his memoir with the intention of hurting his brother and father, despite the many intrusive and potentially damaging revelations within it. “Nothing I’ve done in this book or otherwise has ever been [with] any intention to harm them,” he told Bradby. But he claimed his family had “got into bed with the devil” by cooperating with the British press and suggested this was his opportunity to right the record.

Harry also went into detail about his and Meghan’s rift with William and Kate, saying his brother and sister-in-law had been “Suits” fans – “Who’d have thought?” Harry laughed – but said there were “lots of different reasons” they didn’t get on, including “stereotyping” about Meghan being an “American actress, divorced, bi-racial.” He also repeated his insinuation from the book that his family were jealous of Meghan, leading them to brief the press against her.

“They’ve shown absolutely no willingness to reconcile,” Harry told Bradby of his current relationship with his family. “I would like to get my father back. I would like to have my brother back.”

“Spare” is due to be released worldwide on Tuesday, Jan. 10 amid maximum security. But retailers in Spain broke the strict embargo on Jan. 5, reportedly to maximise sales ahead of “Three Kings Day” in Spain, which falls annually on Jan. 6 and represents the biggest retail holiday of the year.

The leak led to a media frenzy as press outlets across the world rushed to get their hands on a Spanish copy, titled locally “En la Sombra” (“In the Shadow”) and frantically translated it.

Amid the plethora of stories to emerge from the tome included Harry’s admission to smoking weed, snorting cocaine and even taking magic mushrooms at “Friends” alumna Courteney Cox’s house while she was out one night. He also details the night he lost his virginity, how he wet his underpants hours before his first date with Meghan, the frostbite on his penis at William and Kate’s 2011 wedding, his physical altercation with William, how he killed 25 Afghanis while fighting for the British army, his final words to his grandmother, Queen Elizabeth II, following her death last September, and details of private conversations he had with family members including his father King Charles III.

Prince Harry, aged 12, greets mourners following the death of his mother, Princess Diana in 1997.
Courtesy of ITV

Bradby, who flew to California to conduct the lengthy interview with Harry, is the lead anchor of ITV’s “News at 10” and a former royal correspondent. He was said to have been close to both Harry and his brother Prince William. In 2010 he was chosen to conduct the engagement interview with a newly-betrothed William and Kate Middleton (now the Princess of Wales). And he scored a coup in 2019 with his documentary, “Harry & Meghan: An African Journey,” which followed the royal couple on tour in South Africa and first saw them both speak out about their unhappiness within the British royal family. Meghan famously thanked Bradby for asking how she was doing, saying “Not many people have asked if I’m OK” while Harry told the anchor of his relationship with William: “We’re certainly on different paths at the moment. […] We don’t see each other as much as we used to.”

However, reports in the U.K. media claim that the documentary, while representing a career highlight for Bradby, also brought about the end of his relationship with William.

Prince Harry has a further three interviews lined up with U.S. media, including “60 Minutes” with Anderson Cooper, which is set to air tonight, “Good Morning America” with Michael Strahan tomorrow morning and “The Late Show” with Stephen Colbert on Tuesday evening. The interviews with Bradby, Cooper and Strahan were all believed to have been recorded before “Spare” leaked on Thursday.

More to come…

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Prince Harry has made his first TV

A monthly feature in which we’re trying to find the most compelling, best acted, written, directed and just generally great, memorable scenes that we’ve seen in the past month.

1899, “The Key”, November 17th, 2022, Actor: Emily Beecham, The Scene: Maura wakes up at the end

Justyna: It’s very disappointing to learn of the series cancellation just when we’ve reached the next chapter in the story. I’ve certainly enjoyed watching the show and was excited to continue the mystery. In the final moment of the series Maura wakes up in a starship called Prometheus, surrounded by the other Kerberos passengers, placed under suspended animation. She also discovers that it’s the year 2099, not 1899 and her brother leaves her a message to welcome her to reality. The end. Just when the possibilities were endless and with so many questions left unanswered. It was a great and engaging cliffhanger to finish a season on, a perfect place to craft some theories, so if there’s any chance at all for the series to still be saved, I’d be happy to continue to support it and watch wherever that might be. Kudos to the cast & crew for all their work!

1923, “1923”, December 28th, 2022, Actors: Sebastian Roché, Jennifer Ehle, Aminah Nieves, The Scene: Father Renaud punishes Sister Mary and Teonna

Laura B: Father Renaud doesn’t just hit Sister Mary, but Teonna gets another round from him too. If it wasn’t hard enough to witness a most-beloved Elizabeth Bennett (Ehle) in the role of a school-teaching nun who beats up the hands of the free-spirited Teonna Rainwater (Aminah), the show found a way to be even more horrific when at first Father Renaud seeks justice by doing the same act to Mother Mary before Teonna’s eyes, but then his taste for justice quickly turns into some rather disturbing abuse when he beats Teonna again! I’ve seen Sebastian Roché play some bad customers before, but this role may yet take the cake! Overall, 1923 had a pretty amazing opening episode!

GHOSTS, “The Christmas Spirit”, December 25th, 2022, Actors: Rose McIver, Utkarsh Ambudkar, The Scene: Sam gets possessed by Thor

Chris C:
Rose McIver gets to relive her best iZombie life as a disgruntled Thor pretends to be Sam while talking to Jay in the kitchen. Everything from McIver’s elevated pitch to her glances and obsession with food is brilliantly executed and perfectly ridiculous, in a way that only a show like Ghosts can be.

HIS DARK MATERIALS, “The Enchanted Sleeper”, December 5th, 2022, Actors: Dafne Keen, Ruth Wilson, The Scene: Lyra tries to escape from Mrs. Coulter

María S:
Lyra wakes up while Marisa is sleeping, so she tries to take this chance to escape from the place her mother is keeping her. But the opportunity fades away when Mrs. Coulter’s daemon leads her to the girl, so she sedates her again, while Lyra tells Marisa that she will never be safe with her. I think it’s really sad to see that, after everything that has happened, the only way Mrs. Coulter can keep her daughter next to her is by keeping her unconscious.

SLOW HORSES, “Old Scores”, December 30th, 2022, Actors: Gary Oldman and more

The Scene: The Slough House pays tribute to Min (and Dickie)

Folie-lex:
Against Taverner’s instructions, Lamb makes sure that Min (and Dickie) get a proper “Joe’s memorial” and the whole crew is there to pay their respects. He might be an insufferable ass but one thing is for sure, Jackson Lamb proves yet again that he absolutely has the proper respect for his agents.

SO HELP ME TODD, “Swipe Wright”, December 15th, 2022, Actors: Skylar Astin, Madeline Wise, The Scene: Todd confronts Allison about setting up a profile on a dating app

Cristina A:
Todd confronts his married sister about setting up a profile on a dating app. During an investigation for a client who is suing because her idea for a dating app is being stolen by a major corporation, Todd and his mother discover that his married sister, Allison, has set up a dating profile on the app. Todd confronts his sister and she admits that she set up the profile. She shares that her whole life has been decided for her by her mother, she’s never been able to do the things that she dreamed of and hoped for. Even becoming a doctor was her mother’s dream, not hers. As was marrying her husband. She wanted to see what her life would be like if she went down another path. Todd and Allison have a difficult relationship and her being able to confide in him her deepest feelings, was a huge step in their path to repair things between them. It was the first time the viewers got to see the deeply personal side of Allison, and understand the struggles she faced living in her mother’s shadow growing up.

STARGIRL, “Frenemies – Chapter Thirteen: The Reckoning”, December 7th, 2022, Actors: Brec Bassinger, Luke Wilson, Joel McHale and more, The Scenes: Sylvester is temporarily brought back to life by ISA & Courtney and Pat’s final scene in the basement

Justyna: It’s a good thing we have a sweet and heartwarming moment also highlighted in the article, because my choice is anything but that. In fact, it’s one of the most shocking and cruel revelations on the show. It left me completely stunned and is still very memorable today. In the opening scene of the series finale, we finally get an answer to the question “what really happened to Sylvester Pemberton” and it’s so much worse than I’ve imagined. Years after his death, Starman is brought back to life by his killer and the ISA… but only for a moment. He barely begins to learn of their evil plan before his brain is removed from his body, with him very much awake and aware of the fact. It’s beyond dark and is a powerful reminder that “Stargirl” never stayed away from telling the painful stories in addition to the hopeful ones. The only good thing about this moment is that the audience gets to know just how much Sylvester has truly cared about his best friend, when he asks about Pat with his final breath. It also makes it so much worse that Ultra-Humanite has spent all this time slowly destroying Starman’s memory and legacy. Luckily, as we learn in the epilogue, we end the series knowing that JSA has eventually found his brain and saved Sylvester. I only wish we could have seen his true reunion with Pat. Regardless, I really enjoyed this show and will miss it dearly. Thank you and kudos to the entire cast & crew for all the wonderful work on the series.

Joshua: Courtney tries to tell her stepfather that he is a hero and she defended him against the Ultra-humanite and Pat tells her that he already knows. Courtney has a very difficult relationship with her biological father throughout the series but she eventually comes to the realization that Pat (her stepdad) is the father she always wanted. That’s a major part of her series character arc. This final scene as a result marks an end to Courtney’s arc as it shows that Pat and Courtney have grown close throughout the show’s run. From Courtney being initially annoyed with Pat and unaccepting of him as her stepdad in the show’s pilot episode to eventually becoming closer to Pat when their superhero adventures begin. It’s a short but very important scene that shows just how special and well planned this television show was.

THE ROOKIE, “The Collar” & “Take Back”, December 4th, 2022, Actors: Melissa O’Neil, Eric Winter, The Scenes: Tim and Lucy openly admit their feelings & Tim asks Lucy out on a date

Folie-lex: Since Beth gave a shout-out to the Chenford final scene in 5.09 (the nomination that I completely endorse BTW) this completely unties my hands in order to submit their final scene of 5.08. As Chenford have spent the whole episode trying to get through this tough day all while attempting to regain a hold on their current shaky dynamic, Tim watches Chris push his “let’s live together” plan on a very frustrated and uncertain Lucy. He confronts her about it at the end of the episode and FINALLY, after approximately 3 years in the show’s timeline (and 5 seasons for the show’s audience), these two put to words their growing feelings, admit it to each other and have an honest conversation about doing something about it… and The Rookie fans REJOICE!

Beth W: Tim asks Lucy out on a date. The Rookie is finally doing it! They are pulling the trigger on Chenford and I for one am SO excited.

TREASON, “Episode 1”, December 26th, 2022, Actors: Olga Kurylenko, Ciarán Hinds, Charlie Cox and more, The Scene: The opening scene

María S:
I think the opening scene is a good setup for the show since it gives you a full idea of the story and its main characters and does a good job in keeping you interested in how everything will unfold from here, and how everything will intertwine.

WILLOW, “Prisoners of Skellin”, December 28th, 2022, Actors: Christian Slater, Ruby Cruz and more, The Scene: Allagash buys the group time to get away from the trolls

Justyna:
I’ve been really enjoying this new fantasy series, I like its unique feeling, the adventure and the characters. It reminds me of a Dungeons & Dragons campaign that I’ve seen a few years ago. And Christian Slater was a great fit to bring back the 80s to this modern take on Willow. Allagash is quite a character, we’ve only just met him and yet we’ve witnessed his many different sides all in the course of a single episode. Similarly to Hubert, he’s quite a scene-stealer and immediately a memorable character to cross paths with. Allagash is brave but foolish, friendly but not always loyal, he’s a good fighter and far from good songwriter. He doesn’t hesitate to steal the Kymerian cuirass but chooses to come back, seeking redemption for his past mistakes. He ultimately sacrifices himself to give the others a chance to escape and fights against an army of trolls, right after leaving Kit with a message to protect Elora Danan. The final shot of him falling, defeated by the trolls was another sad reminder of all the lives already lost in this fight. Kudos to cast & crew for their work on the series!

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A monthly feature in which we're trying

The Art Directors Guild, American Society of Cinematographers and Motion Picture Sound Editors are three artisan organizations announcing their nominations this week. Their nominations will set the tone for the Oscar race for production design, cinematography and partly for the best sound race, now in its third year as a combined category for sound mixing and effects editing.

We’re expecting plenty of mentions for “Everything Everywhere All at Once” and “Top Gun: Maverick,” with possible surprises for “Elvis” and “All Quiet on the Western Front” which are both picking up momentum.

All three guilds will announce their nominees on Monday, Jan. 9.

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

Art Directors Guild 

Period

  • “All Quiet on the Western Front” (Netflix)
  • “Babylon” (Paramount Pictures)
  • “The Banshees of Inisherin” (Searchlight Pictures)
  • “Elvis” (Warner Bros.)
  • “White Noise” (Netflix)

Alternate: “The Fabelmans” (Universal Pictures)

Fantasy

  • “Avatar: The Way of Water” (20th Century Studios)
  • “The Batman” (Warner Bros.)
  • “Black Panther: Wakanda Forever” (Marvel Studios)
  • “Everything Everywhere All at Once” (A24)
  • “Roald Dahl’s Matilda the Musical” (Netflix)

Alternative: “Don’t Worry Darling” (Warner Bros.)

