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Check out our playlist inspired by American Masters – Buffy Sainte-Marie: Carry It On and learn more about the songs that have defined Sainte-Marie’s life and career.

It’s My Way

“It’s My Way” is the title track on Buffy Sainte-Marie’s first album, released in 1964. The cover of the album depicts Sainte-Marie with a mouth bow. A staple of Sainte-Marie’s early style, the mouth bow is said to be one of the oldest stringed instruments – the earliest known depictions of it are about 15,000 years old. The mouth bow can be found in many Indigenous cultures around the world.

Universal Soldier

Written at the onset of the Vietnam War, “Universal Soldier” is Sainte-Marie’s answer to the question “Who’s responsible for war?” It focuses on our individual complicity. The song became a hugely successful anti-war anthem after being covered by the folk singer, Donovan, who is often incorrectly credited as its writer.

Cod’ine

“Cod’ine” is the harrowing story of living with an opioid addiction. While traveling in her 20s, Sainte-Marie contracted a bronchial infection and was unwittingly prescribed high doses of codeine – leading her into a crippling addiction. At the time, opioids like codeine were widely prescribed and even available over the counter in Canada. Released in 1964, Sainte-Marie’s criticism of the over-prescription of opioids came over 50 years before the opioid crisis was officially deemed a public health emergency in the United States.

Bury My Heart at Wounded Knee

Initially released in 1991, “Bury My Heart at Wounded Knee” is another of Sainte-Marie’s protest songs illuminating the various atrocities committed towards the Native American community. In it, she specifically refers to the 1973 occupation of Wounded Knee, South Dakota by members of the American Indian Movement that ended in bloodshed.

Until It’s Time for You to Go

Considered by some to be a feminist anthem, “Until It’s Time for You to Go” was written by Sainte-Marie in 1965. From the woman’s perspective, the song describes a relationship between an ordinary man and woman who, despite their love for one another, have to acknowledge that their relationship must end. “Until It’s Time for You to Go” became one of Sainte-Marie’s most popular songs and has been covered by other artists over 150 times – nine of those recordings were by Elvis Presley.

Disinformation

After taking a break from the music industry for 16 years, Buffy Sainte-Marie made a triumphant comeback with her album “Coincidence and Likely Stories” released in 1991. In it, she addresses the many trials and tribulations she’d gone through in her career including being blacklisted by the United States government in the 1970s. In a campaign to suppress the activities of what was deemed The New Left, President J. Edgar Hoover and his administration sent memos to radio stations encouraging them to stop playing Sainte-Marie’s music. “Disinformation” is Buffy’s response to that suppression.

Up Where We Belong

When Jack Nitzsche became stumped while scoring the film “An Officer and a Gentleman,” he turned to Buffy Sainte-Marie for help. She played him the melody for her song “Up Where We Belong,” which took on “a life of its own.” The iconic song eventually went on to win several major awards, including the award for Best Original Song at the 55th Academy Awards in 1983.

Power in the Blood

“Power in the Blood” is the title track from Sainte-Marie’s 2015 album. Both the song and the album lean into Buffy’s pioneering work in electronic music. In 2015, she beat Drake for the Polaris Music Prize with this album.

Carry It On

“Carry It On” is a rousing anthem for artists and activists, and the namesake of American Masters – Buffy Sainte-Marie: Carry It On. Sainte-Marie herself described the song’s message by saying, “Humans are vulnerable, governments come and go, and nature is sacred, so take care of your link with life and thrive.”

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Check out our playlist inspired by American

Football fans reacted with a mix of anger and resignation at the ban on sales of beer at World Cup stadiums today.

England fan Alex Todd, 25, from Solihull in the West Midlands, said: ‘It’s madness. Why is the World Cup here when basic pleasures are taken from you?

‘I expect this will not go down that well when most of the England fans are here.’

Brian Davidson, the first fan in Qatar to drink an official World Cup beer, said: ‘I’m devastated, it doesn’t make sense. What’s wrong with having a beer at a match? Beer wasn’t going to be sold inside the stadiums anyhow, just on the concourse outside.

‘Millions of people are coming from all over the world and they just want to watch football, enjoy the sun and knock back a few beers. 

‘I’ll just have to go to the fan zones or a hotel for a drink but it’s a real pity that the Qataris have implemented this ban.’

England fans in Doha Kevin Fulcher (left) and Kevin Hall (right). Mr Hall said of Qatar’s booze ban: ‘It is the custom here. You have to accept it’

German football fan Daniel Schwestka was also angry about the ban on beer outside Qatar's World Cup stadiums

German football fan Daniel Schwestka was also angry about the ban on beer outside Qatar’s World Cup stadiums

German fan Daniel Schwestka, 30, from Dusseldorf, said: ‘Football without beer is not football.’

He added: ‘I go to many matches even in the third German leagues, and you can have a beer.

‘It is normal to drink beer at football and this is the World Cup.

‘When I arrived in Doha yesterday, I had two bottles of whiskey, my luggage and they took it from me at the airport.

‘I knew it was going be difficult to drink here. But how can they ban beer at the actual stadiums. It is ridiculous, yes.’

Australian fans said sponsors Budweiser should solve the issue before the tournament kicks off on Sunday.

IT consultant Simon Whiting, 50, from Canberra, said: ‘You need a cold beer in this heat. I have been looking for one the time I have been here.

‘They are hard to find anyway so I suppose there will be no point looking at the matches then.’

Aussie fans Simon Whiting (left) and Steve Mifsud (right) called on official sponsors Budweiser to solve the issue before Sunday

Aussie fans Simon Whiting (left) and Steve Mifsud (right) called on official sponsors Budweiser to solve the issue before Sunday

Fans wait at England team's training base in Qatar, the Al Wakra Sport Club to get a glimpse of the players, pictured November 15

Fans wait at England team’s training base in Qatar, the Al Wakra Sport Club to get a glimpse of the players, pictured November 15

Steve Mifsud, 39, from Sydney, said: ‘I have heard the beers are very expensive, anyway, around AU$13 a pint.

‘So maybe if there’s pain… it will save us a few dollars, but you do need beer at football.’

England fan Ryan Williams, who works as an engineer in Doha, smirked when asked about the beer ban.

‘I’ve got tickets to England games and that’s what really matters.

‘We’ve been told by our employers not to say anything negative about the World Cup, so no comment to your question about the beer!’

Pictured: Fans of Argentina ahead of the World Cup Qatar 2022 on November 17

Pictured: Fans of Argentina ahead of the World Cup Qatar 2022 on November 17

News of the beer ban, however, did not bother England fans who had travelled as part of a party from Nottingham.

Kevin Hall, 63, who has missed one England home match since 1979, said: ‘I have absolutely no qualms about beer not being available at the stadiums.

‘It is the custom here. You have to accept it. 

‘We had been told before we came here that alcohol was forbidden in much of the country, so it’s not going to be a problem at all.’

His friend Kevin Fulcher, 68, added: ‘We are here to see if England can win the World Cup.

‘This is a Muslim country and we respect the traditions and hope the other England fans do as well.’

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Football fans reacted with a mix of

UPDATE 5:09 p.m. — Sikiru “SK” Alagbada has since deleted his photos of Raven Ross from his Instagram profile, hours after she did the same.

Original Story Below:

A subtle change. Raven Ross has tweaked her social media profile to remove any loved-up pictures with boyfriend Sikiru “SK” Alagbada.

Raven, 29, and SK, 34, had been sharing their sweet relationship milestones via Instagram and TikTok ever since they announced during the Love Is Blind season 3 reunion that they had reconciled.

“The path that led me to you is one less traveled. Some even say one never traveled. Finding you in the most unexpected way will never make sense to everyone, and that’s OK,” the twosome captioned a joint Instagram post on November 11. “Our love is patient, intentional and fun. Just how we like it.”


Raven Ross and SK Alagbada.
Courtesy of Netflix

Raven, for her part, has since scrubbed the post — as well as other photos prominently featuring her man — from her profile. The only Love Is Blind-themed pics that remain are a slideshow of wedding-day images and a reunion snap with the other season 3 ladies. The Pilates instructor seemingly offered insight into her social media change, sharing an Instagram Story with “? ?” on Saturday, November 19.

The fitness trainer’s social media moves come hours after her boyfriend — who initially walked away at the altar — was accused of cheating.

“It all started in 2019 … We became good friends & started dating,” TikTok user @HannahBethStyle claimed in a Friday, November 18, video, sharing alleged photos and texts with SK. “Broke up mutually & remained friends. Fast forward to late July 2021, he invites me to go to Europe. … We left Ibiza & flew back to Madrid. I asked to see his phone to send pics to myself but ended up seeing messages from a contact name ‘fiancée.’ I waited to confront him until dinner [because] I was trying to wrap my head around what I saw.”

Hannah Beth went on to allege that the data engineer — who filmed Love Is Blind season 3 in May 2021 — told her that his “fiancée” was just “for the $” and they were only friends. “I didn’t 100% believe him but he never gave me a reason to not trust him, so I just trusted his word & it made sense at the time,” she claimed.

Neither Raven nor SK have addressed the infidelity allegations or shared an update about their relationship status at the time of publication.

The Nigeria native first met Raven in the season 3 pods during the Netflix experiment, which began airing last month. After a deep emotional connection, he proposed sight unseen. Following a rocky post-pod journey, SK ultimately opted not to say “I do” during their wedding.

“It was like merging two different people from two different continents trying to make this work,” he exclusively told Us Weekly earlier this month of his reasoning. “And I just felt like we still had a lot of unresolved differences that adding a marriage on top of that still would not help us resolve. Also, I would’ve had to move, like, four days after we got married and because of where we are at in our relationship, I didn’t think our relationship was ready for that.”

The pair were eventually able to find compromises and announced during the season reunion that they had reunited.

“We’ve worked through so many other problems that even if it’s not our time today, like, pretty soon we can try to work on it and get better and just keep growing — that’s probably the best thing that we did throughout this entire thing is just grow together and be patient,” Raven told Us of her reconciliation with the California resident. “We’ve been working on it and he’s just such a beautiful person, so we’ve been giving each other patience. It’s been great.”

The former bride even shared a Thursday, November 17, TikTok video, in which she praised the benefits of couples’ therapy. In the comments, she later replied to several fans asking about the nature of the long-distance couple’s connection. “We are [doing fine],” she replied to one social media user, a comment which has since been deleted.

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UPDATE 5:09 p.m. — Sikiru “SK” Alagbada has

Rep. Alexandria Ocasio-Cortez chastised Rep. Lauren Boebert for “elevating anti LGBT+ hate” and blocking gun safety laws in the wake of the mass shooting at an LGBTQ+ bar in Colorado Springs that killed at least five people and injured 25 others.

“@laurenboebert you have played a major role in elevating anti-LGBT+ hate rhetoric and anti-trans lies while spending your time in Congress blocking even the most common sense gun safety laws,” Ocasio-Cortez wrote Sunday. “You don’t get to ‘thoughts and prayers’ your way out of this. Look inward and change.”

Boebert, who recently won a seat Colorado’s Third Congressional District in a race against Democratic opponent Adam Frisch, expressed her outrage at the tragedy Sunday with a rallying call to end “lawless violence” “quickly.”

“The news out of Colorado Springs is absolutely awful,” Boebert wrote Sunday on Twitter. “This morning the victims & their families are in my prayers. This lawless violence needs to end and end quickly.”

Shortly after the statement, Ocasio-Cortez and many others condemned Boebert’s hypocrisy in calling the shooting “absolutely awful” despite using anti-LGBTQ+ rhetoric in her campaign.

“Your record ‘is absolutely awful,’” wrote Mondaire Jones, a congressman for Rockland and Westchester. “You use hateful rhetoric towards the LGBTQ+ community and helped block even modest efforts to end gun violence. You’re also one of the reasons we put metal detectors outside the House floor.”