Contemporary

  • “Bardo, False Chronicle of a Handful of Truths” (Netflix)
  • “Glass Onion: A Knives Out Mystery” (Netflix)
  • “The Menu” (Searchlight Pictures)
  • “Tár” (Focus Features)
  • “Top Gun: Maverick” (Paramount Pictures)

Alternate: “Women Talking” (MGM/United Artists Releasing)

American Society of Cinematographers 

  • “Avatar: The Way of Water” (20th Century Studios) – Russell Carpenter 
  • “Empire of Light” (Searchlight Pictures) – Roger Deakins 
  • “Everything Everywhere All at Once” (A24) – Larkin Seiple
  • “Tár” (Focus Features) – Florian Hoffmeister  
  • “Top Gun: Maverick” (Paramount Pictures) – Claudio Miranda 

Alternates: Mandy Walker (“Elvis”), Janusz Kaminski (“The Fabelmans”) and Ben Davis (“The Banshees of Inisherin”)

Motion Picture Sound Editors

Outstanding Achievement in Sound Editing – Feature Dialogue/ADR

  • “The Banshees of Inisherin” (Searchlight Pictures)
  • “The Batman” (Warner Bros.)
  • “Elvis” (Warner Bros.)
  • “Everything Everywhere All at Once” (A24)
  • “Top Gun: Maverick” (Paramount Pictures)

Alternate: “Tár”

Outstanding Achievement in Sound Editing – Feature Effects/Foley

  • “Avatar: The Way of Water” (20th Century Studios)
  • “The Batman” (Warner Bros.)
  • “Elvis” (Warner Bros.)
  • “Everything Everywhere All at Once” (A24)
  • “Top Gun: Maverick” (Paramount Pictures)

Alternate: “Nope”

Outstanding Achievement in Music Editing – Feature Motion Picture

  • “Elvis” (Warner Bros.)
  • “Everything Everywhere All at Once” (A24)
  • “Guillermo del Toro’s Pinocchio” (Netflix)
  • “Tár” (Focus Features)
  • “Top Gun: Maverick” (Paramount Pictures)

Alternate: “Nope”

Outstanding Achievement in Sound Editing – Feature Animation

  • “Guillermo del Toro’s Pinocchio” (Netflix)
  • “Lightyear” (Pixar)
  • “Puss in Boots: The Last Wish” (DreamWorks Animation)
  • “Strange World” (Walt Disney Pictures)
  • “Wendell and Wild” (Netflix)

Alternate: “Marcel the Shell with Shoes On”

Outstanding Achievement in Sound Editing – Feature Documentary

  • “All the Beauty and the Bloodshed” (Neon)
  • “Good Night Oppy” (Amazon Studios)
  • “Hallelujah: Leonard Cohen, a Journey, a Song” (Sony Pictures Classics)
  • “Louis Armstrong’s Black and Blues” (Apple Original Films)
  • “Moonage Daydream” (Neon)

Alternate: “Retrograde”

Outstanding Achievement in Sound Editing – Foreign Language Feature

  • “All Quiet on the Western Front” (Netflix)
  • “Argentina, 1985” (Amazon Studios)
  • “Bardo, False Chronicle of a Handful of Truths” (Netflix)
  • “EO” (Janus Films and Sideshow)
  • “RRR” (Variance Films)

Alternate: “Decision to Leave” (Mubi)

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

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The Art Directors Guild, American Society of

(From left to right) Elvis Presley poses for a studio portrait (Photo: Liaison/Getty Images). Presley performing “Hillbilly Heartbreak” on stage in Hollywood, California (Photo: Bettman/Getty Images). Presley poses for a studio portrait. (Photo: Liaison/Getty Images)

(From left to right) Elvis Presley poses for a studio portrait (Photo: Liaison/Getty Images). Presley performing “Hillbilly Heartbreak” on stage in Hollywood, California (Photo: Bettman/Getty Images). Presley poses for a studio portrait. (Photo: Liaison/Getty Images)
Graphic: Allison Core

For decades the King of Rock and Roll needed no introduction. Elvis was indeed everywhere, even after his untimely death, staying in the public eye through imitators, oldies radio, repackages, and rumors of a still-living Elvis Presley visiting a Burger King in Kalamazoo, Michigan. Last summer’s Baz Luhrmann biopic, Elvis, revived Presley’s legacy and introduced him to new generations of would-be fans. But since he released dozens of albums in his lifetime and there’ve been countless compilations and reissues over the years, it’s easy to be overwhelmed by Presley’s discography (recently deceased chart historian Joel Whitburn named Presley as the number one artist in Billboard history, with over 160 singles on the charts over the years). To help both newcomers and longtime fans navigate that extensive catalog, The A.V. Club has whittled down the King’s daunting discography to 30 essential tunes, listed here in chronological order. Use this list as a guide through one of the monumental catalogs in popular music.

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(From left to right) Elvis Presley poses

Wow, 2022 was a pretty good year for movies, huh? We can safely claim this as a fact (not opinion) based on our own current state of frenzied media consumption. There’s simply too much good stuff to keep us busy this awards season, as our ears and eyeballs bounce like grocery store superballs from theater to streaming platform to proprietary Spirit Awards screener link trying to Hoover it all up.

Luckily, we always have the curatorial eye of Film Independent Presents to steer us in the right direction, with December bringing another bumper crop of virtual and in-person film screenings–plus plenty of filmmaker Q&As, available on our YouTube channel.

Check out everything below to see why this was such a December to remember, and see what’s coming up in January and beyond here.

 

THE WOMAN KING

Guests of honor: director Gina Prince-Bythewood, writer Dana Stevens, editor Terilyn A. Shropshire, composer Terence Blanchard, supervising sound editor Becky Sullivan, re-recording mixer Tony Lamberti, costume designer Gersha Phillips and production designer Akin McKenzie. Moderated by Jenelle Riley (Deputy Awards and Features Editor, Variety).

Synopsis: The Woman King is the remarkable story of the Agojie, the all-female unit of warriors who protected the African Kingdom of Dahomey in the 1800s with skills and a fierceness unlike anything the world has ever seen. Inspired by true events, The Woman King follows the emotionally epic journey of General Nanisca (Oscar® winner Viola Davis) as she trains the next generation of recruits and readies them for battle against an enemy determined to destroy their way of life. Some things are worth fighting for…

What critics are saying: “An exemplary intersectional feminist call to arms for the African sisterhood to keep building on the achievements of their female ancestors & to keep fighting–& dancing–as they did, or might have done… with or without the approval of their patriarch.” Anton Bitel, Sight & Sound.

 

ALL QUIET ON THE WESTERN FRONT

Guests of honor: writer/director/producer Edward Berger, composer Volker Bertelmann, actor Felix Kammerer and actor/executive producer Daniel Brühl. Moderated by journalist Gregory Ellwood.

Synopsis: All Quiet on the Western Front tells the gripping story of a young German soldier on the Western Front of World War I. Paul and his comrades experience first-hand how the initial euphoria of war turns into desperation and fear as they fight for their lives, and each other, in the trenches. The film, from director Edward Berger, is based on the world renowned bestseller of the same name by Erich Maria Remarque.

What critics are saying: “A film that feels both aesthetically dazzling and full of necessary truths: an antiwar drama that transcends the bombast of propaganda mostly just because it’s so artfully and indelibly made.” Leah Greenblatt & Joshua Rothkopf, Entertainment Weekly.

 

HEARTSTOPPER

Guests of honor: actors Kit Connor and Joe Locke. Moderated by Josh Welsh (President, Film Independent).

Synopsis: Teens Charlie and Nick discover their unlikely friendship might be something more as they navigate school and young love in this coming-of-age series.

What critics are saying: “There are some TV series so sweet, so joyous and so wonderful that the mere mention of them can make you smile. Netflix’s Heartstopper is one of those shows.” Kelly Lawler, USA Today.

 

WILDCAT

Guests of honor: director/producer Melissa Lesh; producer Alysa Nahmias; and producer Joshua Altman. Moderated by Jenn Wilson (Senior Programmer, Film Independent).

Synopsis: Wildcat follows the emotional and inspiring story of a young veteran on his journey into the Amazon. Once there, he meets a young female scientist running a wildlife rescue and rehabilitation center, and his life finds new meaning as he is entrusted with the life of an orphaned baby ocelot. What was meant to be an attempt to escape from life turns out to be an unexpected journey of love, discovery and healing.

What critics are saying: “Lurking beneath the lushly photographed camouflage is a tenderly moving, deeply empathetic human survival story that has as much to do with emotional trauma as it does with the physical.” Michael Rechtshaffen, The Los Angeles Times.

 

MO

Guests of honor: creator/executive producer/star Mohammed “Mo” Amer. Moderated by SiriusXM host and comedian Dean Obeidallah.

Synopsis: Mo Najjar straddles the line between two cultures, three languages and a ton of bullshit as a Palestinian refugee constantly living one step away from asylum on the path to U.S. citizenship. His family—including his resilient and spiritual mother, sister and older brother—flee to Houston, Texas. Laughing the pain away, Mo learns to adapt to his new world, though getting ahead in life comes with several setbacks.

What critics are saying: “Somehow, Mo manages to be a family comedy, a romance, and occasionally a crime drama without compromising or switching tone.” Promo Khosla, IndieWire.

 

THE MARTHA MITCHELL EFFECT

Guests of honor: director and editor Anne Alvergue, co-director Debra McClutchy. Moderated by Jenn Wilson (Film Independent Senior Programmer).

Synopsis: She was once as famous as Jackie O.–and then she tried to take down a President. The Martha Mitchell Effect is an archival documentary portrait of the unlikeliest of whistleblowers: Martha Mitchell, a Republican cabinet wife who was gaslighted by the Nixon Administration to keep her quiet. It offers a female gaze on Watergate through the voice of the woman herself.

What critics are saying: “Though brief, The Martha Mitchell Effect is a powerful, at times illusory document of a woman who refused to abide by the status quo of her era.” Johnny Loftus, Decider.

 

GUERRILLA HABEAS

Guests of honor: directors Betsy Hershey and Emma Wall. Moderated by Jenn Wilson (Film Independent Senior Programmer).

Synopsis: Guerrilla Habeas provides an intimate view into the work of two intrepid lawyers fighting to restore human rights and dignity of immigrant populations in the United States. As deportations in the dead of night and violations of civil liberties tear families apart, this searing documentary lays bare the shortage of legal representation for immigrants desperately attempting to navigate a complicated, overburdened and broken system. Filmmakers Emma Wall and Betsy Hershey document the real-life experiences of Baba Sillah, Kinimo Ngoran and Nirna Pierre-Paul as lawyers Sarah Gillman and Gregory Copeland fight to reunite them with their children and families.

What critics are saying: “A powerful documentary premiering on MSNBC next year that humanizes immigrant families caught up in deportation proceedings.” Matthew Carey, Deadline.

 

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

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(Header: The Woman King)

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Sony’s Tom Hanks-starrer A Man Called Otto banked $4.2 million in a lively second frame as it moved to 637 locations nationwide from four in NY and LA. Strong word of mouth propelled moviegoers into seats with particular strength in the heartland and momentum looks good as the adult drama/comedy heads into next week’s wide expansion for the holiday weekend. It’s Martin Luther King Jr. Day next Monday.   

Otto made $1.5 million Friday, $1.7 million Saturday, and a projected $1 million Sunday with a strong $6.6k per screen average and a cume of $4.28 million. Audience response drove the jump — the film has a 97% audience score on Rotten Tomatoes, versus a 68% from critics. It’s no. 4 at the domestic box office.

The remake of the Swedish film based on a New York Times bestseller started the first phase of a three-step rollout last weekend in an exclusive run at four LA and NY theaters, grossing $60k for a $15k per screen average over the three-day New Year’s weekend and $75K, or an $18.7k PSA, over the four days. It goes wide next weekend, Jan. 13.

Top grossing DMAs include Austin, San Antonio, Detroit, Tampa, Salt Lake, Minneapolis and Pittsburgh. Chicago, Dallas, Phoenix, Philadelphia, Seattle, Tacoma, Denver, Orlando, Sacramento and San Diego are other markets that over-indexed.

Hanks plays Otto Anderson, a grump who no longer sees purpose in his life following the loss of his wife. He’s ready to end it all but turns it around when a lively young family moves in next door.

It’s good news in this market when an adult film plays well. Sony’s Where The Crawdads Sing, also based on a bestseller, released last summer, made $90 million and played best outside of the coasts. That had a different trajectory, opening wide immediately.

(Otto also earned $4 million this weekend from 2,875+ screens in 10 early markets for an international cume of $8.4 million.) 

This is a weekend short on new specialty releases. Mubi opened Alcarràs, winner of the Golden Bear in Berlin, on five screens in New York, Los Angeles and Chicago. Quiver Distribution presented Candy Land in nine theaters. No grosses yet reported.

In terms of holdovers, however, there are many: The Whale grossed an estimated $1.5 million on 835 screens in week for a cume of $8.58M, increasing in total box office from the holiday and with the strongest holdover in the top 10. The best limited opening of 2022 starring Brendan Fraser was no. 7 at the domestic box office.

United Artists Releasing expanded Women Talking to 14 markets/29 runs in week three for a strong $143k three-day gross – up 214% — a per screen average of $4.8k, and a cume of $340k.

Sony Pictures Classics doc Turn Every Page grossed 17,425 on four screens (up from wo last week) for a per screen average of $4.4k and a cume of $39.7k. SPC’s Living, in week three, grossed $42.6k on 11 screens (up from three last week), for a PSA of $3.9k and a cume of $120.4k.

Broker, from Neon, grossed $75k this weekend on 17 screens in week three for a PSA of $4.4K and a cume of $149.2k. The distributor’s doc All The Beauty and the Bloodshed, on 24 screens in week 7, has cumed $325.8k.

IFC Films expanded Corsage to 317 theaters in week three grossing an estimated $250k (PSA of $789). The estimated cume now stands at $340,789, making this the highest-grossing Austrian film in the US since 2014’s Goodnight Mommy.

From Sideshow and Janus Films, No Bears grossed an estimated $7,4k on a single screen in its third weekend, for a new cume of $38.5k. EO took in an estimated $65k on 62 screens in its eighth weekend, for a PSA of $1k and a new cume of $553.9k.

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Sony’s Tom Hanks-starrer A Man Called Otto

Running Jan. 13-Feb. 13, this year’s MyFrenchFilmFestival, an online fest organized by France’s film-TV promotional body Unifrance, will mark its 13th edition with an emphasis on debut features and dynamic new voices.

Showcasing star power, animated auteur fare and award-winning documentaries – all subtitled in 15 languages – the 12 features and 17 shorts of this year’s selection will reach home viewers via 70 partner platforms as well on MyFrenchFilmFestival.com, where all the shorts will be available to screen free of charge.

In an effort to cast as wide a net as possible, this year’s competition will feature projects that run the gamut from Alice Diop’s breakthrough documentary “We” – which finds connections in the lives of immigrants, lovesick teens and retirees all connected by a commuter rail line north of Paris – to Jean-Christophe Meurisse’s satirical sketch comedy “Bloody Oranges,” which shreds polite society with anarchic glee.

In between are everything from star vehicles for Isabelle Huppert (“About Joan”) and Adèle Exarchopoulos (“Zero Fucks Given”), to bittersweet animation (“The Crossing”), to more than a few coming-of-age tales, which include Anaïs Volpé’s “The Braves,” Vincent Maël Cardona’s “Magnetic Beats,” and Samuel Theis’ “Softie.” Festival favorites from Cannes Critics’ Week (“A Tale of Love and Desire”) and Berlin (“The World After Us”) round out this year’s competition.

“Softie”
Courtesy of Samuel Theis/Avenue B

As in previous editions, online festivalgoers will be able to explore the full selection – which presents foundational works from Maurice Pialat and Olivier Assayas alongside promising shorts from a whole new generation of Gallic voices – through thematic pathways dedicated to new talents, idiosyncratic approaches, and youth stories, among several more. An international jury that includes filmmakers Emily Atef (“More than Ever”), Chie Hayakawa (“Plan 75”), Juho Kuosmanen (“Compartment Number 6”), Sergei Loznitsa (“Donbass”), and Albert Serra (“Pacifiction”) will meet during the month-long event to vote on the top prize.

While available on over 70 VOD platforms worldwide, this year’s selection will stream free of charge across Africa, Latin America, Southeast Asia, South Korea, Romania, Russia and Ukraine.

MYFRENCHFILMFESTIVAL 2023

FEATURE FILM COMPETITION

“About Joan” (“À propos de Joan”), Laurent Larivière

“A Tale of Love and Desire” (“Une histoire d’amour de du désir”), Leyla Bouzid

“Bloody Oranges” (“Oranges sanguines”), Jean-Christophe Meurisse

“Magnetic Beats” (“Les magnétiques”), Vincent Maël Cardona

“Softie” (“Petite nature”), Samuel Theis

“The Braves” (“Entre les vagues”), Anaïs Volpé

“The Crossing” (“La traversée”), Florence Miailhe

“The World After Us” (“Le monde après nous”), Louda Ben Salah-Cazanas

“We” (“Nous”), Alice Diop

“Zero Fucks Given” (“Rien à foutre”), Julie Lecoustre & Emmanuel Marre

OUT OF COMPETITION

“Bootlegger,” Caroline Monnet

“To Our Loves” (“À nos amours”), Maurice Pialat

SHORT FILM COMPETITION

“Bye Bye” (“Partir un jour”), Amélie Bonnin

“Cataract,” Faustine Crespy & Laetitia de Montalembert

“King David” (“Le roi David”),  Lila Pinell

“Let the Beast Rise” (“Que la bête monte”), Marthe Sébille

“Malmousque by the Sea” (“Malmousque”), Dorothée Sebbagh

“Marianne” Julien Gaspar-Oliveri

“Our Own Land” (Nous n’irons plus en haut”) Simon Helloco

“Out of the Blue” (“Une femme à la mer”), Céline Baril

“Paloma” Hugo Bardin

“Titan” Valéry Carnoy

SHORT FILM OUT OF COMPETITION

“Anxious Body” Yoriko Mizushiri

“A Story for 2 Trumpets” (“Histoire pour 2 trompettes”), Amandine Meyer

“Belle River,” Guillaume Fournier, Samuel Matteau, and Yannick Nolin

“Laissé inachevé à Tokyo,” Olivier Assayas

“Pests” (“Nuisibles”), Juliette Laboria

“Please Don’t Touch,” Capucine Gougelet

“The Night Watch” (“Ronde de nuit”), Julien Regnard

“The Crossing”
Courtesy of Annecy Festival

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Running Jan. 13-Feb. 13, this year’s MyFrenchFilmFestival,

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

Today’s subject is Melissa George, the Australian actress who stars with Justin Theroux in the Apple TV+ series The Mosquito Coast. They’ve just wrapped the second season of the drama in which a radical idealist and his wife and kids find themselves on the run from the U.S. government in Mexico. George began her career as an instant sensation, starring as Angel Parrish in the Australian soap opera Home and Away, this after becoming a national artistic roller skating champion, and looking for a new way to express herself artistically. The early success led to a series of films that began with Dark City, included Steven Soderbergh’s The Limey and David Lynch’s Mulholland Drive. She found a seam in genre, starring in The Amityville Horror remake, the superb 30 Days of Night, and Turistas. Next came stints on the American series Alias, Grey’s Anatomy and Heartbeat, before a standout turn on HBO’s In Treatment that got her a Golden Globe nom. George is also an inventor. Here’s how she found her mojo, and it was a dream path to stardom.

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The Film That Lit My Fuse is

Chris Schuler has been named VP of Promotion at Capitol Records Nashville. His appointment follows news of Bobby Young’s retirement. Capitol Records Nashville is home to such artists as Luke Bryan, Mickey Guyton, Carrie Underwood, Keith Urban and Little Big Town, among others. Schuler joins after previous positions at Mercury Nashville, Arista Nashville and BMI Nashville.

Said UMG Nashville EVP of Promotion Royce Risser: “Finding the perfect person to lead Capitol Nashville’s promo department has always been a challenging and weighty decision. Chris Schuler … has all the qualities we need to lead and take Capitol to the next level. Capitol’s roster of superstars and their up-and-coming artists are such a critical part of UMG Nashville’s business and future.  Chris is one of the smartest and savviest executives we’ve had come through promotion in the last 10 years. His attention to detail is unmatched.”

“There is nothing in the business like the Capitol roster,” added Schuler. “I’m beyond excited to rejoin the team to continue its ongoing legacy of excellence.”

Chris Schuler

Thursday, Jan 5

+ The Black Music Action Coalition has awarded Atlanta-based artist Mondaii with its 2022 Jimmy Jam and Terry Lewis Music Makers Grant. The newly established annual grant provides $5,000 to an emerging producer or songwriter personally selected by Jam and Lewis.

Mondaii was presented with the grant during a BMAC interview and listening session held by Jam, Lewis and BMAC co-founder/co-chairman Willie “Prophet” Stiggers who will help mentor the young artist over the course of the next 12 months as he navigates the release of his next LP. Similarly, all future grant recipients will have the opportunity to be mentored by members of BMAC’s board and executive leadership council.

“Jimmy Jam and Terry Lewis are two of the greatest examples of the musical genius that has emerged from the Black experience,” said Stiggers. “Music has the power to heal, inspire and to motivate, and we must ensure we are supporting the next generation of storytellers, musicians and the creative community as a whole.”

+ Downtown Music Holdings has acquired Curve Royalty Systems, a royalty services provider that will aim to integrate the suite of distribution and monetization capabilities that operate across the Downtown roster.

Curve was established in 2019 by Tom Allen, Richard Leach and Ray Bush as a royalty processing platform built to deal with the scale and demand of the modern digital music industry.

“Over the course of our discussions, it became apparent that we had a shared vision — Downtown provides real value for their customers and focuses on providing best-in-class products and services. That’s exactly what we’ve tried to achieve with Curve,” said Allen.

Curve is the latest in a series of strategic acquisitions that Downtown has made in recent years. The group recently acquired a series of companies, including FUGA, CD Baby and all its subsidiaries. According to Downtown, additional investments in Beatbread, Vampr and other creator-led music companies have played a key role for the music services provider to support all profiles of businesses in the music industry.

+ The Orchard has promoted Mary Ashley Johnson to the role of executive VP of sales and artist/label management (in the U.S. and Canada), while Katie Studley has been hired as VP, overseeing Nashville. The pair of seasoned execs will work in New York and Nashville, respectively, and both will report to Colleen Theis, the Orchard’s chief operating officer.

Since 2019, Johnson held the title of senior VP of sales and artist/label management (U.S. and Canada), where she drove revenue and market share for the Orchard, while also managing teams responsible for client relationships and high-level strategy on releases across the regions. She will continue that trajectory in the executive VP position.

As the Orchard’s new Nashville VP, Studley will run the office’s day-to-day operations, including the development of new business relationships, as well as providing on-the-ground support to existing clients in the market. Studley joins from a ten-year tenure at Jack White’s Third Man Records where she fulfilled the role of VP, operations and marketing director.

+ Round Hill Music has acquired the producer royalties and related rights of Steve Lillywhite, who is best recognized for his work with rock favorites like U2, the Rolling Stones, the Talking Heads, David Byrne and Phish, among many others.

“As someone who grew up idolizing the bands and albums Steve Lillywhite produced, it is an honor to partner with him on this exciting transaction,” said Josh Gruss, chief executive officer of Round Hill Music. “Steve’s catalog includes royalties to some of the most sought-after songs and albums of all time. We are thrilled to have reached this milestone transaction.”

The financial terms of the deal were not disclosed, however, the transaction adds to Round Hill’s active investments, which in the past few years, saw the firm invest more than $200 million across more than 40 acquisitions.

Added Lillywhite, “I am grateful to have found in Josh Gruss a kindred spirit who is a pioneer in the music royalty business and the ideal partner for me and my family as I look to my next steps.”

Tuesday, Jan. 3

Singer Ava Max has signed with Scooter Braun’s SB Projects, Variety has confirmed, where she will be represented by Allison Kaye. Max was previously managed by Jeffrey Azoff and Tommy Bruce’s Full Stop Management.

Kaye, a veteran of Variety‘s Hitmakers list, has worked closely with Justin Bieber and Ariana Grande at SB Projects, where she holds the title of president at the company.

Max logged her first hit in 2017 with Le Youth on the track “Clap Your Hands.” A year later, she released her debut single “Sweet but Psycho,” which became a global smash, earning RIAA-certified platinum status and becoming one of the most consumed songs of 2019.

The Albanian-American artist is currently gearing up for the release of her second full-length album “Diamonds & Dancefloors,” which is set to drop on Jan. 27.

The new collection, which Max has described as “heartbreak on the dancefloor,” will feature the recently-released singles “Maybe You’re The Problem,” “Million Dollar Baby,” “Dancing’s Done” and “Weapons.” Over the holidays, she additionally teased three electro-pop-infused singles from the forthcoming album over social media.

“Diamonds & Dancefloors” was originally slated for release in October.