“Your first ad as a member of congress bragged about bringing guns onto the house floor. I walk through metal detectors to vote because of you,” congressman Jamaal Bowman added. “Your rhetoric and lack of legislative courage and humanity radicalized people to do the evil and unthinkable.”

Ocasio-Cortez also pointed out the correlation between hate and violence within recent shootings and attacks, urging the Republican party to “connect the dots.”

“After Trump elevated anti-immigrant & anti-Latino rhetoric, we had the deadliest anti-Latino shooting in modern history,” she wrote. “After anti-Asian hate w/COVID, Atlanta. Tree of life. Emanuel AME. Buffalo. And now after an anti-LGBT+ campaign, Colorado Springs. Connect the dots, @GOP.”

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Rep. Alexandria Ocasio-Cortez chastised Rep. Lauren Boebert

“The Menu” met expectations, but was no match for the Marvel sequel.

“Black Panther: Wakanda Forever” (Disney) fell 63 percent on its second weekend to dominate weekend box office with $67.3 million, representing nearly two thirds of the $101 million total. That’s a better hold than the two most recent Marvel releases (“Doctor Strange in the Multiverse of Madness” and “Thor: Love and Thunder” earlier this year, both around 67 percent down).

“Wakanda Forever” now has a 10-day domestic total of $288 million ($546 million worldwide), which is excellent by any measure. The film is likely to remain #1 through the Thanksgiving holiday and play through Christmas.

If there is a caveat, it is that the hold was not close to “Black Panther” in 2018, which dropped only 45 percent. Both openings were aided by holidays — the first one opened with President’s Day boosting its first Sunday, while Veteran’s Day helped opening day for “Wakanda.”

The new “Black Panther” and next month’s “Avatar: The Way of Water” are key to year-end results — but to an extent that is unfair to presume they can provide them. Pre-opening projections suggested “Wakanda” might have an ultimate domestic total of $600 million or more. In 2018, the 10-day total was $404 million, at a ticket price 20 percent or lower than current levels. It ended up at $700 million.

The trajectory for the new film would suggest closer to $500 million — again, still an outstanding domestic take that’s ahead of all but one release this year. But in this environment, theaters need the biggest possible results.

The weekend saw three new titles in the top 10, but none provided major competition to “Wakanda.” At #2, Searchlight’s restaurant-centered horror thriller “” did $9 million in an initial wide release, well within range of expectations.

“The Chosen”

Performing better than anyone expected was a Fathom program: two episodes from an online faith-based series. “The Chosen Season 3: Episodes 1 & 2” grossed $8.2 million in 2,012 theaters.

This broke new ground on two levels. With Netflix having a one-week run of “Glass Onion: A Knives Out Mystery” starting Wednesday as a preview in around 600 theaters (as opposed to a wider, open-ended release), this seems to be a way to add revenue for the Angels Studios production about Jesus and his disciples and to enhance its streaming value. Initially made available via You Tube and other outlets, earlier seasons are now streaming on Peacock.

The gross is a rare traditional release for Fathom, which often has midweek programs like concerts, operas, stage shows, niche films, and revivals. The precedent was set a year ago, when an earlier program centering on “The Chosen” — an original Christmas concert and one episode — had a midweek early-December release and expanded to holdover dates and ultimately grossing $13 million.

Is this a fluke, boosted by the often strong faith-based audience? Or could this lead to other episodic programs bound for home play filling theater screens? Figure that content providers are considering the option.

She Said

“She Said”

Courtesy of Universal Pictures

“She Said” (Universal), about the reporting that led to the exposure of Harvey Weinstein, got an A Cinemascore. The good news ends there, with a disastrous $2.25 million gross at #6 for the $32 million production. It failed to perform anything like similar earlier titles. “Spotlight,” also about the journalistic road that uncovered sexual assaults, went the platform route before winning Best Picture and grossing $45 million. In 2019, “Bombshell,” the story of Roger Ailes at Fox News brought down for his abuse, made it to $31 million after its strong debut.

Perhaps interest in such stories, important as they are, has lessened. Or maybe awareness of the ugliness surrounding Harvey Weinstein was a turnoff. The wide release meant less time to build, but Universal can’t be faulted for not finding an audience that may not exist.

The estimate for the weekend’s total is 93 percent of the same weekend in 2019, again with ticket prices much higher now. That raises the four-week rolling comparison to three years ago, unadjusted, to 94 percent. Thanks to  “Wakanda,” that’s the best number since July. It is also, if the estimate holds, the first two consecutive weeks over $100 million since July.

At #4 is “Black Adam” (Warner Bros. Discovery), which is now up to $156 million, with $366 million in worldwide. It reinforces that the DC brand has elements to build on as it is revamped.

Wednesday sees the debuts of Disney’s animated “Strange World,” Sony’s “Devotion” with Glenn Powell from “Top Gun: Maverick,” “Glass Onion,” expansions of “The Fabelmans” (Universal) and “Bones and All” (United Artists).

The Top 10

1. Black Panther: Wakanda Forever (Disney) Week 2; Last week #1

$67,300,0000 (-63%) in 4,396 (no change) theaters; PTA (per theater average): $15,309; Cumulative: $287,993,000

2. The Menu (Searchlight) NEW – Cinemascore: B; Metacritic: 71; Est. budget: $30 million

$9,000,000 in 3,211 theaters; PTA: $2,803; Cumulative: $9,000,000

3. The Chosen Season 3: Episodes 1 & 2 (Fathom) NEW

$8,220,000 in 2,012 theaters; PTA: $4,005; Cumulative: $8,220,000

4. Black Adam (WBD) Week 5; Last weekend #2

$4,480,000 (-44%) in 3,372 theaters (-231); PTA: $1,329; Cumulative: $156,965,000

5. Ticket to Paradise (Universal) Week 5; Last weekend #4; also on PVOD

$3,200,000 (-46%) in 3,268 (-365) theaters; PTA: $979; Cumulative: $61,560,000

6. She Said (Universal) NEW – Cinemascore: A; Metacritic: 73; Est. budget: $32 million

$2,250,000 in 2,022 theaters; PTA: $1,113; Cumulative: $2,225,000

7. Lyle, Lyle, Crocodile (Sony) Week 8; Last weekend #4

$1,900,000 (-41%) in 2,307 (no change) theaters; PTA: $824; Cumulative: $43,172,000

8. Smile (Paramount) Week 8; Last weekend #5; also streaming and on PVOD

$1,150,000 (-51%) in 1,569 (-702) theaters; PTA: $733; Cumulative: $104,579,000

9. Drishyam 2 (Yash Raj) NEW – Est. budget: $3 million

$1,050,000 in 305 theaters; PTA: $3,443; Cumulative: $1.050,000

10. Prey for the Devil (Lionsgate) Week 5; Last weekend #6

$935,000 (-52%) in 1,389 (-675) theaters; PTA: $1,369; Cumulative: $18,368,000

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"The Menu" met expectations, but was no

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Making changes! Dancing With the Stars has

Black Widows

Cast: Mona Singh, Sharad Kelkar, Shamita Shetty, Swastika Mukherjee, Parambrata Chattopadhyay

Director: Birsa Dasgupta

If there is something that went completely off in ZEE5’s latest web series Black Widows, it is the exaggerated performances of the entire cast. Otherwise, this mystery-drama had enough meat in its storyline to keep one engaged. Mona Singh, Shamita Shetty and Swastika Mukherjee lead the remake of this Nordic original plot, but drain out the potential with their caricature-like treatment of the respective characters.

Veera (Mona), Jayati (Swastika) and Kavita (Shamita) are three friends, all caught up in abusive marriages. They decide to turn the tide once and for all while vacationing with their husbands on a private property. Little do these women know, the secrets that their partners had buried are too dark and deep for their thin skins. They must now brave odds at every step and wade through unknown waters to survive. Admittedly, all the characters are well defined in the Hindi adaptation and Black Widows’ original concept seems laden with edge-of-the-seat moments. It is fueled further with dark humour, which too hits the mark at some points. But the series seems a bit off track since the start due to delivery of actors, which is into-the-face. Light entertainment should have complimented the mystery quotient well. Instead, the treatment becomes parody-like, giving way to boredom, and robs the tale of the what-next quotient that one starts to anticipate.

Under Birsa Dasgupta’s direction, background score and editing are high points but acting is not. This crashes the suspenseful moments at every point. The investigative part featuring Parambrata Chattopadhyay as the lead detective too suffers from the same problem. His character, at 40, is unmarried and seems a little inexperienced when it comes to women. But the way he probes the case, his cop background also seems doubtful. Meaning, no one brings authenticity to their characters and do little justice to the series in turn.

All in all, Black Widows may give deliver cheap thrills for sometime. Considering its 10-episode run, we recommend you invest time somewhere else this week.

Rating: 2/5

Read all the Latest News, Breaking News and Coronavirus News here

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Black WidowsCast: Mona Singh, Sharad Kelkar, Shamita

In case you missed it, Lily-Rose Depp, daughter of Johnny Depp and Vanessa Paradis, caused quite a controversy when she dismissed the effect nepotism had on her modeling and acting career. 

“The internet seems to care a lot about that kind of stuff. People are going to have preconceived ideas about you or how you got there, and I can definitely say that nothing is going to get you the part except for being right for the part,” Depp recently told Elle, also claiming the term “nepo baby” is mostly used against women. “The internet cares a lot more about who your family is than the people who are casting you in things. Maybe you get your foot in the door, but you still just have your foot in the door. There’s a lot of work that comes after that.”

While many have shared this sentiment (*cough* Maya Hawke, daughter of Ethan Hawke and Uma Therman *cough*), Italian model Vittoria Ceretti was not having it. While Ceretti—who has appeared on multiple international Vogue covers and works with brands like Prada, Versace, and Chanel—did not call out Lily-Rose Depp by name, she said she’d like to see if a certain “nepo baby” could have “lasted through the first five years of my career.”

Vittoria Ceretti walks the runway during the Chanel Ready to Wear Spring/Summer 2023 fashion show as part of the Paris Fashion Week on October 4, 2022.

Victor VIRGILE/Getty Images

“I just want to share a thought here because I can. I bumped into an interview of a so-called ‘nepo baby’ or whatever y’all call it,” she began her Instagram Story post, which was later shared by the gossip account Diet Prada. While Ceretti conceded that the nepo baby in question has probably faced some rejection, the model pointed out that their privilege and family connections have likely cushioned any blow. 

“You can tell me your sad little story about it (even at the end of the day you can still always go cry on your dad’s couch in your villa in Malibu), but how about not being able to pay for your flight back home to your family? Waiting hours to do a fitting/casting just to see a nepo baby walk past you from the warm seat of her/his Mercedes with her/his driver and her/his friend/assistant/agent taking care of HER/HIS MENTAL HEALTH,” she continued. “You have no fucking idea how much it takes to make people respect you. TAKES YEARS. You just get it [for] free day one.”

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In case you missed it, Lily-Rose Depp,

Picture: Sony Columbia Pictures

Brad Pitt’s summer blockbuster Bullet Train is headed to Netflix US in December 2022, having already arrived on Netflix India in November 2022. Here’s your guide as to when Bullet Train will be on Netflix for those in the United States, India, and other regions. 

Based on a Japanese novel, the action-comedy features a huge ensemble cast and is about a man tasked with fetching a briefcase. Simple right? Well, no. He’s actually on a train full of assassins and other bad guys.

Together with Pitt in the movie are Joey King, Aaron Taylor-Johnson, Brian Tyree Henry, and Andrew Koji.

The movie was released in theaters on August 5th, 2022, and premiered to mixed reviews from critics. The movie grossed over $200 million worldwide according to BoxOfficeMojo.

Now the best way to watch Bullet Train is on the big screen but with its theatrical run-up, you’ll be able to watch the movie in two regions in 2022 courtesy of a Sony first window deal.


When will Bullet Train be on Netflix?

Throughout 2022, Netflix India and Netflix US have been receiving new Sony movies, although many movies come at different windows after their theatrical release.

Our research shows that Sony movies before 2022 went to Starz between 120 and 223 days after their theatrical release and that’s been the case for Netflix this year too.

The deal has bought movies like Uncharted to Netflix after 168 days in theaters while titles like Where The Crawdads Sing landed in the earlier window of 120 days.

Netflix India released the movie on November 5th, 2022 and we’re now happy to report Netflix US is set to receive Bullet Train on December 3rd, 2022.

netflix screenshot release date for bullet train

Release date on Netflix’s page for Bullet Train

Once on Netflix in these regions, it’ll then be available for a total of 18 months before moving to Disney, and in this instance, it’d likely head to Hulu. As a rough estimation, this will be around Summer of 2024.


Will other regions of Netflix receive Bullet Train?

The likely answer is yes, although we don’t have specifics. Netflix in multiple regions receives new Sony movies promptly, although Netflix nor Sony promotes any deal.

Netflix India consistently receives new Sony movies 120 days after release, meaning you will see the movie added on December 3rd, 2022.

Netflix Canada and the United Kingdom receive Sony movies 2 years after their theatrical release. Case in point, Fantasy Island, which was released in February 2020, touched down on Netflix CA and the UK recently in January 2022. That also applies to regions such as Belgium, Greece, Japan, Poland, Spain, Sweden, and South Africa.

That’d mean Netflix in these regions will see Bullet Train added sometime in 2024.

Bullet Train - Picture: Sony Pictures

Bullet Train – Picture: Sony Pictures

We’ll keep you posted as we learn more about the Bullet Train release date on Netflix.

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Picture: Sony Columbia Pictures Brad Pitt’s summer blockbuster

Rita Wilson knew she wanted to bring the two Latino characters, played by Manuel Garcia Rulfo and Mariana Trevino, from “A Man Called Otto” into her song “Till You’re Home.” She fell in love with the vocals of Sebastián Yatra, who sang the Oscar-nominated “Dos Oruguitas” from Disney’s “Encanto” (2021). He had one day off and happened to be in Los Angeles, giving him one day to record the track. “We were incredibly lucky that he said yes,” says Wilson.

The actor, producer, singer and songwriter will enter the awards conversation for best original song for the upcoming Sony Pictures feature film, which stars her husband, Tom Hanks, and is directed by Marc Forster.

The track marks Wilson’s third eligible original song, which began with “Even More Mine” from “My Big Fat Greek Wedding 2” (2016) and “Everybody Cries” from “The Outpost” (2020), but this isn’t her first dabbles in the music world. “Marc Forster asked me to write a song for the movie that would play over these specific scenes in the film,” she tells Variety. “I wanted to make sure that the song was evocative.”

Niko Tavernise

The song is personal to Wilson, reminding her of something a friend had told her following her father’s death: “The conversation continues.” That phrase always stuck in her mind.

She co-wrote the track with David Hodges, a two-time Grammy nominee for best rock song (“Bring Me to Life” by Evanescence, shared with Amy Lee and Ben Moody in 2004) and best country song (“Dear Hate” by Maren Morris featuring Vince Gill, shared with Morris and Tom Douglas in 2019). In the film world, Hodges co-wrote “There’s a Place for Us” from “The Chronicles of Narnia: The Voyage of the Dawn Treader” (2010), which was nominated for a Golden Globe. Hodges has also co-written popular numbers such as “A Thousand Years” with Christina Perri, from the Robert Pattinson-Kristen Stewart vampire love story “Twilight” (2008).

“A lot of the inspiration began with David Magee’s script,” Wilson says. “It was a natural beginning to start there. This movie is about love and how love continues even after a person leaves this earth.”

Magee, who adapts from the novel by Fredrik Backman, has been nominated for two Oscars for adapted screenplay — Forster’s “Finding Neverland” (2004) and Ang Lee’s “Life of Pi” (2012).

Niko Tavernise

When Forster asked Wilson to record the song, having been familiar with her previous albums, she was humbled by the opportunity but made him promise to be honest with her if he didn’t want to use the final song. Also a producer on the film, Wilson says her first allegiance is to the movie and the director’s creative vision. “You can’t be precious about it or take anything personally,” she says.

Already off to a good start, the song was nominated by the Hollywood Music in Media Awards for best song (independent). Wilson and Hodges will face off against “Applause” from “Tell It Like a Woman,” “This Is a Life” from “Everything Everywhere All at Once,” “We Two Made One” from “The Silent Twins” and “Stand the Test of Time” from “Tomorrow’s Game.”

“A Man Called Otto” will open in select theaters on Christmas Day.

To see the ranked predictions for each individual category, visit Variety’s Oscars Hub.

Listen to the clip of the song “Til You’re Home” below.

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Rita Wilson knew she wanted to bring

Wizkid was the musical guest on the latest episode ofThe Tonight Show Starring Jimmy Fallon. The Nigerian vocalist performed his song “Money & Love” from his latest album More Love, Less Ego. Watch his performance below.

More Love, Less Ego is the fifth studio album from Wizkid. It’s the followup to his 2020 full-length Made in Lagos and includes the single “Bad to Me.” In September, he announced a 2023 North American tour in support of the album.

Read about Wizkid’s song “Essence” on Pitchfork’s list of “The Best Progressive Pop Music of 2021.”

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Wizkid was the musical guest on the

Miroslava is an indigenous, Mexican-American mother and storyteller on a journey to reclaim her indigeneity. Throughout her life, Miros’ insatiable curiosity was nurtured by the wealth of oral culture and traditions passed down to her from her ancestors. As such, she has always been a storyteller with a desire to share stories reflecting her cultural richness, a point of view integral to the world and our humanity, although often grossly underrepresented.

Miros began her journey as an emerging filmmaker with her first project, The Bears On Pine Ridge (Co-Producer and Executive Producer). This award-winning documentary was honored by Vision Maker Media and is being developed into an hour-long feature that will air on PBS in the U.S. and Latin-America this spring. Miros began as a volunteer in 2020 and soon became a driving force as a producer for the project. Her efforts have helped to take this short film project to dozens of festivals and screenings, in an effort to spread awareness about the ongoing Indigenous youth mental health crisis. Miros was also instrumental in helping the TBOPR project become a feature film, expected to broadcast on public television early next year.

IDA: Tell us about yourself. What is your profession (or passion), and why did you choose a career in documentary filmmaking?

Miroslava Gonzalez Coronado: I have been a storyteller my whole life and love to pass down oral traditions. As a mother to a curious 11-year-old, during the height of the pandemic, I sought ways to reconnect our family and my ancestral lands across the country. I was yearning to become more grounded and it became even more important to document this journey to reclaim our cultural truth and to better understand where we come from to better gauge where we are going. As COVID cases initially decreased, a friend whom I was mobilizing our community with suggested I help Noel Bass, Director of The Bears On Pine Ridge. While I had no formal experience working on any films, I jumped right into problem-solving. I helped Noel with our film festival strategy, impact campaign and to write a grant that was selected by Vision Maker Media whose mission is to Engage And Empower Native People To Share Stories. Documentary filmmaking has not only become a vehicle to continue the oral traditions I grew up with, but also a way to heal by amplifying stories from traditionally underrepresented communities. I strongly believe that everyone has an important story to tell and the more stories we share, the better we can understand each other and find that we have more common ground than we thought. 

IDA: Tell us a little about The Bears on Pine Ridge.

MGC: The Pine Ridge Indian Reservation (in South Dakota) has declared three separate States of Emergency due to youth suicide rates reaching the highest levels in the country. The Bears on Pine Ridge amplifies the voices two respected female elders who lead the Oglala Sioux Tribe’s only suicide prevention team, while mentoring a group of suicide-survivor teenagers to find their voice, encouraging them to bring hope and awareness to the reservation. Many top organizations for suicide and mental health awareness do not have access to the reservation. Data is very hard to collect in reservation communities, especially when inside organizations can’t continue due to lack of funding. In July 2018, The Reclaiming Native Truth (RNT) Project was released. It was a two-year, $3.3 million public opinion research and strategy setting initiative by IllumiNative. Its findings, released in July 2018, resulted in comprehensive data and learning about the challenges and opportunities that Native Americans face in educating Americans and changing public perceptions. The report found that “Invisibility is the modern form of bias against Native Americans…The majority of Americans know little to nothing about Native Americans…Many Americans are not clear how many Native peoples still exist”, per the RNT Project (https://rnt.firstnations.org/research/). The study also found that 78% of Americans want to learn more about the Native American culture. Simply put, audiences have a lot to learn. Very few are aware of the issues on reservations enough to be able to get involved in human rights efforts.

IDA: How did working on The Bears on Pine Ridge change your trajectory as a producer and filmmaker?

MGC: TBOPR brings unprecedented access into the youth suicide crisis happening in the isolated Pine Ridge community, one that most American do not even know exists. SYW will give viewers insight into not only a Mexican-Native American tribe that, like many indigenous peoples, have forged the foundation of the Great Southwest. During research for both projects, I have found that access to contemporary information is severely lacking. We were often sent to the History section of the library and mostly found centuries old information when seeking present-day stories to explore. Being an integral part of these films have not only shown me why it is critical to not only share the important stories around us, but to also support BIPOC female filmmakers which have the ability to present stories from a different lens than we are accustomed to viewing films through.

IDA: What are you working on right now? 

MGC: Strong Yaqui Women documents my journey to reclaim my cultural truth, my Mexican indigenous roots. My great-grandmother was Yoemi (Yaqui) from the Sonoran desert. She became a widow after her husband was killed for his lands and she fled to save her four children, one of them being my grandmother who also overcame numerous obstacles, as did my momma who is an immigrant and raised four children as a single mother. As a mother myself, I am eager to share with my son and nieces that we come from a long lineage of resilient matriarchs who sacrificed so much to allow us opportunities to thrive. This project honors these amazing women, my roots and future generations of change makers. We hope to create space in which young girls can be inspired when they to see themselves through the strong, indigenous women we will feature like: Leannette Galaz, Yaqui Stanford graduate advocating for affordable housing in Montana; Selina Martinez, Young Yaqui-Xicana architect and professor at Arizona State University using high-tech gadgets to create 3-D renderings of significant Yaqui buildings and structures which are in ruins. An important part of the documentary has been sharing our origins with my cousin Priscila who honors her immigrant parents’ and our ancestor’s sacrifices by becoming the first Latina Harvard Law Review President.  We also will seek to shed light on internalized racism, colorism, anti-Black and anti-Indigenous sentiments, which recent news has elucidated, run deep among many indigenous Latinos. Relatives participating in the project are from the Pascua Yaqui tribe and my mentor from the Rosebud Sioux Tribe who has more than four decades advocating for Native representation in the film industry, Mr. Sonny Skyhawk. Various members and groups within my Yaqui community, including the Yaquis of Southern California and the Yaqui Pride Project, also committed to participate.

IDA: Any final thoughts you would like to share with our members?

MGC: The UCLA Hollywood Diversity Report 2020 revealed that the demographics of film screenplay writers are 89% white, 5.2% Black, 3.0% Asian, 0.7% Latino and the directors are 84% white, 5.5% Black, 3.4% Asian, 2.7% Latino. USC’s Annenberg Inclusion Report 2021 reviewed 126 films and 180 series produced by Netflix in 2018 and 2019, showed great improvement in gender and racial equality with most minorities, with the exception of Latinos, as only 2.6% of all stories had a Latinx lead or co-lead, and similar low numbers behind the camera. Mexican-Americans are 12% of the US Population and close to 70% of all Latinos in America. Films & Television have tremendous impact in the narrative, perception and the reputation of our community – the onus seems to be on documentary filmmakers to share stories that better represent underrepresented changemakers, individuals, families and communities – stories told in a way that demonstrates how it is a constitutional part of our nation’s history of yearning toward “e pluribus unum”, so that together we can deliberate on our past and present toward a more equitable path forward.