+ Bria Fisher has been tapped as the first director of communications for Empire, reporting to senior VP of marketing Peter Kadin. She joins from Biz 3, where she worked for nearly three years with artists and projects including Larry June, Belly, Juicy J, Maxo Kream, Wale, Blu DeTiger, 24kGoldn, Jessie Reyez and Black Music Action Coalition. Prior to Biz 3, she worked as an account executive for FYI Brand Group with Jhené Aiko, 21 Savage, 6lack, Rich the Kid, the Black Lives Matter Global Network, and Russell Westbrook’s Why Not? foundation, among others. 

+ Cash Cash will be releasing their first single, “Anyway,” on Jan. 13 following almost two years of hiatus. “Anyway” will be the producer trio’s first release under Ultra Records and Sony Music, with whom they signed last summer.

“Anyway” features RuthAnne, who is best known for co-writing hits for One Direction, Britney Spears, Bebe Rexha, Westlife and more.

The group, composed of brothers Jean Paul and Alex Makhlouf, as well as life-long friend Samuel Frisch, was previously signed to Big Beat (Atlantic Records) and has released five full-length albums, along with a range of EPs and singles. Cash Cash also boasts residencies at Las Vegas Zouk, Premier Atlantic City, and New York City’s TAO Group.

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Chris Schuler has been named VP of

Edited By: Bohni Bandyopadhyay

Last Updated: January 08, 2023, 22:28 IST

SRK looks hot in Daboo Ratnani’s photo; KGF producer shares update on 3rd chapter.

Fans find Shah Rukh Khan’s latest photo hot, the 3rd chapter of Yash starrer KGF will not go on floors anytime soon. Here are the top entertainment stories of the day.

Dabboo Ratnani shared a photograph of Shah Rukh Khan, sending the netizens into a frenzy. The picture is from one of their photoshoots and sees King Khan striking an impressive pose for the camera. He looks dashing in a casual t-shirt which he paired with a green jacket and denim. Looking as handsome as ever, SRK stares intensely at the camera. Needless to say, one photo of the superstar was enough to make his fans excited.

Read: Shah Rukh Khan Looks OH-So-Hot for Dabboo Ratnani’s Photoshoot, Netizens Awestruck

When Yash starrer KGF was released, it left the audience completely impressed. The sequel of the film only surpassed all expectations and broke several box office records. While fans are now waiting for KGF 3, here’s some heartbreaking news for all. In a recent interview, Hombale Films’ Vijay Kirgandur revealed that KGF 3 is not happening ‘anytime soon’ because the director Prashanth Neel is busy.

Read: KGF 3 Not Coming ‘Anytime Soon’, Yash Starrer To Go On Floors By 2025; Producer Shares Shocking Updates

Shah Rukh Khan is called ‘King Khan’ for a reason. The actor is widely loved by all and never fails to leave his fans even more impressed with his kind gestures. On Sunday too, ‘Proud of Shah Rukh Khan’ was trending on Twitter as fans hailed the Pathaan actor for donating money to the victim’s mother in Delhi’s brutal hit-and-run Kanjhawala case.

Read: ‘Proud of Shah Rukh Khan’ Trends As Actor’s NGO Donates Money To Mother of Kanjhawala Case

Samantha Ruth Prabhu has left her fans in complete awe with the latest picture from the sets of Shaakuntalam. On Sunday, the actress took to her Instagram handle and dropped a photo that looked from her training session for Shakuntalam. In the click, Samantha was seen flaunting her curves. Along with the picture, she also shared a video of her pet dog Sasha lying on a couch.

Read: Samantha Ruth Prabhu Flaunts Her Curves In BTS Pic From Shaakuntalam, Says ‘Toughest Part Was…’

Swara Bhasker’s latest social media post has left everyone wondering if she is dating somebody. Recently, the diva took to her Instagram handle and dropped a picture with a mystery man. The two were seen sharing a cozy moment. However, the man’s face was not visible as it was hidden in Swara’s hair.

Read: Swara Bhasker Sparks Dating Rumours After She Says ‘This Could Be Love’ In Recent Post

Read all the Latest Movies News here

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Edited By: Bohni BandyopadhyayLast Updated: January 08,

Sometimes TV and movie scenes are so funny, it’s a shock that actors can even hold it together. But as bloopers reveal…sometimes they don’t.

Here are 17 funny TV and movie scenes that the actors kept laughing during, in some cases ruining take after take.

1.

In 2021, Jerry Seinfeld revealed that “the hardest scene to film on Seinfeld without laughing” was the scene in which a “library cop” interrogates him about a book he didn’t return. “It was just so ridiculous that he was interrogating me in my own apartment about a book. I just kept cracking up,” Seinfeld said. “So that scene that you see is made up of about eight different times we shot it. We took the pieces that worked and put it together because I messed that one up a ton.”

2.

In a funny This Is 40 scene, Melissa McCarthy’s character berates and threatens Leslie Mann, Paul Rudd, and Joanne Baron.

But as an extended version of the scene that plays during the credits reveals, McCarthy said a ton of stuff that wasn’t in the final cut. And Mann and Rudd absolutely could not keep it together.

3.

One funny moment from Season 2 of The Umbrella Academy is when Luther farts in the elevator, garnering disgust from his siblings. Aidan Gallagher (who plays Five) said filming it was the funniest on-set moment of the season, Tom Hopper (who plays Luther) said that David Castañeda (who plays Diego) couldn’t film it without laughing. “The elevator scene up to the tiki bar always sticks in my head. I mean, I don’t actually think we got a clean take with David.”

You can get a taste of what it was like to film the scene in one of the bloopers, where Robert Sheehan, as Klaus, did a little improv and the whole cast broke.

4.

In one of Jason’s best lines on The Good Place, the always evil Shawn refuses to work with the group, and Jason claims that Shawn has “changed.”

But the bloopers reveal the cast could barely get through the line without laughing, and Mark Schur, the show’s creator, said the actors were laughing at the line “for three and a half minutes” straight. Apparently, Ted Danson laughed so hard, he cried.

5.

And when Shawn finally does agree to work with them, he hilariously struggles to say it out loud to his subordinates.

As you can see, Marc Evan Jackson, who played Shawn, also had trouble getting through the line — because he kept laughing at his own attempts at gagging and struggling through the line.

6.

The cast of Parks and Recreation did lots of improv, and while a lot of it did end up in the final cut, not all of it did. Take this scene where Andy and April go to the doctor, and Andy lists a bunch of concerns he has.

In the bloopers of the scene, Andy says much more, including this great line about “wiping a marker” — it’s so funny that Aubrey Plaza, as April, has to turn away from the camera, then completely gives up at the end and laughs as the crew starts laughing too.

7.

Similarly, Retta couldn’t get through this scene with Ben Schwartz, who played Jean-Ralphio, where he describes what they’ll do at the club together.

8.

One last Parks and Rec one: There’s a funny line in a later season where Craig announces that his young friend drove him to work (despite being underage and unable to drive).

The scene was much longer in the bloopers, with the other actors goading Craig into saying the line over and over again. Except for one problem: None of them can keep a straight face.

9.

In Season 2 of Stranger Things, there’s a scene where Hopper decides to tell Mike there’s something wrong with his grandma and he needs to go home immediately, purely because he’s annoyed with Mike and El’s behavior.

The scene is funny in that we know there’s nothing wrong with Mike’s grandma and Hopper’s just being Hopper, but David Harbour seemed to find it MUCH funnier than anyone else. He could barely get out the words “It’s your grandma,” causing his young castmates to crack up too.

10.

In another normally serious show, Better Call Saul, there’s a lighter moment in Season 2 when Saul uses Kim’s finger to brush his teeth. He then says, “Wait till you see what I floss with,” which causes Kim to laugh. Answering a fan on Twitter, the actor, Rhea Seehorn, said her laugh was real and that she laughed at the line every single take.

11.

In The Usual Suspects, the lineup scene was meant to be serious. “We were supposed to be very stoic, very unimpressed, unintimidated,” Kevin Pollak, who played Hockney, said. But “we would lose it over and over and over.” Pollak also claimed in the DVD commentary that part of the reason they laughed was that Benicio del Toro “farted like 12 takes in a row.”

12.

In an old example, Don Knotts kept laughing during this scene on The Andy Griffith Show — they had to reshoot it 20 times because he couldn’t keep a straight face. In the final cut, he keeps it together, but you can see Andy Griffith laughing.

13.

On their podcast Office Ladies, Jenna Fischer and Angela Kinsey revealed that John Krasinski would often break character and laugh — particularly during one episode: “The Secret.” In the episode, Michael (played by Steve Carell) knows Jim (Krasinski) has a crush on Pam and keeps trying to talk to him about it. “This whole episode, John had to do a lot of scenes with Steve and he really loses it,” Fischer said, pointing to the scene when Michael tries to talk to Jim at the venting machines while Stanley is there.

14.

While you can’t see it in the final cut, he also kept laughing when Michael put his foot on Jim’s desk to ask him to lunch. “John lost it,” Fischer said. “And part of it, too, was that desk is so high and it was not easy for Steve to put his leg up there, but he was super committed to the bit. It was something he just came up with, and it made John laugh, so he just kept doing it.” Krasinski also kept laughing at the end of the episode, when Carell hugged him. “John couldn’t handle it. He couldn’t handle it,” Fischer revealed.

15.

Ed Helms had the same problem in a different episode of The Office. When Kevin is sitting on Michael’s lap when he’s playing Santa, Helms kept laughing, and in the final cut, he said, he actually ended up ducking behind a plant to hide it. You don’t see the plant, but you can see him smile, and then, in the next wide shot, he’s not there anymore. This was apparently also the 30th take because the cast kept laughing.

16.

One of the most well-known scenes on Friends is the “Pivot!” couch scene. Well, it turns out that the actors found it just as funny.

In bloopers for the scene, all three actors keep laughing as they try to do the scene, with David Schwimmer imitating his “Pivot” line and collapsing in stitches.

17.

And finally, in the scene where Ross plays bagpipes for everyone in Friends, you can actually see Jennifer Aniston breaking character as Phoebe starts singing.

But in the bloopers, you can see it wasn’t just Jen — they all burst out laughing and then struggled to keep it together.

What’s your favorite line or scene that even the actors cracked up during? Let us know in the comments below!

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Ginny & Georgia Season 2 reminds us of a very important lesson. ’Everyone Is Fighting a Battle You Can’t See’.

In Season 2, things take a turn from the show’s somewhat light hearted and comedic nature. Simply put, shit gets real in Ginny & Georgia Season 2. This season focused heavily on mental health, self harm, domestic abuse, racial profiling and if you pay close attention you’ll see there are characters who suffered with body image issues as well.

The show’s Executive Producer Debra J. Fisher spoke to Variety about how they were “Trying to bring a different lens to mental health and for people not to be afraid to talk about it,” she goes on to say “These are really hard times that we’re all experiencing and going through. I just think around the world, these themes and struggles are universal, and these are the things that bring us together.” So this season dealt with a lot of mature topics, whereas season one we spend untangling Georgia’s past. Don’t worry though, there’s a lot of that in season 2 as well.

In season 1 we learn Ginny (Antonia Gentry) self harms using a lighter to burn her legs because of her anxiety. In Season 2 after leaving her mom Georgia’s (Brianne Howey) house, she finally tells her dad Zion (Nathan Mitchell)

Courtesy of Netflix

about this and he helps her enter therapy, we dive deeper into Ginny’s self harm this season. Ginny comes to the realization that she inflicts self harm after stressful situations, the first time was when she was 12 after her mom picked her up and moved, and now more than ever her mother Georgia has been a source of stress for her. So her therapist gives her a notebook to write down her emotions and a rubber band to distract her whenever she felt the need to self harm. We see her use that rubber band a lot throughout the season. “We always wanted to have Zion be much more a part of the conversation. We didn’t want to fall into a trope of him being a bad dad. We also wanted Ginny to get into therapy,” Says Fisher “And those were really important to Dr. Taji, as well as us just to show that other parts of mental health with you know, her being supported in that way.” The writers work closely with Dr. Taji Huang and Mental Health America to ensure responsible storytelling.

It was no secret that Marcus played by Felix Mallard suffered from depression, it was something that was briefly mentioned in season one but was then forgotten. In Season 2 his depression resurfaces, we even get an entire episode dedicated entirely to Marcus’s mental health. As the season starts, we see him finally, happily in a

Courtesy of Netflix

relationship with Ginny, which is what he’s always wanted, but as the Season progressed, we see Marcus withdraw from his friends and family, shutting them out and shutting the world out by getting drunk. “For Season 2, with the two of them being together, we always had discussed where Marcus was, in terms of his anxiety and depression, that that would be the reason that he and Ginny broke up. That was always something that we were working toward, and we don’t often see anxiety, depression and mental health in a young man, a 16-year-old boy, and we really wanted to highlight that,” Fisher says. “Felix Mallard was just so willing to dive deep into that. I think he just gave such a beautiful, nuanced performance, and was just so relatable.” Things eventually came to a point where Marcus breaks up with Ginny, despite still loving her. Eventually he accepts help and goes back to taking his medication.