Please check out Miroslava’s website here!

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Miroslava is an

Several snow squall warnings and weather advisories remain in effect for parts of southern Ontario and Sault Ste. Marie, a day after powerful winds and snow caused issues for large sections of the province.

Environment Canada issued warnings for regions including Barrie, Peterborough, Muskoka, Grey-Bruce and Waterloo, forecasting as much as 50 cm to fall in some spots by Sunday night.

The weather agency also warned of reduced visibility due to blowing snow, with the Ontario Provincial Police’s highway safety division reporting multiple calls for collisions and vehicles in ditches due to the storms.

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Environment Canada warns of hazardous roads, heavy snow for parts of Ontario

Niagara Region bore the brunt on Saturday as the squall that slammed into Buffalo, N.Y., pushed into the northern part of the area, bringing very localized but intense snowfalls.

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The storms have also caused multiple power outages throughout the province.

As of 7 a.m., more than 1,900 Hydro One customers were without electricity.

&copy 2022 The Canadian Press

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By Staff The Canadian Press Posted November 20, 2022

Amid Elon Musk’s head-spinning reign of chaos at Twitter, which most recently included his unilateral decision to reactivate Donald Trump’s account, another senior exec has packed up and left.

Sarah Rosen, who was head of U.S. content partnerships at Twitter leading all efforts with partners in the region across entertainment, news and sports, announced that she has quit the company.

“Took me a few days to come to terms with saying goodbye to 8.5 years at twitter,” Rosen posted Saturday evening. “My time here was the absolute privilege of my career & I’m forever grateful to my world class colleagues and partners that made it all possible. Hot damn we had it good at Twitter 1.0.”

Also exiting Twitter was Maggie McLean Suniewick, a former NBCUniversal exec who had just joined the company in June as VP of partnerships. “4 months @twitter has changed my life. No regrets. Just pride and respect for my team and for our partners,” she tweeted Friday. “We showed up for each other and we always did the right thing. Experiencing this culture built around inclusivity and humanity will power me for years to come.”

Twitter head of ad sales Robin Wheeler resigned last week but reportedly had been persuaded by Musk to return to the role — before he apparently fired her Friday. “To the team and my clients….you were always my first and only priority,” Wheeler tweeted Nov. 18 after her termination was reported. The company’s previous top ad exec, chief customer officer Sarah Personette, said she had resigned Oct. 28.

Lara Cohen, previously Twitter’s global VP of partners and marketing who led the team that works with celebrities and influencers, announced her departure on Nov. 7. After Musk announced Saturday that he was unbanning Trump, Cohen tweeted, “I wish I could quit again tbh ??‍♀️.”

After Musk axed 50% of the company’s 7,500 employees earlier this month, another 1,200-plus workers reportedly quit Thursday after the billionaire issued an ultimatum that staffers be committed to an “extremely hardcore” work environment.

The Twitter brain-drain and uncertainty about Musk’s plans to roll back its content-moderation policies have prompted many advertisers to pause spending. On Friday, CBS News disclosed that it was suspending activity on Twitter over the current chaotic situation. “In light of the uncertainty around Twitter and out of an abundance of caution, CBS News is pausing its activity on the social media site as it continues to monitor the platform,” national correspondent Jonathan Vigliotti said in a segment on the nightly newscast.

Musk, after closing the $44 billion deal on Oct. 27, had immediately fired CEO Parag Agrawal; CFO Ned Segal; Vijaya Gadde, Twitter’s head of legal, policy and trust, and safety; and general counsel Sean Edgett.

Last week, Yoel Roth, Twitter’s head of trust and safety, resigned. In a Nov. 18 op-ed in the New York Times, Roth explained that Musk’s unilateral decision-making as CEO of Twitter prompted his decision to quit.

“In appointing himself ‘chief twit,’ Mr. Musk has made clear that at the end of the day, he’ll be the one calling the shots,” Roth wrote. “It was for this reason that I chose to leave the company: A Twitter whose policies are defined by edict has little need for a trust and safety function dedicated to its principled development.”

The decimation of Twitter’s workforce and the departure of multiple high-level executives — along with their institutional knowledge of how it works — has raised fears that the platform could begin to fail. Musk has claimed that he had “no choice” in making the severe job cutbacks at Twitter (which he claimed was losing $4 million per day) and shrugged off Thursday’s mass resignations: “The best people are staying, so I’m not super worried,” he tweeted. Musk has frequently reveled in the attention that he and Twitter have drawn in the weeks since he took ownership. “Twitter is ALIVE,” he tweeted Saturday night.

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Amid Elon Musk’s head-spinning reign of chaos

After Apple issued several copyright claims, YouTube took down an archival channel containing hundreds of decades-old videos from past Apple Worldwide Developer Conferences (WWDC). Brendan Shanks, the owner of the Apple WWDC Videos channel, says his account’s been permanently disabled after receiving well over three copyright strikes — the maximum number of violations you can incur before YouTube removes your account.

In screenshots of emails shared by Shanks, Apple issued a number of takedown requests against his videos, some of which dated back to the early 2000s. Shanks says he still has all the original video files and descriptions, and is currently trying to get the content over to the Internet Archive. Apple didn’t immediately respond to The Verge’s request for comment.

The now-defunct website contained a massive trove of old Apple ads, WWDC sessions, internal training videos, and much more. Gold was quickly flooded with DMCA notices after the site’s launch, resulting in its content and the videos uploaded to Vimeo getting taken down. (You can still view an archived version of the website here.)

And yes, while this archived content is Apple’s intellectual property, the company doesn’t exactly do the best job of making its history readily available to fans. It seems like the closest thing we’ll get to an official archive related to the company is the small, but growing Steve Jobs Archive, which contains emails, videos, and voice clips highlighting snippets of Jobs’ life. The site was launched in September by Jobs’ friends and family — not by Apple.

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After Apple issued several copyright claims, YouTube

Last Updated: November 20, 2022, 16:23 IST

Manasvi Vashist comes out in support of Sumbul Touqeer.

Manasvi Vashist, who worked with Sumbul Touqeer in Imlie, has alleged that everyone in Bigg Boss 16 house is attacking the actress.

In the recent episode of Bigg Boss 16, Salman Khan confronted Sumbul Touqeer Khan for her alleged obsession with Shalin Bhanot. However, looks like this has left Sumbul’s former co-star Manasvi Vashist disappointed and upset. On Sunday afternoon, Manasvi, who worked with Sumbul in Imlie, took to his Instagram stories and penned down a long note in support of his former co-star. The actor slammed Sumbul’s ‘character assassination’ and alleged that all other Bigg Boss 16 housemates are attacking her. He even lashed out at them for not taking a stand for Sumbul.

“I am deeply saddened to see the character assassination of a simple girl on national television. I have worked with Sumbul and she is a very sensible and honest girl. I am watching this season of Bigg Boss and it’s extremely frustrating to see how everybody is brutally attacking her character and not even a single person is taking a stand for her. This is disgusting,” Manasvi wrote.

“You tell the world that if a woman says ‘no’ then it is a no. Then why are you putting allegations on a woman that she is ‘obsessed’ and ‘in love’ with a man when she hasn’t said that herself? Why would you do that to her? Just because you think she is vulnerable? This is pathetic,” the actor added.

Manasvi Vashist comes out in support of Sumbul Touqeer.

For the unversed, Salman Khan confronted Sumbul Touqeer Khan for her alleged obsession with Shalin Bhanot during Saturday’s episode. While the former Imlie actress denied the same, Salman questioned her for not letting Tina Datta talk to Bhanot for even five minutes. Salman even asked other housemates about their opinion on Sumbul and Shalin’s equation. While Sajid Khan mentioned that Sumbul has a ‘childhood crush’ on Bhanot, even Nimrit Kaur Ahluwalia agreed but added that she has stopped to intervene in Sumbul’s matter. Shiv Thakare also mentioned that Shalin and Sumbul have ‘dosti se thoda upar ka relation’.

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Last Updated: November 20, 2022, 16:23 ISTManasvi

One season ago, the Omicron surge of COVID forced the Academy’s Governors Awards to be postponed until the Friday before Oscars Sunday, outside of the pre-Oscar nomination voting window in which it traditionally is held, and virtually nobody but the honorees and their table guests were in attendance.

The ceremony at which special Oscars are presented returned to that window on Saturday night for its 13th edition, and — surprise, surprise! — just about every person who has a prayer of landing a nom found their way to the Fairmont Century Plaza’s ballroom — to celebrate honorees Michael J. Fox, Diane Warren, Peter Weir and Euzhan Palcy, to be sure, but not incidentally to pose for photos beside the Oscar logo on the red carpet and to rub shoulders with Academy members and awards press inside.

Studios pay a pretty penny to procure tables at the Governors Awards so that they can then offer seats at them to their ponies in the Oscar derby, and they clearly had no problem filling them this year. Indeed, I have been covering this Hollywood award ceremonies for many years now, and I have rarely seen a room as star-studded. One couldn’t turn around without bumping into, say, Adam Sandler (Hustle) or Jennifer Lawrence (Causeway) or Tom Hanks (Elvis) or Cate Blanchett (Tár).

Some big names were there to play an official role in the proceedings. Thirteen-time best original song Oscar bridesmaid Warren was not only a guest of honor, but is also a contender for a 14th nom for “Applause” from Tell It Like a Woman. Plus, Woody Harrelson (Triangle of Sadness) presented to Fox. Viola Davis (The Woman King) presented to Palcy and was seated at her table, as was Ruth E. Carter (Academy governor and costume designer of Black Panther: Wakanda Forever) and both Keke Palmer and Jordan Peele (Nope). And Laura Dern (The Son) and Whoopi Goldberg (Till) are also Academy governors.

But most were not.

And I think that attendance was surely boosted by the fact that this year’s picture and acting categories still seem so wide open. Everyone is still in the game, so to speak — even people from projects that might not seem like traditional Oscar bait, such as a cannibal movie (e.g. Bones and All’s lead actress Taylor Russell), an R-rated comedy (e.g. Bros’s co-writer/star Billy Eichner) and non-English-language blockbusters (RRR’s co-writer/director S.S. Rajamouli) — so it was worth it to show up, even if one couldn’t stay in town for long.

For instance, Ana de Armas (Blonde) told me that she’s shooting a movie in Europe and won’t be able to return to L.A. until February, but she made sure to be in town for this. Florence Pugh (Wonder) has also been abroad shooting Dune: Part Two, but she was in the room hanging with Emma Corrin (Lady Chatterley’s Lover). And Eddie Redmayne (The Good Nurse) jetted in from London. And that’s just talent from Netflix projects!

It certainly doesn’t discourage attendance that many high-profile media opportunities — THR’s acting roundtables, Variety’s Actors on Actors, Deadline’s Contenders, etc., not to mention guild Q&As and the like — are now scheduled around Governors Awards weekend.

Many of this year’s attendees were first-timers who were genuinely excited to be there. For instance, earlier on Saturday, I was chatting about the event with best actor candidates Austin Butler (Elvis), Colin Farrell (The Banshees of Inisherin), Brendan Fraser (The Whale), Jeremy Pope (The Inspection) and Ke Huy Quan (Everything Everywhere All at Once), who made plans with Sandler (a past attendee for Uncut Gems) to meet up for a drink once there.

As the Governors Awards enters its teens, it has become one of the cooler stops on the campaign trail — and, yes, even more star-studded than the Oscars itself.

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One season ago, the Omicron surge of

(RasulovS/DepositPhotos)

Like it or not, network TV series typically live and die by their Nielsen ratings (live, delayed, or streaming). Since most fans do not live in Nielsen households, the average person’s preferences aren’t taken into account, and that is frustrating. While we can’t change the system, we want to give you an outlet for your opinions, so we invite you to vote for your favorite 2022-23 network TV shows here. Which programs are the best or the worst? If it were up to you, which TV series would be cancelled and renewed?