The Domestic violence arc is a very intense one in season 2, at the start of the season in a flashback we see a young Georgia make Ginny and Austin dance around their apartment banging pots and pans to make noise, while a man angrily pounds on the door.

Courtesy of Netflix

His face is shown until later on in the season. When Georgia’s ex, Austin’s dad Gil Timmins (Aaron Ashmore) comes back into town, things get very complicated. As we are shown in a series of very emotional flashbacks, Gil had been emotionally and physically abusing Georgia when she was younger. She had to cover up bruises, she was constantly terrified and she even had to get a gun for protection. This was a vital and interesting part of the season and was acted out incredibly well by Brianne Howey and Aaron Ashmore. In one episode we see things come to a boiling point when Gil attacks Georgia at home with Ginny and Austin at home, a fightened Austin then shoots his dad in his arm to protect his mom. What follows is an incredibly emotional moment between Georgia and her kids when she tells them the truth about what Gil did to her.

Courtesy of Netflix

Racism is a topic that is rarely covered, especially considering Ginny is biracial, but there is one main plot of season 2 in which Ginny’s AP English teacher, the same one she had a conversation with regarding his racist behavior, in a misguided attempt to make things better, asks Ginny to pick a book that represents African American heritage. At first Ginny is offended by the task, because he is basically asking her to make it seem like he is less of a racist, asking a student to provide a talk on heritage will not tackle racism, it should be the teacher’s responsibility, but she also considers choosing a book. So she asks her dad for advice. But when she presents her books to the class, the teacher asks her to make a lesson plan. After that she had enough, and walked out of his classroom. Another incident race was brought up, was when Ginny’s therapist spoke to Georgia about how she must not understand Ginny properly because she’s black. Ginny then opens up and talks to her mother about everything.

Courtesy of Netflix

There are two instances of body image disorders in season 2, You wouldn’t have been able to notice one of these unless you were playing close attention or unless you knew what it was but one example is when we see Abby making out with Press and he notices that her legs are taped. Throughout the season her friends had been commenting on how small her feet were and how small she was and now we find out she has been taping, which means she has been taping her kegs tightly underneath her clothes to make it seem like she was thinner. Abby is extremely worried about her appearance and weight. This means she is unhappy with her body image. Abby has mentioned that she engages in dieting and excessive exercise which is a symptom of body dysmorphia.  According to Fisher their creative team had several people who had that lived experience of taping. “In Season 1, we did have several people that struggled with eating disorders; we wanted to highlight like this is something that you know your best friend is going through and you literally have no idea. Everyone is fighting a battle you can’t see, even your best friends.”In the season finale Abby hears Samantha vomiting in the bathroom, suggesting that she is bulimic. These two girls usually dislike each other but could maybe come to bond over their similar situations. “This was something that came up at the end of the season. We were having this conversation in the writers room about who the last person on the planet was that Abby could think that she would relate to,” says Fisher. “They’re always making fun of Samantha. Samantha is always saying the wrong thing. We really we wanted to really humanize her and that was our way of doing that.”

There is a lot to learn from Ginny & Georgia Season 2, when it comes to the mental health and body image aspects, teens watching the show can definitely relate which is what Fisher hopes “We’re not a teen issue of the week show. We don’t move on to the next problem. We really wanted to tell these stories over the course of several seasons… It was always about the long game, and just being able to approach mental health, self-harm and depression in a really realistic, grounded way that we hope really resonates with the kids.” However that doesn’t mean it’s not one incredibly entertaining season, with brilliant performances all around. The writers have done an amazing job of tackling these heavy subjects.

Ginny & Georgia Season 2 is now streaming on Netflix.

 

If you or someone you know needs help with mental health, please contact the Crisis Text Line by texting HOME to 741741, call the National Alliance on Mental Illness helpline at
1-800-950-NAMI (6264), or visit the National Institute of Mental Health website.

If you or someone you know is dealing with domestic abuse, you can call the National Domestic Violence Hotline at 1−800−799−7233. You can also find more information, resources, and support at their website

If you are struggling with an eating disorder or body image, or know someone who is, help is available. Visit the National Eating Disorders Association website or contact NEDA’s Live Helpline at 1-800-931-2237. You can also receive 24/7 Crisis Support via text (send NEDA to 741-741).

 

Ginny & Georgia Season 2 reminds us

While speaking to Empire via their Spoiler Special podcast on the movie Glass Onion which is now the number two movie on Netflix, Rian Johnson opened up on the process of writing his latest murder-mystery, and he mentioned why gives a special thanks to Bill Hader in the credits.

Courtesy of Netflix

One of the film’s most vital and complex characters was the dual role of Andi and Helen Brand played by Janelle Monáe, two characters who despite being sisters, were from completely different worlds. The character of Andi was written as a smart, sharp businesswoman, who had been robbed of her fortune and her company by Edward Norton’s Miles Bron and betrayed by her friends before being killed off by him. After that, Johnson had to write an entirely new character, her twin who was then introduced to the group. Johnson admits that this particular part is something he struggled with. It was with this that part that SNL alumn and Barry creator, writer and director Bill Hader assisted Johnson.

Courtesy of Netflix

“Figuring out how to get that emotional investment from the audience with Helen was difficult. I thank him in the credits, but Bill Hader, who’s a really smart filmmaker, gave me a note on the script to say I’d written her closer to Andi in her character type.” Says Johnson “Andi was successful in her field, a big hitter like everyone else. Hader said she should be completely out of this world, she should be a school teacher or have kids, and be a fish out of water, and immediately I thought ‘that’s it’.”

So with Hader’s help and Rian Johnson’s magic he turned that note into a plot twist that none of us saw coming “Having Helen show up and be a very different person and be someone that we as the audience worry about was the key, we wanted the audience to worry she might actually be killed” Said Johnson.

Anyone else thinking these two should make a movie together?

Glass Onion: A Knives Out Mystery is streaming on Netflix now.

While speaking to Empire via their Spoiler

The Winchesters S01 E05 Recap: Legend of a Mind

This episode aired on Tuesday November 15th on The CW at 8/7c.

Preamble

Lots to unpack from the previous episode (S01-E04), so lets get right to it!

  • Samuel is still MIA,
  • Mary wrestles with her lost childhood, and difficulty envisioning a life outside of hunting,
  • Lata has some childhood issues of her own that haven’t been fleshed out yet,
  • John is conflicted about wanting Mary to remain by his side as a hunter, and finding a new life for herself,
  • They have the magical box, but it still isn’t working,
  • The Akrida are on earth in great numbers, and continue to summon rare monsters to harvest their essence,
  • Mary’s friend Maggie died some time ago, but her death is still shrouded in mystery,
  • At the end of the Masters of War episode, we saw some healing take place regarding Maggie,
  • Carlos moved into Maggie’s old room in Mary’s house,
  • Carlos continues his healing journey at the Veteran’s hospital with Dr. Z,
  • The Masters of War episode highlighted the depth and breadth of John’s war trauma.

Wow!  What’s in store this week?

Recap S01 E05-Legend of a Mind

Dean Winchester:  Spending a lifetime of hunting monsters, takes its toll.  There comes a time when you’ve got to let out that pain that’s inside you.  If you don’t, it will eat you alive.

The episode opens with a nightmare sequence being experienced by a prominent Councilman, Gordon Baxter.  When his assistant Patty enters his office to review his itinerary, the Councilman suddenly grabs the back of his head in pain and collapses on the floor to his death.

The CW-John and Mary Work on the Motorcycle

Back at the Winchesters Garage, John is showing Mary the repair work he is doing on his dad’s old motorcycle and takes the opportunity to teach her a few things.  Mary plays along for a bit, but pretty quickly it’s evident that she knows a bit about mechanics herself.  John suggests that she work at the family garage once she is done hunting.  This is when Mary tells John that as soon as she is done with hunting, she will leave Lawrence.  John manages to subdue his reaction but leaves the room immediately on the pretense that he needs to go find another tool.

John goes into his mom’s office.  Millie is glad he and Mary are working on the bike.  She offers him a little advice and tells him that if he opens up to Mary, perhaps she will do the same.  Mary walks in and tells John that they have their next case, showing him a newspaper headline regarding the dead Councilman, so the two head over to the clubhouse.

When Mary and John meet Lata, Carlos and Ada at the clubhouse the group are divided about their next move.  Carlos and Lata want to hunt the Akrida, and Mary and John think they should focus on the Councilman.  Ada breaks the tie by voting in John and Mary’s favor.

The group go to interview Patty, Councilman Baxter’s assistant and learn about his last days.  They are convinced that what killed the

The CW-The Team Investigating the Case

Councilman was a Djinn.  Carlos explains to John that Djinn attack their victims in their subconscious and feed off of their mental energy until they slip into a coma and die.  They are known for hiding out in abandoned buildings and warehouses, so the team begin their search there and after a few, they find a young man who turns out to be Ada’s son.

The group are understandably shocked to learn that not only does Ada have a son, but that her son is a Djinn.  Ada tells them that her son’s name is Tony, and he is only half Djinn, which he inherited from her husband Ali.

Ali meant to use his powers for good to help troubled people, but his hunger got the better of him and he turned into a monster, feeding off of people.  He was eventually tracked down by hunters and killed.  It wasn’t until after Ali’s death that Ada learned she was pregnant with Tony.  When he turned seventeen the Djinn marks started to appear on his body.  Tony walked into Ada’s dream and discovered the whole truth and that she was afraid of him.  He felt betrayed and ran.  Ada has been estranged from her son ever since.

Carlos reminded everyone that the Akrida have been doing things to summon monsters to Lawrence, and that is probably how Tony ended up in this warehouse.  The team agreed that they needed to find Tony before he hurts anyone.  All of Tony’s belongings are still at the warehouse and Ada believes he will return to get them, so her and Carlos will wait for him.  John and Mary will go see the police regarding the Councilman’s investigation and Lata will be going to get a copy of Baxter’s autopsy report.

The CW-John gets help from Betty

As John and Mary drive over to the police station, John has an idea that will help them in getting information they need without raising any questions.  He goes to visit his old girlfriend, officer Betty with an offering of her favorite take-out.

John learns that Betty is the only police officer who thinks the Councilman’s death is suspicious and learns that there have been two other victims who met similar ends; Garret Moles and Cynthia Kline.

No one has been able to establish a link between all three victims, but John and Mary know that doing so will help them to determine who the next victim is going to be.

 

Just as a side note:

  • The playful banter between John and Mary not only makes their burgeoning relationship fun to watch, but it also ups the ante of tension. Mary’s inner conflict about remaining a hunter, her need to break free, the emotional price of searching for and failing to find her father, the fact that John is clearly falling in love with her and the inevitable heartache that will ensue when it all comes crumbling down.  The dynamic playing out so subtly on the screen just reels the audience in, even though we know the outcome.  It’s a prequel.
  • We get to take that ride, enabling us to feel all the growing friction of “what if Mary quits hunting,” as we just sit back and be thoroughly entertained in how they get there. It is a fine bit of writing by Robbie Thompson and Sehaj Sethi combined with the on-screen drama being played out beautifully by Meg Donnelly and Drake Rodger that offers up this tight rope viewing experience.  It all works well.

In the next scene we get to see how the Djinn operate, creating a reality that is in fact a dream.  In this dream we see Tony visiting Ada.  Their first conversation is a complete rehashing of their family past, but soon, Tony tells Ada that he was summoned to Lawrence by a sound.

While in Lawrence he begins to help people by entering their dreams and helping them to work through their difficulties, only taking enough for himself to survive.  He enters the dreams of the Councilman and discovers that there is already something else in his mind.  Tony told Ada that he saw green lights and something that looks like a giant bug.  The monster he saw is in control and revealed who their next victim is going to be.  When Ada reaches for Tony, he snaps his fingers and Ada wakes up in the van next to Carlos.  Her time with Tony has not only revealed who is behind the killings (the Akrida), but now they know the next victim is Derek Fisher, and that Tony is not the one hurting people.

Back at the clubhouse, Lata shares x-rays and autopsy results she got from the coroner’s office, with the rest of the team.  They found three mysterious entry points in the Councilman’s brain and three splinters were found near the body.  These stingers are believed to be how the Akrida are taking control of the hosts that they attack.

Mary joins Ada in the solarium, to share the news that Lata confirmed Tony is not the one hurting people around town.  As they chat, Mary takes the opportunity to ask Ada about when she fell in love with Ali.  Knowing there were from such different worlds, would she make the same choice if she could do it all over again.  Ada said she followed her heart and that is never a mistake.  John hears their conversation from the doorway but doesn’t interrupt them.  Carlos comes into the solarium to announce he found out who and where Derek Fisher is, and they need to get to him before the Akrida do.

The CW-The Akrida

Carlos, John and Mary show up at an old warehouse to find Derek Fisher and while they try to convince him to leave the property, the Akrida shows up and makes a lunge to sting Derek, but Mary is attacked instead.  She faints into John’s arms while the Akrida escapes.  Once they get Mary back to the clubhouse, they all agree that the only way to remove the stingers and stop the toxins from killing her, is to employ a supernatural solution.  That solution is Tony.  If he can dream walk into her mind, they will stand a chance of saving her.

The CW-Tony entering the Dream World

Ada finds Tony and convinces him to help.  When he arrives back at the clubhouse, he explains that the stingers aren’t just embedded in Mary’s brain, they are also embedded in her mind.  Tony tells them all that nightmares are rooted in trauma, and they take shape in dark memories.  Where better for the Akrida to hide the stingers, then in a place you don’t want to go.  A place where your deepest, darkest fears exist.

Tony knows from experience that he will not be able to help Mary in their dream state as she will run from him, so John volunteers to help.  When Carlos knocks him out, he wakes up in Mary’s mind to urge her face her fears.  Mary finds the memory of her first hunter kill, when she is ten years old.  It was a boy who was part of a werewolf family, and he turned back to human and begged Mary not to kill him.  His name was Jacob.  Mary spoke with her ten-year old self and comforted her.

The next memory was much more difficult to face.  Mary fights against entering the room where the memory is, and John convinces her that it’s the only way for her to survive.  John reassures her that he is with her and that she can do this!  Mary relives the day her parents told her that monsters were real and that it will be her job to kill them.  Mary suffers the experience all over again while witnessing her five-year-old self trying to come to grips with it all.  Not only does that frighten the five-year-old version of herself, but it is also relevant to what she is going through in the present.

The CW-Mary Offering Comfort

She was forced to abandon any childhood dream she had of ever being anything else.  Mary’s anger flares and she punches a hole in the wall, while John does his best to console her.  He urges her to speak with her past self to tell her what she needed to hear.  Mary tells her young self that it is good to be scared so she can be brave, and that maybe it isn’t okay in that moment, but that she will find a way to open other doors for her.  They hug and the young Mary pulls back a pillow revealing the stingers.  Mary takes the butt of her knife and smashes them, breaking the hold they have on her mind.

While John, Mary and Tony were helping Mary to escape the Akrida in her mind, the others discovered the link between all the victims.  They were all connected by jobs at a building, a new radio tower.  A radio tower also turns out to be the perfect tool for sending out pied piper-type signals to lure rare monsters and bring them to Lawrence.

The CW-Roxanne Roxy Gilbert

Back at the Winchesters Garage, we see John tinkering with the motorcycle again.  Mary shows up and John tells her he agrees with her about leaving Lawrence when she is done hunting.  He wants her to have that fresh start and tells her that once the motorcycle is all fixed up it is all hers.  She can take the bike wherever she needs to go.

At the clubhouse, Ada and Lata are saying goodbye to Tony.  He shares with them that he heard in the Councilman’s mind that the Akrida are collecting the essence from the remains of rare monsters.  It dawns on Lata that their efforts to kill the monsters that show up is playing directly into what the Akrida want.  Ada goes along with Tony for the ride, but not before he asks Lata’s permission to write to her.

Back inside, John, Mary, Carlos and Lata continue to look at the documents about the Radio Tower and discover a single name on every document:  Roxanne Gilbert.  When the last scene shows Roxy and a fellow Akrida at the Radio Tower, she acknowledges that Mary didn’t succumb, but that the “hits will keep on coming.

Music

“The Windmills of Your Mind” by Dusty Springfield

“I Put a Spell on You” by Nina Simone

Cast

 

Character

Actor

Character

Actor

Character

Actor

Mary Campbell

Meg Donnelly

John Winchester

Drake Rodger

Latika Desai

Nida Khurshid

Carlos Cervantez

Jojo Fleites

Ada Monroe

Demetria McKinney

Millie Winchester

Bianca Kajlich

Rockin Roxy

Bridget Regan

Tony

Tyler Lofton

Betty

Andrea Londo

Derek Fisher

Anthony S. Goolsby

10 yr Old Mary

Anabelle Holloway

5 yr Old Mary

Jophielle Love

Troy

Martin Bats Bradford

Gordon Baxter

Ryan Reilly

Patty Erickson

Jackie Dallas

Dean Winchester

Jensen Ackles

 

Next Episode

Tuesday November 22nd on The CW at 8/7c.

The Winchesters S01 E05 Recap: Legend of

Image from the 79th Annual Golden Globe Awards at The Beverly Hilton on January 09, 2022 in Beverly Hills, California.

Image from the 79th Annual Golden Globe Awards at The Beverly Hilton on January 09, 2022 in Beverly Hills, California.
Photo: Emma McIntyre/Getty Images for Hollywood Foreign Press Association (Getty Images)

In a bit of unabashedly cheeky marketing flair, NBC and the Hollywood Foreign Press Association have dubbed the upcoming return of the Golden Globes “An Evening of Joy and Devastation.” You can’t fault the network (or the awards body, really) for wanting to get ahead of the endless headlines that will no doubt surround the restoration of Hollywood’s booziest awards show. After all, the past few years have seen the HFPA embroiled in a string of crises that many had thought (and others had quietly hoped) would bring down what was documented to be an exclusionary, glad-handing, and cliquey group that had somehow branded itself as the must-see TV event to kick off awards season.

If we are to trot out the tired cliché of Hollywood loving itself a comeback, we should also wonder how and why the upcoming telecast will mark such a definite return to form for the erstwhile chaotic organization’s annual celebration.

First, some context. In case you’ve forgotten, back in 2020 a lawsuit brought against the HFPA alleged that the insular, 87-member nonprofit organization, as the Los Angeles Times reported at the time, acted “as a cartel that stifles competition for its members.” Snickering whispers that had plagued the HFPA and the Globes for decades—that its members were eager to schmooze with A-listers and line their pockets with the organization’s coffers—were seemingly finally brought to light. That the lawsuit was eventually dismissed didn’t quite distract from the group’s other questionable choices (namely the lack of Black journalists in its ranks; perhaps a reason why high-profile projects like Da 5 Bloods, Ma Rainey’s Black Bottom and Judas and the Black Messiah underperformed in that year’s Globes ceremony) and a system that felt out of step with a rapidly changing Hollywood that, on paper, seemed committed to diversity and inclusion.

Scandals, boycotts and pulled plugs

Brendan Fraser attends The Whale New York Screening at Alice Tully Hall, Lincoln Center on November 29, 2022 in New York City

Brendan Fraser attends The Whale New York Screening at Alice Tully Hall, Lincoln Center on November 29, 2022 in New York City
Photo: Jamie McCarthy (Getty Images)

The scandals and the investigations led to some high-profile boycotts. Netflix and Amazon Studios, for instance, stopped their activities with the HFPA following outcry from 100 or so Time’s Up members, who’d urged tangible actions by the organization. This led to a Globes-less 2021–2022 awards season. That’s right, NBC pulled the plug on last year’s telecast, a seeming death knell for the show after eight decades. But rather than slinking away quietly, the HFPA has been not so quietly burnishing its brand yet again. New members, new policies, a new owner, even—the trades have kept us all abreast of such changes.

Which brings us to this year: on January 10, 2023, NBC will air the 80th edition of the Golden Globes. Emmy-winner Jerrod Carmichael will serve as host, while a pair of Murphys (Ryan and Eddie) will each receive lifetime achievement awards. Will the show, which will be simulcast on Peacock (huzzah for corporate synergy!), mark the end of a tumultuous era or will it be a hollow attempt to revive a property still in need of major revamping?

If the lineup of presenters and attendees is anything to go by … it may be too soon to tell. For every Quentin Tarantino and Ana de Armas confirmation, there are bound to be just as many no-shows. Brendan Fraser, who’d allegedly been sexually harassed by an HFPA member years ago, is not attending. Nor is Tom Cruise, who publicly returned his Globes last year, despite Top Gun: Maverick earning two nods this year. Many A-listers have cited scheduling conflicts—sorry, Julia Roberts fans, we won’t get her signature cackle on TV this year!—while others have, wisely, perhaps, quietly opted to neither confirm nor deny their attendance.

As Helen Hoehne, president of the HFPA told Variety recently, the upcoming show will be “a chance for us to come back to NBC and showcase our unique relationship with our audience and the world.” Stressing how important it was to uplift this year’s roster of nominees, she explained how the telecast will undoubtedly function as a rebranding of sorts: “The media landscape continues to shift,” she added, “and our only goal is to provide a unique, unbelievably entertaining show. We want to continue to grow, and honor our commitment to diversity, equity and inclusion.”

Still in crisis mode

Ana de Armas attends Los Angeles Premiere Of Netflix’s New Film Blonde at TCL Chinese Theatre on September 13, 2022 in Hollywood, California.

Ana de Armas attends Los Angeles Premiere Of Netflix’s New Film Blonde at TCL Chinese Theatre on September 13, 2022 in Hollywood, California.
Photo: Photo by Jon Kopaloff (Getty Images)

The whiff of PR-speak feels a tad overbearing, yes. Then again, this is an organization still in crisis mode and a lot will be riding on their weekday telecast. Moreover, the HFPA has spent the better part of the last year boasting via its social media channels about its philanthropic endeavors. The group’s hope, no doubt, is that whatever financial and cultural good it can be associated with will at least help us forget, and maybe even forgive, the longstanding accusations.

With Carmichael at the helm, not to mention appearances by the likes of Tracy Morgan and Ana Gasteyer, there’s little doubt that NBC and executive producers Jesse Collins and Dionne Harmon will be able to put on a funny show full of “joy and devastation” (whatever that means). That has rarely been a problem, especially in the last decade and a half, where Ricky Gervais, and especially Tina Fey and Amy Poehler, made the Globes a wildly entertaining, bordering on gloriously inane, evening. But it’s unclear whether the Globes 2.0 (or would it be 3.0, since they already had to alter their business practices back in 1968 following an FCC investigation?) even deserve a spot in the merry-go-round that is Hollywood’s award season.

Sure, the Critic’s Choice Awards, with its Oprah-like approach to nominations (“And YOU get a nod! And YOU get a nod!”), the Indie Spirits, with its titular indie focus (still a much too cool and laid back affair), and the SAG Awards (far too restrained and workmanlike) have never quite found a way to elbow out the Globes and their braze chaotic/evil energy. Their idiosyncrasy was always the Globes’ selling point. Figuring out what bonkers nomination would get all of us scratching our collective heads (remember three-time nominee The Tourist?) became a ritual for seasoned awards watchers. And that was before the boozy speeches and scathing monologues made the night itself feel unpredictable in all the right ways. As the Oscars move toward staid and, to some, quite stuffy corners, not to mention a cratering ratings spiral, the Globes could always deliver good TV. This in spite, and sometimes because, of the fact that they were doled out by 90 or so foreign journalists who loved playing kingmaker.

At its most elemental the Globes always laid bare what is true of most (all?) of these types of award shows: this is little more than a publicity-based machine. Where the Oscars and the Emmys (and the SAGs and other union awards, even), can hide behind the notion that this is a peer-driven chance to celebrate the best in the industry, the Globes could never be faulted for merely reminding us that glad handing, photo-ops and schmoozing weren’t just incidental parts of this circus but maybe their very reason for being. Such brazenness (seriously, speeches over the years have made this almost a required joke in itself) is likely why the show’s comeback feels all but assured.

Images, impressions, and dollars

Hollywood, town and industry alike, runs on image making. Which is to say, on carefully curated imagery. Systemic problems—especially those shared by an industry that, despite pledges to overhaul its own endemic problems around diversity, inclusion, gender parity and representation—continue to lag behind. Award season has long been a dog and pony show where publicists orchestrate months-long campaigns that seek to (re)present the best the industry has to offer. Why would a town and an industry so devoted to glittering glamor deny itself yet another chance at such a practice? Why would it forgo the millions of social media impressions, red carpet shots, and FYC billboard dollars a show like the Globes generates year in and year out? Especially when, to hear the subtext of what’s been happening this past year, the organization is committed to using philanthropy to launder its reputation?

Even if the ratings don’t quite match the record-breaking numbers the HFPA and Dick Clark productions had come to expect in the years leading up to its dark year in 2022—heck, even if the winners don’t manage to very much influence Oscar voters’ minds—the Globes’ return should serve as a reminder that comebacks in this industry are rarely little else but rebranding opportunities. In essence, whatever happens on Tuesday is almost beside the point; just the fact that it’s happening at all, and so soon, points to a well-oiled publicity machine ready to shake off its “off year.” Let the joy (and devastation!) continue apace.