ABC TV series this season (so far):  Abbott Elementary, Alaska Daily, America’s Funniest Home Videos, Bachelor in Paradise, Big Sky, Celebrity Jeopardy!, Celebrity Wheel of Fortune, The Conners, The Goldbergs, Grey’s Anatomy, Home Economics, The Rookie, The Rookie: Feds, Shark Tank, and Station 19.

CBS TV series this season (so far):  The Amazing Race, Bob ♥ Abishola, Blue Bloods, CSI: Vegas, East New York, The Equalizer, FBI, FBI: International, FBI: Most Wanted, Fire Country, Ghosts, NCIS, NCIS: Hawai’i, NCIS: Los Angeles, The Neighborhood, So Help Me Todd, Survivor, SWAT, and Young Sheldon.

The CW TV series this season (so far): All American, All American: Homecoming, Coroner, Criss Angel’s Magic with the Stars, DC’s Stargirl,Family Law, Kung Fu, Penn & Teller: Fool Us, Professionals, Walker, Walker Independence, Whose Line Is It Anyway?, The Winchesters and World’s Funniest Animals.

FOX TV series that have premiered (so far): 9-1-1, Bob’s Burgers, Call Me Kat, The Cleaning Lady, Family Guy, The Great North, Hell’s Kitchen, LEGO Masters, The Masked Singer, Monarch, The Resident, The Simpsons, and Welcome to Flatch.

NBC TV series this season (so far): Capital One College Bowl, Chicago Fire, Chicago Med, Chicago PD, La Brea, Law & Order, Law & Order: Organized Crime, Law & Order: Special Victims Unit, Lopez vs. Lopez, New Amsterdam, Quantum Leap, The Voice, and Young Rock.

What do you think? Which network TV shows do you rate as wonderful, terrible, or somewhere between? If it were your call, which TV series would be cancelled or renewed for another season?

Check out our status sheets to track new TV series pickups, renewals, and cancellations. You can find lists of cancelled shows here.

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Published: November 19, 2022(RasulovS/DepositPhotos) Like it or not,

The Disney+ special, which was filmed simultaneously with “Guardians of the Galaxy Vol. 3,” begins streaming on November 25.

“Guardians of the Galaxy Vol. 3” will be James Gunn’s final Marvel Cinematic Universe film before he turns his attention to running DC Studios, but he has one more treat for fans before he departs the MCU.

Next week, Gunn’s longtime passion project “The Guardians of the Galaxy Holiday Special” will begin streaming on Disney+. The one-off event is an homage to the infamous “Star Wars Holiday Special” as well as many of the more warmly received specials that families watch each Christmas.

In a new interview with The Hollywood Reporter, Gunn opened up about his creative process behind the holiday special. As it turns out, his passion for the subject matter and familiarity with the cast and characters made it an extremely easy script to write.

“I’ll be honest, I wrote the screenplay in a few hours, so it just kind of spilled out of me. It was very easy,” Gunn said. “Everything about shooting it was easy. Everything about getting the performances out of people was easy, whereas ‘Vol. 3’ was torture in every way.”

Gunn explained that he was able to achieve higher production value than would normally be feasible for a Christmas TV special because he shot it on the same sets as next year’s feature film. In addition to saving money, it also allowed him to create more narrative synergy between the two projects.

“I shot them simultaneously,” he said. “One of the great benefits of the special was being able to introduce elements into the movie that I don’t have to then explain at the beginning of the movie, such as Cosmo the Spacedog [Maria Bakalova] or the fact that they live in the Head of Knowhere, their new residence, or introducing their spaceship, the Bowie, which, in real life, is this four-story set. It’s the most amazing set I’ve ever been on, and so we were able to utilize those sets that we had the money to build for ‘Vol. 3,’ in the special. We otherwise wouldn’t have had that type of money to build these million-dollar sets.”

“The Guardians of the Galaxy Holiday Special” begins streaming on Disney+ on Friday, November 25. 

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The Disney+ special, which was filmed simultaneously

In honor of the 2022 FIFA World Cup in Qatar, which kicks off Nov. 20, Billboard has reached out to Latin artists who are big fútbol fans to ask what the sport means to them. For our second installment, we spoke to Ecuadorian pop singer Johann Vera, who is a self-declared soccer aficionado and is ready to support La Selección Ecuatoriana during the tournament. Below, read Vera’s “What Fútbol Means to Me,” as told to Billboard.

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My first memory with soccer, now that I’m thinking about it, was in Guayaquil in my house. I liked playing it in my backyard. I have to be honest, I’m not the biggest soccer fan but I understand the euphoria it causes and I’ve lived it, and I think that the feeling doesn’t compare to anything else. I remember that for Ecuador’s first World Cup in 2002, I was about six years old, and remember hearing the entire city screaming “goal” and celebrating. That emotion of seeing an entire country united is not produced by anything else. The country could be facing a bad situation but that goal changes everything.

I’ve always wanted to do a song for my country and I thought it was very important to bring that patriotic feeling. I feel that being an Ecuadorian artist living in the exterior, you realize how important and magical your country is. Ever since I began my career, I had my country and flag very present in everything I do. I worked on “Donde Nací” by myself — it’s a gift that I wanted to give to my country. This song, and the World Cup, bring positivity and joy to my country. 

Once the song was done, I wanted to send it to the Ecuadorian Football Federation to see different ways I can promote it. Everyone loved the song but it was too late, and that’s when I changed the song’s chorus to: “They tell me no, I say yes, that’s how we are where I was born.” I believe that I owe this spirit of perseverance 100% to my country. I released the song only on social media, and a lot of people in my country began reacting to it and creating content with it, and I felt, at that moment, that I already won.

I’m a fan of la tri, of my team, because they represent my country. I feel that living in the exterior, your flag weighs more. I may not be the biggest soccer fan in the world but if la tri is playing, I’m there.

I’m confident that this will be the best World Cup for Ecuador. Winning the entire tournament may seem so unreachable, but why not? We have an incredible team. If Ecuador were to win the World Cup, it will signify so much. Going beyond fútbol, I think it will change the situation in our country and will mark a rebirth.

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In honor of the 2022 FIFA World Cup in

Elon Musk reinstated Donald Trump’s account on Twitter on Saturday, reversing a ban that has kept the former president off the social media site since a pro-Trump mob attacked the U.S. Capitol on Jan. 6, 2021, as Congress was poised to certify Joe Biden’s election victory.

Musk made the announcement in the evening after holding a poll that asked Twitter users to click “yes” or “no” on whether Trump’s account should be restored. The “yes” vote won, with 51.2 percent.

“The people have spoken. Trump will be reinstated. Vox Populi, Vox Dei,” Musk tweeted, using a Latin phrase meaning “the voice of the people, the voice of God.”

Shortly afterward Trump’s account, which had earlier appeared as suspended, reappeared on the platform complete with his former tweets, more than 59,000 of them. However his followers were gone, at least initially.

It is not clear whether Trump would actually return to Twitter. An irrepressible tweeter before he was banned, Trump has said in the past that he would not rejoin even if his account was reinstated. He has been relying on his own, much smaller social media site, Truth Social, which he launched after being blocked from Twitter.

And on Saturday, during a video speech to a Republican Jewish group meeting in Las Vegas, Trump said that he was aware of Musk’s poll but that he saw “a lot of problems at Twitter,” according to Bloomberg.

“I hear we’re getting a big vote to also go back on Twitter. I don’t see it because I don’t see any reason for it,” Trump was quoted as saying by Bloomberg. “It may make it, it may not make it,” he added, apparently referring to Twitter’s recent internal upheavals.

The prospect of restoring Trump’s presence to the platform follows Musk’s purchase last month of Twitter — an acquisition that has fanned widespread concern that the billionaire owner will allow purveyors of lies and misinformation to flourish on the site. Musk has frequently expressed his belief that Twitter had become too restrictive of freewheeling speech.

His efforts to reshape the site have been both swift and chaotic. Musk has fired many of the company’s 7,500 full-time workers and an untold number of contractors who are responsible for content moderation and other crucial responsibilities. His demand that remaining employees pledge to “extremely hardcore” work triggered a wave of resignations, including hundreds of software engineers.

Users have reported seeing increased spam and scams on their feeds and in their direct messages, among other glitches, in the aftermath of the mass layoffs and worker exodus. Some programmers who were fired or resigned this week warned that Twitter may soon fray so badly it could actually crash.

Musk’s online survey, which ran for 24 hours before ending Saturday evening, concluded with 51.2% of more than 15 million votes favoring the restoration of Trump’s Twitter’ account. It comes four days after Trump announced his candidacy for the presidency in 2024.

Trump lost his access to Twitter two days after his supporters stormed the Capitol, soon after the former president had exhorted them to “fight like hell.” Twitter dropped his account after Trump wrote a pair of tweets that the company said cast further doubts on the legitimacy of the presidential election and raised risks for the Biden presidential inauguration.

After the Jan. 6 attack, Trump was also kicked off Facebook and Instagram, which are owned by Meta Platforms, and Snapchat. His ability to post videos to his YouTube channel was also suspended. Facebook is set to reconsider Trump’s account suspension in January.

Throughout his tenure as president, Trump’s use of social media posed a significant challenge to major social media platforms that sought to balance the public’s interest in hearing from public officials with worries about misinformation, bigotry, harassment and incitement of violence.

But in a speech at an auto conference in May, Musk asserted that Twitter’s ban of Trump was a “morally bad decision” and “foolish in the extreme.”

Earlier this month, Musk, who completed the $44 billion takeover of Twitter in late October, declared that the company wouldn’t let anyone who had been kicked off the site return until Twitter had established procedures on how to do so, including forming a “content moderation council.”

On Friday, Musk tweeted that the suspended Twitter accounts for the comedian Kathy Griffin, the Canadian psychologist Jordan Peterson and the conservative Christian news satire website Babylon Bee had been reinstated. He added that a decision on Trump had not yet been made. He also responded “no” when someone on Twitter asked him to reinstate the conspiracy theorist Alex Jones’ account.

In a tweet Friday, the Tesla CEO described the company’s new content policy as “freedom of speech, but not freedom of reach.”

He explained that a tweet deemed to be “negative” or to include “hate” would be allowed on the site but would be visible only to users who specifically searched for it. Such tweets also would be “demonetized, so no ads or other revenue to Twitter,” Musk said.

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Elon Musk reinstated Donald Trump’s account on

Adele fans know she says “Hello” in a spectacular way, but now, judging by opening night at her Caesars Palace residency in Las Vegas, she has proven that she also says “goodbye” in a breathtaking way.

The 15-time Grammy winner irked fans and broke a few hearts when she postponed her Vegas residency earlier this year. But if the rave reviews she received weren’t enough to pick up spirits, the singer-songwriter closed out her performance with what can only be described as a magic trick.

Following her grand finale “Love Is a Game,” an enormous vertical column of pink confetti cascaded down, completely obscuring her body. Seconds later, after the confetti cleared, she appeared to have vanished into thin air.

At the end of a clip posted by Adele’s official fan page, someone can be heard yelling “What the f–?” That more or less captured the mood on social media as astonished fans scrambled to figure out how she’d pulled it off.

“When Adele disappeared into the burst of heart confetti I cried a bit. You really did that babes!!! SOOPGODDESS wrote on Twitter user. “Singing your ass off AND a magic show as the finale??? You’re taking it!!!”

“The singer Adele suffer a mild concussion after 20 pounds of confetti falls on top of her at her Las Vegas Residency,” another user jokingly captioned a video of the moment labeled “I now need to leave rooms like this.”

“Not Adele doing the disappearing act in Vegas,” a third fan remarked.

“Weekends With Adele” at The Colosseum at Caesars Palace in Las Vegas will run for 32 dates until March 25, 2023. Read below for more reactions:

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Zombies had a good run. Vampires had their day in the sun. Now, it seems to be cannibals’ turn for their bite at the apple.