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Image from the 79th Annual Golden Globe


Before a brief hiatus, 1923 Season 1 Episode 4 shows us how the second half of the season will unfold.


The story at the Yellowstone and the story in Africa have not been in the same time frame.


The past of the Yellowstone and the present in Africa have finally converged. Maybe.


There’s no doubt that Spencer and Alex will return to Montana. We don’t know whether we’ll see the months-long gap in the time it took for Spencer to receive and read the letter and for them to return play out on the Yellowstone.


It could go either way. With the looming threat Banner has brought to the Yellowstone and financial backing from local robber baron Donald Westfield, a lot could happen in that length of time.


On the other hand, Cara has already set out before Banner how excited she is for him to meet her nephew.

Banner: You don’t have the army for this fight or the money. I have both.
Cara: I cannot wait for you to meet my nephew.
Banner: We’ve met. The boy doesna impress.
Cara: Not that one.


We are, too, Cara. We are, too.


The death and destruction at Banner’s hands didn’t end with the Duttons. It wasn’t said outright that Banner stole the Duttons’ cattle, but didn’t it seem as if it was implied?


The menacing way Cara addressed the livestock committee made it seem like he had a hand in it, even if he was down to three men.


Jacob, so far, is surviving. He’s talking. He’s helping Cara plan for the near future and likely for the far future, as well.

Cara: This is your home now if you choose it.
Elizabeth: I choose it.
Cara: I suppose you don’t have much to discuss after all.


They’re really in dire straights. One of the family’s closest allies, Elizabeth’s father, was killed, along with two other men, during the cattle raid. If it wasn’t Banner’s doing, it shows how incredibly violent those formative years in the American west really were.


If Elizabeth, who Cara and Emma once worried might be too soft for the life they lead on the ranch, wasn’t turned off by the spate of violence, she’s in it for the long haul. Her mother, not so much.


Mrs. Stafford isn’t made of the sterner stuff like Cara and Emma. Cara, who single-handedly cleaned buckets of blood from her kitchen, and Emma, who drove her husband to the family cemetery and began digging his grave, don’t have time for frivolity.


Their lovely day in Boseman feels like a million years ago when it was only yesterday.


Weighing heaviest on Cara’s mind is what Jacob put there — if anyone knows his state, they’ll come around to finish the job Banner started. Banner is already on that path, and he’s not even confident that Jacob is dead.


It was ballsy of him to take his plan to take the Yellowstone from the Duttons to an outside investor, but Banner is a dreamer. He’d never admit it, and it sure doesn’t show in how he deals with the practicality of grazing his sheep on other men’s land, but he’s got his head in the clouds.


It’s bad enough attacking the so-called king of Montana, but it’s another to take another high-powered individual’s money when he can’t promise delivery.


Banner is the 1923 version of the Beck brothers. Nothing good can come of his modest attempts to take what the Duttons have created, but his greedy ass will still try.


The Livestock Commission policing Montana has been bred with Dutton blood, so it’s no wonder John did it and Kayce after him. I wonder if there has been a single year gone by when a Dutton wasn’t at its helm during its hundred years in existence.


The beauty of its development is in Cara flying by the seat of her skirt to will it into being. She had Jacob’s support for running the meeting, but she ran so much farther, proving again why the Dutton women are forces of nature.


It seems unlikely they’ll just hunker down at the Yellowstone while waiting for Spencer to return. They haven’t heard from him in years, but they’re still certain his family ties and love for the land will lure him back when he’s needed the most.


Maybe Banner will spend his time amassing that army he promised, and we’ll have a time jump when the show returns in February. It would make the most sense.


Spencer had never read the letters from Cara because he didn’t trust himself on the fields of war if he turned on his feelings again. The emotional tug-of-war could have been a death sentence.


However, Spencer has opened his heart again, and Alex refuses to share him with his demons. Her plan of attack was simple. She wanted to bring him back to the land of the living by discovering what his family had been up to in his absence.


There’s something so magical about letter writing, and Cara has a gift for it. Each new letter evoked a torrent of emotions, and Alex was introduced to Spencer’s family so entirely that she couldn’t wait to meet them.


It dawned on me that the stack of letters would be complete, including Cara’s letter from 1923 Season 1 Episode 3, but it was such a beautifully filmed sequence that by the time they arrived there, I had already forgotten.


Spencer had already felt more that night for more people than he’d allowed himself in years. He was fully open and unafraid to show Alex how deeply he could feel, which says so much about their love.


Are any of us ready for this chapter of their burgeoning relationship to end? I’m not. The African scenes have been some of the very best on TV this year. Stunning, trilling, and brimming with possibilities, every minute was a genuine pleasure to watch.


Spencer promised their lives would never be dull, and taking Alex home keeps that guarantee. Spencer was right. His family will love her, and she will love them right back.


She didn’t have strong females in her life. She had to break away from the social mores she was born into in the same way Elizabeth did by choosing to marry Jack. There is a possibility of a grand friendship on the horizon with the two headstrong women.


The only thing we know for sure is that the Duttons will retain ownership of the ranch and that someone (right now, we think it’s Jack and Elizabeth, especially since John’s daughter is named Beth) will give birth to John’s father and the family we know will be born.


But the way this story is told reveals many things at unexpected intervals. I can’t wait to see what’s next, but we’ll have to wait until February to get on with the show.


What do you think is coming for the 1923 Dutton family? I’d love to hear from you!

Carissa Pavlica is the managing editor and a staff writer and critic for TV Fanatic. She’s a member of the Critic’s Choice Association, enjoys mentoring writers, conversing with cats, and passionately discussing the nuances of television and film with anyone who will listen. Follow her on Twitter and email her here at TV Fanatic.

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Before a brief hiatus, 1923 Season 1

The “TÁR” director credits Steven Spielberg’s adventure masterpiece with inspiring his love of film.

Though 16 years had passed since Todd Field’s last film, “Little Children,” the emergence of “TÁR” on the fall festival circuit was an immediate reminder of the auteur’s filmmaking talent. The film, which stars Cate Blanchett as a prominent orchestral conductor who finds her career collapsing before her eyes after a scandal, has earned overwhelmingly positive reviews and is widely viewed as a strong Academy Award contender. The film has the potential to bring Field his first Oscar and Blanchett, for whom he specifically wrote the role, her third.

Now that he is on the frontlines of Oscar season, Field is able to look back at the humble beginnings that launched his directing career. In a recent appearance on The Hollywood Reporter Director Roundtable, Field said that his love of cinema began with many, many viewings of Steven Spielberg’s “Raiders of the Lost Ark.”

“It started for me in high school,” Field said. “I had a job at a second-run movie house, so we would run certain films for up to six months. I projected ‘Raiders of Lost Ark’ literally, like, 350 times. So I fell in love with movies then. I acted for about five years and quit to go to the American Film Institute and had no desire to act again. But this film that I had acted in by Victor Nuñez [‘Ruby in Paradise’] had come out while I was in school and won the grand jury prize at Sundance. And for essentially the next 10 years, my phone would ring with acting offers, and that’s how I paid off my student loans. That and my wife [costume designer Serena Rathbun] keeping the lights on.”

While Field says he has no regrets about pursuing a career in directing, despite his well-publicized difficulty with getting projects financed, he says that he can now laugh about how the job is so much harder than it appears from the outside.

“From the outside, people understandably think that you sit in a chair and people bring you things,” he said. “They don’t realize that you’re just wrecked because you’re worrying about everything.”

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The "TÁR" director credits Steven Spielberg's adventure

Singer released new visual to mark the one-year anniversary of Dawn FM

A year ago on Jan. 7, the Weeknd dropped his fifth studio album, Dawn FM. And to mark the occasion, the singer released a sultry new video for LP track, “Is There Someone Else?”

In the Cliqua-directed clip (the duo also helmed visuals for Dawn FM’s “Take My Breath,” “Sacrifice,” and “Out of Time”), the Weeknd wonders if the woman he is with is seeing someone else.

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The clip opens on a couple playfully dancing and flirting as they enter a darkened apartment, before he is treated to a seductive strip tease and dance that he views through a window. She is also being watched via a telescope from afar with him behind a mask, blurring the lines of who is watching where and bringing into focus the question if someone else is in the wings.

Dawn FM made Rolling Stone’s “The 100 Best Albums of 2022” list. Last month, the singer shared the video for “Nothing Is Lost (You Give Me Strength),” the theme song from Avatar: The Way of Water.  The Weeknd’s HBO show The Idol, which he co-created and stars in, is expected to arrive this year.

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Singer released new visual to mark the

January 6, 2023 · 3:02 PM

Courtesy of Sundance Institute | Photo by NASA/Bill Ingalls

THE LONGEST GOODBYE
Social isolation affects millions of people, even Mars-bound astronauts. A savvy NASA psychologist is tasked with protecting these daring explorers.

Director/Producer:
Ido Mizrahy

Producers:
Nir Sa’ar, Paul Cadieux

Festival Section:
World Cinema Documentary Competition

More Info:
Check out the Sundance website for more details, including screening info, by clicking on the film title above.

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January 6, 2023 · 3:02 PM Courtesy of

Ahead of the Jan. 10 release of his debut memoir Spare, Prince Harry has been opening up about how he’s grown apart from his father, King Charles III, and his brother William, the Prince of Wales and heir to the throne.

The tensions in the family boiled over in public when, in January 2020, Harry announced that he was taking a step back from his royal duties because of what he saw as a lack of support from the palace staff over racist tabloid coverage of his wife, the American actor Meghan Markle.

In a copy of Spare obtained by the Guardian, he described Prince William pushing him to the ground, resulting in scrapes and bruises on his back, during a fight about Markle, whom William allegedly called “abrasive.” Harry also says in the book that he begged Charles not to marry Camilla, who is now the Queen Consort, and recalls that when his mother Princess Diana died 25 years ago, his father was standoffish and didn’t hug him. Leaked passages from Spare suggest tensions go back to birth—an underlying resentment of being “the spare heir”, while his brother is next in line to the throne.

Alexander Larman, author of The Crown in Crisis: Countdown to the Abdication and The Windsors at War: The King, His Brother and a Family Divided, argues that the two brothers tended to butt heads even before Harry left for America, stating, “Both of them are strong personalities, committed to a variety of causes and initiatives, and inevitably there have been clashes and disagreements along the way.”

There’s also a long history of such feuds. As Larman puts it, “Think of James II, who began as Duke of York and then made a spectacular mess of being king [in the 1680s] after [his brother] Charles II died. Or Richard III, who, if Shakespeare is to be believed, brought about the deaths of both his brothers Edward IV and the Duke of Clarence to ascend the throne [in the 1480s], only to be forced off it by Henry VII. Nobody’s thinking that Harry has had anything quite so dramatic in mind… yet, anyway.”

In a new 60 Minutes interview airing in full on Jan. 8, Harry claims that one of the reasons he’s going public about the drama is because the royal family’s relationship to the British press has made it impossible for him to have the private conversations necessary to mend his relationship with his father and his brother.

“Every single time I’ve tried to do it privately, there have been briefings and leakings and planting of stories against me and my wife,” Harry tells Anderson Cooper.

In a separate interview on U.K. broadcaster iTV, which airs a few hours before 60 Minutes, Harry argues that his father and his brother do not want to make amends. “I would like to get my father back, I would like to have my brother back,” he says. “They’ve shown absolutely no willingness to reconcile.”

In a six-part Netflix docu-series Harry & Meghan that debuted in December, Harry revealed that William screamed at him during a family meeting with his father and his grandmother, the late Queen Elizabeth II, shortly after Harry announced his desire to give up royal duties. Harry also claimed that he didn’t consent to a joint statement that the royal family put out in the brothers’ name to debunk rumors that William was bullying Harry. He claimed that the royal family’s staffers were willing to “lie to protect my brother” and his alleged misdeeds, but “for three years they were never willing to tell the truth to protect us,” meaning Meghan and himself.

The feud between the brothers is also about more than just their relationship with one another.

“The traditional ascription to the ill-will between William and Harry is that neither of their wives like one another and that has driven a wedge between them, coupled with a sense on William’s part that his younger brother has behaved irresponsibly and selfishly in abandoning any sense of duty by staging his quasi-abdication,” says Larman.

Harry has not been totally cut off from his father and brother. Shortly after Oprah Winfrey interviewed Harry and Markle in March 2021, journalist Gayle King—a friend of Winfrey and Markle—told People that Harry talked to his father and brother after the interview, but that the conversation was “not productive.” Harry had told Oprah that his father stopped taking his calls at one point.

It remains to be seen whether the family will come together in a public show of unity before King Charles III’s coronation ceremony on May 6. Larman notes that Harry has chosen to air his family’s dirty laundry, arguing, “Today, we might not see royal brothers meeting on the field of battle, winner taking all, but instead we find them conducting their warfare via that rather more insidious weapon—the media—and hoping that the court of public opinion will favor one side over the other in a hopefully definitive way.”

More Must-Reads From TIME


Write to Olivia B. Waxman at olivia.waxman@time.com.

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Jennifer Lawrence has expressed her extreme contentment with the decision not to postpone her nuptials with Cooke Maroney, now her husband. In 2019, while Lawrence was filming her newest film, Causeway, she had the epiphany that she began to identify with her character’s anxiety with long-term commitments.

She elaborated on this concept in an interview with the New York Times published on Wednesday. The discussion was titled “When You Don’t Fully Know Yourself, You Have No Idea Where to Put Yourself.” After that, I met my future husband, who told me to “put myself here.” I thought That seemed reasonable, but what if it isn’t?

Later on, the actress from “Silver Linings Playbook” concluded that she had been suffering from commitment anxiety the entire time she was working on the movie, but she hadn’t been aware of it at the time. Later, she explained, she returned, and now that she is settling down with her husband to have a family, she is glad she stayed.

I’m relieved that I didn’t have a nervous breakdown, call off the wedding, and flee the country since I’ll never be defeated!

In October 2019, Lawrence, who is 32 years old, wed Maroney in a ceremony attended by many famous people in Newport, Rhode Island. Her wedding to the art gallery director took place in the historic mansion at Belcourt of Newport, which was attended by many famous people, including Adele, Kris Jenner, and Emma Stone.

The sequined neckline of the actress’s wedding dress by Dior, which had its hotel room in the days preceding the big day, was only seen in paparazzi images. The Joy actress never publicly published photos of her wedding dress. Maroney, on the other hand, decided to wear a traditional tuxedo.

A little boy named Cy was born to Lawrence and her husband early this year. The fact that Lawrence and Maroney were an item was first reported by Page Six in June of 2018.

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Imagine Dragons rocked CES Thursday night with a live, private concert in Dolby Atmos at Dolby Live in Las Vegas. 

Dolby Live at Park MGM (formerly Park Theater) is a 5,200-seat theater that was equipped with Atmos after Dolby took over the venue in 2021. This was Imagine Dragons’ first performance incorporating Atmos as they performed hits such as “Demons” and “Radioactive” to an energized home crowd.

The concert benefitted Tyler Robinson Foundation, Imagine Dragons’ nonprofit dedicated to supporting families facing a pediatric cancer diagnosis, and roughly 35 local charities serving underserved communities in the Las Vegas area. In addition to hosting guests from the consumer tech confab, Imagine Dragons and Dolby gave away thousands of tickets to the team members, volunteers and people these organizations serve.

This week at CES, Dolby has been promoting Atmos, initially launched in 2012 for movie theaters, as an immersive sound format for music, and, more recently, the company has been working to expand its reach into live venues and cars.

On the latter, Atmos will first be available in the new Mercedes‑Maybach S‑Class, as well as the EQE, EQE SUV, EQS and EQS SUV. This week in Las Vegas, Dolby is demoing the power of the format with select cars including the luxury Maybach, which has 31 speakers and subwoofers in the seats. Delegates could select Atmos-mixed music inside the vehicle from a long list of artists including Lizzo, Taylor Swift and Lady Gaga as well as remastered classics from artists such as Elton John and bands including Rush.

This week, Dolby also announced new tools for developers available through Dolby.io, including the
beta release of plug-ins for Unity 3D and Epic Games’ Unreal Engine.

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Imagine Dragons rocked CES Thursday night with

The actor is already itching for a reunion with his “Blade Runner 2049” director.

Dave Bautista thinks his acting career is just getting started, but he has already collaborated with an impressive roster of directors. After ascending to movie stardom through his role as Drax in James Gunn’s “Guardians of the Galaxy” films, he went on to work with the likes of Denis Villeneuve, Taika Waititi, and Rian Johnson.

The former wrestling star has made no secret of his desire to expand that resume as he shifts his focus to serious acting roles. But there’s one director that he’s already eyeing a reunion with.

In a new interview with GQ, Bautista praised the experience of working with Denis Villeneuve on “Blade Runner 2049” and “Dune: Part II.” The actor says that he thinks playing a lead role in a Villeneuve movie would be the ultimate test of his acting abilities. And he’s not going to let money get in the way of that challenge.

“If I could be a number one [on the callsheet] with Denis, I would do it for fucking free,” Bautista said. “I think that’s how I could find out how good I could be. He brings out the best in me. He sees me in a different light, sees the performer that I want to be. That might be how I solve the puzzle.”

Bautista went on to express relief that his obligations to the Marvel Cinematic Universe will be over after “Guardians of the Galaxy Vol. 3” hits theaters next spring. He explained that he has little interest in going down the path of other former wrestlers like Dwayne “The Rock” Johnson, and is hoping to prioritize intimate dramas over larger action roles.

“I never wanted to be the next Rock. I just want to be a good fucking actor. A respected actor,” he said. “Honestly, I could give a fuck [about being a movie star]. I don’t live a great big glamorous life. I live here in Tampa. I don’t care about the spotlight, I don’t care about fame. I just want to be a better actor. I want respect from my peers. I don’t need accolades—I really don’t, man. It’s about the experience, about knowing that I accomplished something.”

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The actor is already itching for a

Are you a fan of BoJack Horseman? Then you must check out the adult animation series Undone. The show is co-created by BoJack collaborators Kate Purdy and Raphael Bob-Waksberg and follows a Mexican-American woman, Alma Winograd-Diaz (Rosa Salazar), as she begins to see her dead father, Jacob Winograd (Bob Odenkirk), after a fatal car crash. Alma’s father enlists her help in uncovering the mystery behind his death and creating a timeline where he is still alive. The show effortlessly balances its trippy visuals and sentimental storyline, creating a final product that is beautiful, surreal, and heartbreaking.

Photo: Amazon Prime Video

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By Raven Brunner January 8, 2023 Are you a fan

A winsome young woman marries into the top echelon of royalty, becomes lonely in a passionless marriage, and suffers eating disorders and depression even as she fascinates the outside world. Decades after her untimely death, they’re still making movies and TV shows about her.

P.S. Guess what? Her name isn’t Diana.

No, though the parallels are obvious, this is the 19th-century Empress Elisabeth of Austria we’re talking about, and she, too, is having a pop culture moment. Though far less known than Diana to a current generation, Elisabeth has her own Netflix series, and now she’s the focus of “Corsage,” a bold retelling of her story — or at least a radical filling-in of the blank spaces.

Written and directed by Maria Kreutzer and starring a mesmerizing Vicky Krieps, “Corsage” recalls in many ways Sofia Coppola’s “Marie Antoinette,” with its punk sensibility coursing through gilded royal residences (this film, too, finds room for contemporary tunes — for example, “Help Me Make It Through the Night” and “As Tears Go By”). But in spirit, it actually feels closer to the new “Lady Chatterley’s Lover,” which takes a known story (albeit fictional) and places it in a very modern prism of female empowerment and fulfillment.

Opening exclusively in theatres Dec. 23.

At first glance, Elisabeth would seem an odd choice for such analysis. This is the same empress said to be so desperate to preserve her feminine looks that she bathed in olive oil and used facial wraps containing slices of raw veal; refused to be photographed past the age of 30 or painted after 40; exercised maniacally, weighed herself daily, ate thinly sliced oranges at dinner, and finally, insisted on having her “corsage,” which means corset, tightened to an extreme 50-centimeter waistline (under 20 inches).

And yet Krieps — who manages to be fiery and delicate, steely and heartbreakingly vulnerable all in the same beat — paints a believable portrait of an empress fighting each day to hold on to relevance, a quest made increasingly impossible by the social forces constricting her just like that corset.

This is not, in other words, the fresh-faced, Cinderella-like Elisabeth of the gauzy ’50s “Sisi” movies, portrayed by Romy Schneider. This is an Elisabeth who, condemned at dinner to sit in silence while her stuffy emperor husband (Florian Teichtmeister) leads the discussion, suddenly stands and flips off the rest of the table as she beats an early exit.

Born into Bavarian royalty, Elisabeth married Emperor Franz I in 1854 at age 16, and was assassinated in 1898 at age 60, while traveling in Switzerland. But the film spans only one year of her life.

It’s the year she turns 40 — a fraught milestone for anyone, perhaps, but especially one terrified of aging. We begin in December 1877, with Elisabeth in a bathtub, trying to break her record for holding her breath, frightening her servants. Getting dressed, she admonishes a maid for not pulling the corset even tighter. (Krieps wore a tight corset throughout shooting to give her a sense of the misery Elisabeth deliberately endured.)

When her birthday arrives, the empress is not happy. At the age of 40, a person begins to fade, she tells someone — and then she proceeds to do exactly that.

She escapes, seeking romantic fulfillment on trips to England and Bavaria. Ever more restless, she wants to be anywhere besides Vienna, with those endless royal dinners. And she wants to be invisible. Increasingly she covers her face with a veil. And then, she chops off her beautiful hair — hair that had, in its braided beauty, inspired an empire.

Although her image still fills souvenir shops in Austria, little is actually known, of course, of the interior life of Elisabeth — this was not the age of tell-all interviews and celebrity profiles. Into this void director Kreutzer and her star, Krieps (who also produces) rush with their own provocative — and occasionally shocking — ideas. Like Emma Corrin’s Lady Chatterley, Krieps’ empress is a woman of deep yearning and deep intelligence, too, who flails desperately against the constraints of her time and position. (Kudos to Krieps for not only wearing that corset, which is the ultimate constraint, but also for learning to ice-swim, ride side-saddle, fence and speak Hungarian for the film.)

Unlike Corrin’s Chatterley, though, things do not end on a promising note. This is only one year in Elisabeth’s life but a crucial one — a bridge between her youth and a future she dreads. We won’t reveal the ending here, but let’s just say this is an alternative journey. The destination may be startling but, thanks to a magnetic star turn from Krieps, the voyage is never boring.

“Corsage,” an IFC Films release, is unrated by the Motion Picture Association of America. Running time: 113 minutes. Three stars out of four.

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A winsome young woman marries into the

Lionsgate is doing some damage control today following rumors that have been spreading online that Eli Roth has been fired for the much-anticipated Borderlands movie adaptation, with Tim Miller (Deadpool, Terminator: Dark Fate) replacing him. According to Deadline, Miller is stepping in as the director of Borderlands‘ upcoming two weeks of reshoots, but Roth has not been fired. Instead, they’re saying Roth is busy prepping to shoot his long-awaited holiday slasher, Thanksgiving, based on his infamous Grindhouse trailer. That film is gearing up for a March shoot which, theoretically, can’t be delayed if they want to get the movie out for a Thanksgiving debut.

Deadline notes that the baton handing is friendly, with Roth and Miller friends, and that Roth is still officially the movie’s director. Notably, the film, which stars Cate Blanchett as the heroine Lilith, was shot before this year’s Tar. Indeed, I actually saw some footage of it at CinemaCon back in April, and it looked like a pretty radical adaptation, with Roth seemingly sticking closely to the game’s visual aesthetic. For Roth, this is a big step towards the mainstream, with it easily his highest-profile project to date. While Thanksgiving sounds more up his alley, it will still be interesting to see his approach for the star-studded adaption. The movie also stars Kevin Hart, Edgar Ramirez, Jack Black and Jamie Lee Curtis.

While it sounds unconventional for another director to handle reshoots, it’s been done before, with Tony Gilroy working on Rogue One, James McTeigue reshooting some of The Invasion, and then the massive last-minute reshoots for World War Z, although apparently the same director was kept for those. At least this time, it sounds like Roth handed over the baton willingly, and it might just come down to scheduling issues (let’s not forget that Blanchett is currently in the middle of a massive awards campaign for Tar).

What do you think of this news? Do you buy the story given to Deadline? Let us know in the comments!

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Lionsgate is doing some damage control today

Get in, Ginny & Georgia fans! (Or should I say hop on, because motorcycles.) We’re going back to Wellsbury, Massachusetts for Season 2 and it’s going to be a wild ride. After a nearly two-year hiatus, Netflix released 10 new episodes of Ginny & Georgia on January 5, and if you enjoyed all the crime, chaos, conflict, crushes, and cliffhangers from Season 1 of Sarah Lampert’s dramedy, then Season 2 does not disappoint. Brianne Howey, Antonia Gentry, and Diesel La Torraca have top-notch chemistry. Sara Waisglass’ wardrobe is loud enough to  make Portia from The White Lotus jealous. And Raymond Ablack as Joe (aka Luke Danes for millennials) has too many adorable moments to track. You’ll meet new characters, learn more about Georgia’s past through flashbacks, and get to witness some much-needed character growth. Though we’re not yet sure if Ginny & Georgia will return for a Season 3, we do know that the Season 2 finale will leave fans wanting more.

Photo: Amanda Matlovich / Netflix

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By Nicole Gallucci Get in, Ginny & Georgia fans!