Luca Guadagnino’s “Bones and All” gives them that, and more, in casting Taylor Russell and Timothée Chalamet as a pair of young cannibals in a 1980s-set road movie that’s more tenderly lyrical than most conventional romances. You know, the ones without all the flesh eating.

Guadagnino, the Italian director, is one of our most lushly sensual filmmakers. He makes feasts as much as he makes films. So it’s both a hearty recommendation and a warning to say that he brings as much passion and zeal to the lives of the cannibals of “Bones and All” as he did to the ravenous eroticism of “I Am Love” and the lustful awakenings of “Call Me By Your Name.” If you’ve seen what Guadagnino can do with a peach, it should no doubt concern you what he might manage with a forearm.

But while there is certainly gore in “Bones and All,” there is also beguiling poetry. Guadagnino’s darkly dreamy film, which opens in select theaters Friday, has some of the spirit of iconic love-on-the-run films like Arthur Penn’s “Bonnie and Clyde,“ Terrence Malick’s “Badlands” and Nicholas Ray’s “They Live By Night” — movies that as open-road odysseys double as portraits of America. Like the couples of those films, Maren (Russell) and Lee (Chalamet), as cannibals, are technically law-breakers. But their relationship to society is different. They aren’t fighting it. They aren’t outsiders by choice.

“Bones and All” official trailer starring Timothée Chalamet

And though “Bones and All,“ adapted by Guadagnino and David Kajganich from Camilla DeAngelis’ novel, is about their relationship, it’s more striking as Maren’s coming of age. Particularly in its vivid, unforgettable early scenes, “Bones and All” digs into her dawning awareness of her cravings — who she is, how she got this way, what it will cost her to be herself. There are, no doubt, powerful metaphors here of growing up queer. But the film isn’t a neatly drawn parable. In Maren’s self-discovery there’s something elemental about alienation and self-acceptance — and how devouring another might save you from devouring yourself.

“Bones and All” can be both brutal and beautiful. You have the sense of seeing a movie that in shape and style reminds you of countless others. But, well, cannibalism just has a way of throwing things off balance. The result is something that feels both archetypal and otherworldly. When, in the opening scenes, Maren sneaks out of bed to visit friends having a sleepover, it’s an extremely familiar set-up — right up until Maren’s languorous kiss of another girl’s finger turns into a crunching bite.

Chaos ensues, Maren flees and when she gets home, her father’s rapid response makes it clear this isn’t their first time rushing to uproot. Her father, Frank, is played by André Holland, an actor of such soulful presence I remain befuddled why he’s not in everything. They go from Virginia to Maryland, where, one morning, Maren wakes up to find him gone. On the table are an envelope with some cash, her birth certificate, and a tape recording of Frank recounting her first eating (a babysitter). Maren is 18. She’s never known her mother. And the sense of abandonment is piercing. Seeking her mother, she buys a bus ticket and heads to Ohio.

Power lines and nuclear power plants loom in the frame early in “Bones and All.” On television and the radio, we get snippets of Rudy Giuliani and Ronald Reagan. These are reminders, I think, of power dynamics in the 1980s for all those who lived outside a narrow, heterosexual spectrum.

On a stopover at night, Maren learns there are others like her. A mysterious man (Mark Rylance) beneath a streetlight introduces himself as Sully, and explains he could smell her blocks away. “You can smell lots of things if you know how,” Sully says. Rylance, with a drawl, a feather in his hat and gothic panache, plays one of the creepier movie characters of recent years. Leading her back to a nearby house, he explains the ways of being an Eater. “Whatever you and I got, it’s gotta be fed,“ he says. Soon, he’s bent over a body in his underwear, with blood smeared across his face.

In an Indiana grocery store, Maren encounters Lee. Chalamet, reuniting with Guadagnino, is again in fine form. Sporting a mullet, a fedora and an unbuttoned shirt, his charismatic cannibal seems to be channeling James Dean. He certainly catches Maren’s eye, who eagerly joins him in a stolen pick-up truck. Drawing closer to Lee has an added layer of danger. Will he kiss her or swallow her?

His fraught family history ropes in other struggles of young adulthood. “Bones and All” can ramble a little, but Lee and Maren’s companionship together is as sweet as it is inevitably tragic. In a cruel world full of fearsome characters more rapacious than they are — Michael Stulhbarg and David Gordon Green play a pair of particularly ghoulish hicks — they try to forge a love. The movie, overwhelmingly, is in the eyes of Maren. It’s a brilliant breakthrough for Russell, who made a startling impression in 2019’s “Waves.” Her Maren is such a sensitive, curious creature — hungry less for flesh than for affection, acceptance and a home.

Stulhbarg, you might remember, had a pivotal role as the father in “Call Me By Your Name.“ His role here couldn’t be any more different. But his words from that earlier film speak to much of “Bones and All.“ Both films wrestle with what we inherit from our parents and what we sacrifice for the sake of conformity. “Our hearts and our bodies are given to us only once,” he said in “Call Me By Your Name.” “Bones and All,” too, yearns for a free, full-body existence.

“Bones and All,” an MGM release, is rated R by the Motion Picture Association for strong, bloody and disturbing violent content, language throughout, some sexual content and brief graphic nudity. Running time: 121 minutes. Three and a half stars out of four.

___

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

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Ryan Reynolds is talking about the Deadpool Christmas-themed movie he had in mind that was ultimately scrapped after the Disney and Fox merger.

“I would love to see a song and dance number in a Deadpool movie. Four years ago [Deadpool co-writers] Rhett Reese, Paul Wernick and I wrote a Christmas movie starring Deadpool. But it got lost in the shuffle of Disney acquiring Fox and it never got made,” Reynolds told Big Issue. “Maybe one day we’ll get to make that movie. It’s not a musical, but it’s a full Deadpool Christmas movie. So one day.”

Reynolds has starred in two Deadpool movies, one in 2016 and the sequel in 2018. A third installment of the film franchise is being worked on right now with Hugh Jackman joining the Marvel Cinematic Universe reprising his role as Wolverine from X-Men.

Reynolds revealed that he had been courting Jackman to make an appearance in Deadpool “for six straight years.”

“It was ultimately Hugh that said, ‘I think I am ready to come back,’” Reynolds told Entertainment Tonight. “All we had to do was sell it to [producer] Kevin Feige, which didn’t take long, and the next thing you knew here we are.”

In the same interview, Reynolds addressed rumors that Taylor Swift would be joining Deadpool 3 after fans of the singer noticed that Jackman and Reynold’s announcement was filmed at the same house Swift’s All Too Well: The Short Film was shot.

“If we shoot the next Deadpool film in our house, then that would be that location,” Reynolds said about the the fan theory.

Reynolds added that he would love to have Swift in the movie saying, “I would do anything for that woman. She’s a genius.”

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Ryan Reynolds is talking about the Deadpool

Panels featured artists who worked on “Thirteen Lives,” “Black Panther: Wakanda Forever,” “Louis Armstrong’s Black & Blues,” “Causeway,” “Glass Onion: A Knives Out Mystery,” and “Bardo, False Chronicle of a Handful of Truths.”

IndieWire’s Consider This FYC Brunch returned on Friday, celebrating six of the films you’ll be hearing about during the 2022-2023 awards season. Above and below the line talent from “Thirteen Lives,” “Black Panther: Wakanda Forever,” “Louis Armstrong’s Black & Blues,” “Causeway,” “Glass Onion: A Knives Out Mystery,” and “Bardo, False Chronicle of a Handful of Truths” all participated in panels moderated by IndieWire editors to discuss what went into the dazzling images audiences see on the screen.

“Elevating artisans and craftspeople is, if you don’t mind me saying so, one of the things that IndieWire does best,” IndieWire editor-in-chief Dana Harris-Brisdon said in her opening remarks.

Throughout the day, these artists opened up about the labor intensive process of making great cinema. In their quest to achieve that special creative edge that separates them from the competition, every detail counts. Panelists from all six films emphasized that the real work began with meticulous research.

The team behind “Black Panther: Wakanda Forever” knew that topping the technical success of the original movie would be a difficult task. Legendary costume designer Ruth E. Carter won an Oscar for her Afrofuturism-influenced work on the 2018 film. But once director Ryan Coogler got the band back together to start talking about a sequel, everyone agreed that the success of the first film could not be an excuse to rest on their laurels. In a panel moderated by IndieWire’s Marcus Jones, Carter and producer Nate Moore described how they used other superhero movies as motivation to go bigger.

“Ryan said that every time he sees a Batman movie, the Batman costume is elevated,” Carter said. “It’s different, it’s more exciting.”

In addition to improving the existing costumes and gadgets used by the nation of Wakanda, the team was also tasked with bringing an entirely new (to the MCU, at least) civilization to life. The film’s villain, Namor, hails from Talokan, an underwater nation that also has access to Vibranium. When the decision to include Talokan was made, Coogler and his team knew that they needed to devote just as much creative energy to it as they did to Wakanda.

“Ryan is a filmmaker who wants things to feel tangible and real. He wanted to find cultural reference points that were as alive as the reference points we used to build Wakanda,” Carter said. “And he was still interested in themes of colonization.”

One key reference point that emerged was Mayan culture. Like Wakanda, Talokan is a Vibranium-fueled civilization that was able to remain untouched by colonial influences. By drawing from Mayan history, the film had an opportunity to incorporate Indigenous Mesoamerican culture in the same way that the franchise had honored African art.

Carter was certainly up for the challenge. The Oscar winner dove head first into researching Mayan aesthetics and ended up finding plenty of motifs that enriched her vision for the underwater civilization.

“There were little things that I loved: the jades, the ear spools. You’ll see these characters with these ear spools that they wear,” Carter said. “The beautiful aesthetics you see from the Mayan culture.”

Ron Howard found himself in a similar predicament when he signed on to direct “Thirteen Lives.” Like most people, he was familiar with the 2018 Thai cave rescue that saw an entire youth soccer team and its coach successfully evacuated from the Tham Luang Nang cave after being trapped by flooding. But making a movie that was not only set in Thailand, but attempted to tell the story of one of the most significant national events in the country’s recent history, required a far deeper knowledge of Thai culture than he entered the project with.

“It was exciting because of the Thai culture for me,” Howard said in a panel moderated by IndieWire’s Jim Hemphill. “A huge challenge that I took seriously, but an exciting personal experience.”

Howard always knew that his take on the material would have to be an inherently Thai story, incorporating specific elements of local cultures and religion. He consulted with a variety of translators and other experts, and hired Thai cinematographer Sayombhu Mukdeeprom, who told him that “I will be your angel” when it comes to understanding Thai culture.

The team was determined to get even the smallest details right. One early discussion involved the different accents used in southern and northern Thailand. Translators told Howard that Thai films and television shows seldom attempt to portray those different accents, but the director knew that it was an essential part of telling an accurate story.

“They said ‘we usually ignore that on TV,’ and I said ‘I don’t think we can,’” Howard said. “Because these boys were from the north, this story is happening in the north.”

When Sacha Jenkins began working on “Louis Armstrong’s Black & Blues,” he wasn’t as familiar with the intricacies of the jazz legend’s life as he was with some of his previous documentary subjects. But he embraced the challenge, diving into an extensive research process that saw him going through Armstrong’s sprawling diaries and personal records. While Armstrong’s musical prowess was well-documented, Jenkins was more interested in the details he uncovered about the trumpet player’s personal life and daily habits. That allowed him to document Armstrong’s life in a cinematic way that enhanced his perception of the music.

“There’s lot of journalism on the technical abilities of Armstrong,” Jenkins said on a panel moderated by IndieWire’s Christian Blauvelt. “But we wanted to give you a real portrait of who he was as a man. Because I believe to understand the music, no matter how technical it was, you have to understand the man.”

When it was time to shoot “Causeway,” director Lila Neugebauer was constantly thinking about authenticity. Her film, which stars Jennifer Lawrence as a disabled veteran who struggles to rebuild her life after being forced to return to her hometown of New Orleans, has earned rave reviews for its thoughtful portrayal of sensitive subject matter. On a panel moderated by IndieWire’s Marcus Jones, Neugebauer detailed her commitment to ensuring that Lawrence and co-star Brian Tyree Henry had the most accurate possible information on which to base their characters.

“I was able to have transformative encounters with veterans, and we consulted with a prosthetics expert down there,” Neugebauer said. “I think those conversations were instrumental in their work. But I would also add that both Jen and Brian, while both doing their homework, were both personalizing at the level of the soul.”

The whodunnit genre is all about crafting an intricate puzzle that will stump audiences until the very last second. Rian Johnson delighted audiences by doing that with “Knives Out,” but knew that the pressure was even higher for his followup, “Glass Onion: A Knives Out Mystery.”

On a panel moderated by IndieWire’s Eric Kohn, the film’s composer Nathan Johnson, editor Bob Ducsay, and producer Ram Bergman spoke about the importance of endlessly studying Johnson’s script to find new ways to insert Easter eggs that could add to the mystery.

“Often a composer will get brought in at the very end of the process to kind of quickly do the score. But coming on this early means we have the freedom to go down the rabbit hole,” Johnson said. “As a composer, I’m trying to tap into the subtext of what the actors are delivering. I get to kind of go in and play that subtext and leave little breadcrumbs and hints and trails.”

Few films released in 2022 are bolder than Alejandro González Iñárritu’s “Bardo (or a False Chronicle of a Handful of Truths).” The sprawling, surreal exploration of Mexican identity and Iñárritu’s conflicted feelings is the kind of dreamlike work that only a master filmmaker could produce.

In a panel moderated by IndieWire’s Eric Kohn, star Daniel Gimenez Cacho explained that the cast knew that they were creating something magical. He felt comfortable leaving things in the hands of his very capable director, and opted to focus on looking inward to bring as many personal contributions as he could to Iñárritu’s vision.

“It very much became my own life in a very magical way,” Cacho said. “What you see in the movie is my life. It is the closest character I have every played to me. How do you feel today? That is the way the character is going to be. It was just a matter of being present and just let it flow. This was very magical. So many things happen to me during the shooting that connected me with the deepest things of me. I must say, this was a unique journey.”

At the end of the day, everybody stressed that the extensive homework was a small price to pay for the privilege of telling stories with authenticity. Research-driven craftsmanship is an essential step towards making cinema that allows people to see themselves and their aspirations on the big screen, whether in biopics, documentaries, or the Marvel Cinematic Universe.

“This is why you do these stories,” Ron Howard said. “It’s because they’re outlier examples of what is possible.”

The full panel conversations from the IndieWire FYC Consider This Brunch will appear on IndieWire in the days ahead.

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Panels featured artists who worked on "Thirteen

Another fun week of podcasts, and today’s podcast guest Katrina Badowski from Peter’s season, has a much more interesting story off-show than she did on show. She got eliminated the first night on Peter’s season but there’s so much more to her that I wanted to share. Have followed Katrina on social media since her season and have always been interested in the stuff she’s posted. Whether it was speaking out against the franchise, or her dancing videos, or her work with the Special Olympics, there’s so much more to her than her hairless…pussy…cat, which was her limo entrance on Peter’s season talking about her cat Jasmine. We get into that and much, much more in today’s podcast. I want to thank Katrina again for coming on and I hope you all enjoy it.

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


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

(SPOILERS) I start by briefly going over some Bachelor Nation news and more from BIP’s Tuesday episode. Then Katrina joins me (13:05) to talk about her short journey on Peter’s season, but moreso about her life post-show: being a dancer in the NFL and NBA, her work with the Special Olympics, speaking out against the franchise, and what she’s up to now.

Instagram – @katrinabadowski

(SPOILERS) Today’s Daily Roundup covers more from BIP Tuesday night, an add on to the Aaron story, Survivor’s two blindsides, the Challenge, and TSwift is taking over my TikTok feed.

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


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

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






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Chris Hemsworth went public with the discovery that he is at an increased risk of developing Alzheimer’s disease so he could encourage others to take care of themselves.

In an episode of “Limitless,” his National Geographic docuseries about resisting the effects of time and aging, Hemsworth submitted to a series of genetic tests. They revealed that he belongs to the 2-3% of the population that carries two copies of the gene APOE4, which has been associated with a heightened risk of the disease.

The “Thor: Love and Thunder” star told Vanity Fair that he was supposed to receive the test results live and on-camera, but the weight of the information changed that.

“Peter Attia, who is the longevity doctor in that episode [‘Memory’], and overseeing a lot of the show, called [show creator] Darren [Aronofsky] and said, ‘I don’t want to tell him this on camera. We need to have an off-side conversation and see if he even wants this to be in the show,’” Hemsworth recalled. “It was pretty shocking because he called me up and he told me.”

Hemsworth said he “didn’t know what to think” when he heard the news: “I was like, ‘Am I supposed to be worried? Is this concerning?’”

Although he admitted that there was an “intensity to navigating it,” the 39-year-old said he’s ultimately thankful to know what he knows now.

“For me, the positive of it was like, ‘Right, if I didn’t know this [Alzheimer’s] information, I wouldn’t have made the changes I made.”

“If you look at Alzheimer’s prevention, the benefit of preventative steps is that it affects the rest of your life,” he continued. “When you have preposition to cardiovascular heart disease, cancer, anything—it’s all about sleep management, stress management, nutrition, movement, fitness. It’s all kind of the same tools that need to be applied in a consistent way.”

That was also Hemsworth’s motivation for including the information in the show’s fifth episode, titled “Memory.” He was offered a version of the episode “where we didn’t talk about it” and decided to turn it down.

“… I thought, ‘No, look, if this is a motivator for people to take better care of themselves and also understand that there are steps you can take—then fantastic,’” Hemsworth explained. “My concern was I just didn’t want to manipulate it and overdramatize it, and make it into some sort of hokey grab at empathy or whatever for entertainment.”

According to the Mayo Clinic, “Alzheimer’s disease is a progressive neurologic disorder that causes the brain to shrink (atrophy) and brain cells to die. Alzheimer’s disease is the most common cause of dementia — a continuous decline in thinking, behavioral and social skills that affects a person’s ability to function independently.”

All episodes of “Limitless” are now available on Disney+.

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Chris Hemsworth went public with the discovery

Rebecca Halpern’s latest documentary “Love, Charlie: The Rise and Fall of Chef Charlie” examines iconic Chicago chef Charlie Trotter, who developed micro-greens and helped make vegetarianism mainstream. The chef, who died in 2013, was also known for his cookbooks, which featured groundbreaking food photography, which earned him the title “godfather of food porn.” Trotter’s first namesake restaurant, located in a Lincoln Park townhouse on Chicago’s North Side, opened its doors in 1987 and remained a famed establishment for 25 years. While considered a trailblazing chef whose restaurants helped transform American fine dining, Trotter was also known for his temper and controlling behavior. 

“He was the puppeteer,” Grant Achatz, a chef who worked for Trotter and went on to open his own restaurants says in the film. “He figured out a way to get what he wanted from all of us.” 

In the first few moments of Halpern’s docu, Trotter states, “My philosophy has always been if it weren’t for the employees and if it weren’t for the customers, the restaurant business would  be the greatest business in the world.”

The film is comprised of sit-down interviews with Trotter’s family, friends, and celebrated chefs, including Wolfgang Puck and Emeril Lagasse, along with personal archival material (including 8mm home movies and hundreds of pieces of personal correspondence). “Love Charlie” will be released by Greenwich Entertainment on Nov.18 in theaters and on video on demand.

Variety spoke with Halpern about her docu being a cautionary tale and not a film about cuisine.

What made you want to make a film about Charlie Trotter?

Having grown up in Chicago (my mom was a food writer there), I only knew Charlie through the media’s caricature of him as an obsessive, tyrannical perfectionist, and I wanted to go deeper — to get to the heart of who he really was. Because he was in his prime before social media, his legacy now stands to be lost to time. For all the groundbreaking innovations he pioneered that we feature in the film (and there are many more where those came from), people should know who he is. 

You said that the thesis of this film has nothing to do with food. Can you explain what you mean by that?

Charlie Trotter’s story is a cautionary tale about what happens when a person’s identity becomes consumed by their work. Before he opened the restaurant, everyone called him “Chuck,” and we get this incredible glimpse into Chuck’s psyche through the letters and postcards he wrote when he was a young chef. But the minute he named the restaurant Charlie Trotter’s, Chuck knew instinctively that he’d have to take on a new persona and, in a way, play the role of Chef Charlie Trotter. He played that role for 25 years, and when the restaurant closed in 2012, the movie ended, and there was no role left to play. He died a year later.

You interviewed many famous chefs, including Wolfgang Puck, Emeril Lagasse and Grant Achatz as well as Charlie’s immediate family. Did they all immediately agree to participate, or did it take convincing? If so, what ultimately convinced them to be part of the film?

Charlie was a polarizing figure — people either loved him or loathed him, particularly if they worked for him. We were lucky to have the participation of so many family members, friends, and former employees, but there were a handful of people who either didn’t want to relive their experience or felt some sort of obligation to protect Charlie’s legacy, and they chose not to participate. That said, once Charlie’s family agreed to come on board, all the pieces fell into place.

Was there anyone that you wanted to interview that you couldn’t? If so, why?

It’s less about who we didn’t interview and more about the archival footage that didn’t exist of Chef Trotter in the kitchen. Charlie was very performative and always knew when the cameras were on him, and I wish we’d had more candid verite — particularly in his more “tyrannical” moments — where the audience could just be a fly on the wall at the restaurant. In some respects, how he behaved in front of the cameras reinforced this idea that Chef Charlie Trotter was a role he was playing to support his business.

Grant Achatz, who has been named best chef in the United States by the James Beard Foundation, was very candid in the docu. Did that surprise you?

Yes. One hundred percent. Though he’d spoken openly about his experience working for Charlie in series like “Chef’s Table,” this was the first time to my knowledge that he spoke about the full timeline and where his relationship with Charlie ultimately ended up, and how he now finds himself acting like Charlie all the time. Charlie and Grant’s stories are mirrors of each other, and it was surprising to hear Grant admit that. That, to me, is the real story here — this cyclical nature of legacy — of being a wunderkind who explodes onto the scene, who knocks the top dog off his pedestal, then reigns until the next guy comes along, and then is faced with that dreaded “now what?” question… 

Do you consider this film a homage to Chicago?

I’m originally from Chicago, my father was in construction, and he built many of the buildings that have come to define Chicago’s skyline, and my mom was a food writer there — so from a personal perspective, it’s totally an homage. Charlie Trotter put Chicago on the map for food, just as Oprah did for TV talk shows and Michael Jordan did for basketball. Chicago was in its heyday in the 90s — it felt like it was the center of the universe, and rightfully so. 

What do you hope audiences talk about after watching this doc?

I hope the film will spark conversations around excellence. What does it mean to be excellent? How can people be more excellent in their own lives? And where does the relentless pursuit of excellence ultimately lead?

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Rebecca Halpern’s latest documentary “Love, Charlie: The

Elusive British street artist Banksy may have been ‘caught’ painting a mural on a destroyed building in Ukraine. 

CCTV footage doing the rounds on Ukrainian TikTok shows a mask-wearing man sneaking up to a wall in the city of Irpin, near Kyiv, before ‘painting’ on it. 

While the footage appears to be a heavily staged spoof, it is possible it still shows Banksy – whose true identity has never been revealed.

The Irpin artwork, which shows a ballerina in a neck-brace, has been confirmed as a genuine Banksy and is one of seven he has painted in Ukraine in recent days.

The idea of spoofing a video of himself being ‘caught’ is in keeping with Banksy’s mischievous sense of humour.

Staged CCTV footage doing the rounds on Ukrainian TikTok shows a man sneaking up to a wall in the city of Irpin before ‘painting’ a Banksy on it

While the footage is heavily staged and the painting is obviously not happening live, it is still possible the British street artist spoofed it himself - in keeping with his sense of humour

While the footage is heavily staged and the painting is obviously not happening live, it is still possible the British street artist spoofed it himself – in keeping with his sense of humour

The Irpin artwork - showing a ballerina in a neck-brace - has been confirmed as a genuine Banksy and is one of seven painted in Ukraine in recent days

The Irpin artwork – showing a ballerina in a neck-brace – has been confirmed as a genuine Banksy and is one of seven painted in Ukraine in recent days

Other works painted by Banksy in Ukraine include a man in a bathtub – who bears a passing resemblance to Charles Darwin – painted inside a destroyed apartment in Horenka, a village five miles north-east of Irpin.

Another painted on the walls of a destroyed school in the town of Borodyanka, west of Irpin, shows a child flipping an adult man on to his back in a judo match.

The male figure appears to be Vladimir Putin – who holds a judo back belt.

More works include a mobile missile launcher that incorporates a crude drawing of a penis where the rocket should be, children playing on a tank trap as if it were a see-saw, and a woman in hair curlers and a gas mask holding a fire extinguisher.

Banksy confirmed their authenticity in a video released on his Instagram account, entitled ‘in solidarity with the people of Ukraine’.

Included in the footage is a woman and her daughter outside the bombed-out school, after the judo mural had been painted.

She says: ‘It was a bomb here and many people died.

‘My child used to go to this kindergarten. Don’t cry honey, we already cried so much, we don’t have any tears left.’

An artwork confirmed to be by Banksy on a street in Kyiv shows a Russian missile launcher with a crudely drawn penis in place of the rocket

An artwork confirmed to be by Banksy on a street in Kyiv shows a Russian missile launcher with a crudely drawn penis in place of the rocket

Another of Banksy's Ukraine artworks shows a woman with hair curlers and a robe on, wearing a gas mask and holding a fire extinguisher near a burned-out building

Another of Banksy’s Ukraine artworks shows a woman with hair curlers and a robe on, wearing a gas mask and holding a fire extinguisher near a burned-out building

Painted on the wall of a nursery destroyed by a Russian bomb, this Banksy shows a child throwing a man who resembles Putin in a judo match - a sport in which he has a black belt

Painted on the wall of a nursery destroyed by a Russian bomb, this Banksy shows a child throwing a man who resembles Putin in a judo match – a sport in which he has a black belt

Banksy began his unconventional artistic career as a graffiti artist in Bristol in the 1990s, and came to prominence painting satirical, political murals on buildings.

His signature style became black and white portraits painted using stencils, often showing human or animal figures performing an action or interacting with the world around them.

Some of his most well known works oppose conflict, including a portrait of a man hurling a bouquet of flowers – painted on the West Bank Wall which separates Jerusalem from Israel.

He is also known for playing with the idea of fake vs real.

During a residency in New York in 2013 he set up what appeared to be a tourist-trap stall in Central Park selling what seemed like replicas of his work for $60 a piece.

Except that the stall was real, and the artworks were genuine. 

Despite being in place for a full day, just one customer bought two prints which later raised in excess of $100,000 when sold at auction.

Another piece that toyed with a similar idea and the worth of art was a print of ‘Girl With Balloon’ that partially shredded itself while being auctioned.

The half-destroyed artwork later went back on auction, and sold for many times its initial guide price. 

Another of Banksy's new artworks in Ukraine shows a man who bears a passing resemblance to Charles Darwin having a bath in a destroyed house

Another of Banksy’s new artworks in Ukraine shows a man who bears a passing resemblance to Charles Darwin having a bath in a destroyed house

A dancer also features in this piece by Banksy, painted in the town of Borodyanka, which shows the female figure balancing on top of rubble

A dancer also features in this piece by Banksy, painted in the town of Borodyanka, which shows the female figure balancing on top of rubble

Two children appear to be playing on a tank trap as if on a see-saw in this Banksy work, which appeared in downtown Kyiv

Two children appear to be playing on a tank trap as if on a see-saw in this Banksy work, which appeared in downtown Kyiv

Banksy’s Ukraine artworks appeared in cities and towns devastated by Russia’s nine-month long war in Ukraine.

Irpin, where the ballerina with the neck brace appeared, was the site of some of the worst atrocities committed by Putin’s troops.

Hundreds of civilians were massacred during a months-long occupation after Russian forces were stopped there while trying to advance on Kyiv.

When Putin’s troops retreated they left behind evidence of their war crimes, including mass graves, torture chambers, and civilian bodies lying in the streets.

Ukraine is continuing to drive back the Kremlin’s troops on the battlefield, with recent retreats coming in the south and north-east.

Russian forces fled from the area around Kharkiv, Ukraine’s second-largest city, in September and recently withdrew from the city of Kherson.

Around half of the territory occupied by Moscow’s armies at the peak of the invasion has now been recaptured, with Kyiv asking for more weapons to get the job done.

At the top of the list is anti-aircraft batteries to protect against increased Russia air strikes, but Ukraine also wants attack jets and tanks to help with its offensives. 

 Who IS Banksy? Theories of who the mystery artist could be…and why he has never been spotted

By Olivia Devereux-Evans for MailOnline 

The identity of Banksy, a street artist from Bristol, whose career began in the 90s, has never been known or announced but numerous theories have been suggested about who he might be.

His works are world famous and have been seen all over the globe, including New York, Paris and Bethlehem. At auction, his popular works sell for huge profits. 

He uses his art to make statements on societal issues and politics. When he began to make graffiti art, he worked across his hometown, spraying his tag. 

Banksy evolved with the times, beginning to make more sophisticated works. He then became the elusive street artist that we know him as today.  

One of his earliest works is the The Mild Mild West. The large mural was painted in 1999 in Bristol’s Stokes Croft and shows a teddy bear throwing a Molotov cocktail at three riot police.

It was painted by the artist over three days in broad daylight and is still in the city today, among some of his other works.

One of his earliest works is the The Mild Mild West. The large mural was painted in 1999 in Bristol's Stokes Croft and shows a teddy bear throwing a Molotov cocktail at three riot police

One of his earliest works is the The Mild Mild West. The large mural was painted in 1999 in Bristol’s Stokes Croft and shows a teddy bear throwing a Molotov cocktail at three riot police

Other works he has designed include the Balloon Girl (2002), pictured, Kissing Coppers (2004), Love is in the Bin (2006) and Devolved Parliament (2009)

Other works he has designed include the Balloon Girl (2002), pictured, Kissing Coppers (2004), Love is in the Bin (2006) and Devolved Parliament (2009)

Other works he has designed include the Balloon Girl (2002), Kissing Coppers (2004), Love is in the Bin (2006) and Devolved Parliament (2009).

Also during his career, he opened the Walled Off Hotel in Bethlehem in 2017. The hotel faces the eight-metre high concrete wall that was built by Israel to separate the Palestinian territories.   

Reported ‘sightings’ of Banksy over the years  

2020- One recent sighting was apparently of the street artist wearing PPE while on the London Underground. 

2018- A passerby allegedly saw him near one of his works in Hull.

2017- A woman filmed an artist working in an Israeli mall. It was around the same time that Banksy had opened an exhibition in Bethlehem. The man being filmed seemed concerned and covered his face when he realised he was on camera. 

 2017- British artist James Ame was caught with a Banksy stencil and a spray can.

2016- An artist was furious to be filmed on the way back from the club in Melbourne- it sparked rumours that he was Banksy.

 

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And in the same year, he opened the Dismaland Bemusement Park in Weston-super-Mare, a theme park interspersed with his artworks.   

Theories on who he might be are rife. One suggestion, which is one of the more popular, suggests that the artist is Robin Gunningham.

The artist was born just outside of Bristol in 1973. Their former school mates have said they think he is Banksy, as he was a talented illustrator who drew cartoons. Their suggestion seems to be possible as the artist has previously said he first liked drawing when he was at school.

Rumours swirled that Gunningham could be Banksy after an image of him went viral. He was clutching a spray can and stencils.  

It is a supported theory which has become increasingly popular. Some seem to believe Gunningham is Banksy. 

One person who seemed convinced bought a piece by the relatively unknown artist for £4,000 in 2018. It was an album sleeve for the Bristol-based ska band Mother Samosa’s Oh My God It’s Cheeky Clown. The album sleeve has similarities to Banksy’s style.

Eager researchers tried to link Banksy to Gunningham in 2016, finally solving the mystery once and for all. The criminologists at Queen Mary University were set to use geographic profiling usually reserved for linking criminals to crimes to work out if they were the same man.

But that research was delayed as the mysterious artist’s lawyers voiced concerns about press coverage of the study to the university. It was set to be called Tagging Banksy. 

It has never been confirmed or denied by Gunningham or his representatives if he is Banksy.   

Theories have been floated of other potential figures who could be Banksy, including Massive Attack’s Robert Del Naja.

He is a graffiti artist who has done work in Bristol under the name of 3D. Banksy has named 3D of one of his early inspirations.   

The assumption that Robert could be Banksy was first discussed after DJ Goldie reportedly said his name on a podcast while talking about him.  He said: ‘No disrespect to Rob, I think he is a brilliant artist. I think he has flipped the world of art over.’

Fans have also claimed to have spotted Banksy artworks in the same cities as where Massive Attack played-twice. But Robert has denied the claims publicly.  

Theories have been floated of other potential figures who could be Banksy, including Massive Attack's Robert Del Naja. Fans have also claimed to have spotted Banksy artworks in the same cities as where Massive Attack played-twice. But Robert, pictured, has denied the claims publicly

Theories have been floated of other potential figures who could be Banksy, including Massive Attack’s Robert Del Naja. Fans have also claimed to have spotted Banksy artworks in the same cities as where Massive Attack played-twice. But Robert, pictured, has denied the claims publicly

It has also been suggested that Jamie Hewlett, who founded the Gorillaz, could be Banksy. This was because an anonymous forensic expert allegedly linked him to every company associated with the street artist. 

Also, Banksy has designed work used in the Gorillaz music videos in the past. But it has been denied by his publicist. 

And another theory that Banksy is popular television artist Neil Buchanan, who fronted children’s show Art Attack in the 1990s has also been suggested before.

The claim gained traction on social media because a fan noticed that Banksy’s art was popping up in locations where Neil had performed his music but his representatives denied it.

People have also alleged that they have caught a glimpse of Banksy numerous times over the years but nothing has ever been proved due to the mystery shrouding his identity. 

Nothing has ever been discovered about how his works are designed either- whether he does them alone or has a team.

And another theory that Banksy is popular television artist Neil Buchanan, pictured, who fronted children's show Art Attack in the 1990s has also been suggested before. The claim gained traction on social media because a fan noticed that Banksy's art was popping up in locations where Neil had performed his music but his representatives denied it

And another theory that Banksy is popular television artist Neil Buchanan, pictured, who fronted children’s show Art Attack in the 1990s has also been suggested before. The claim gained traction on social media because a fan noticed that Banksy’s art was popping up in locations where Neil had performed his music but his representatives denied it

One recent sighting was apparently of the street artist wearing PPE while on the London Underground. 

And in 2018, it was claimed that a passerby had seen him near one of his works in Hull. 

Meanwhile, in April 2017, a woman saw an artist in an Israeli mall who was working. The artist had recently opened an exhibition in Bethlehem. She filmed the man, who seemed concerned and covered his face when he realised he was on camera. 

In October 2016, an artist furious he was being filmed was captured on camera on the way home from the club in Melbourne- it sparked rumours that he was Banksy. 

He usually paints at night and without permission and his work is often classified as criminal damage because of this. He will later say that the art is his online. 

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Elusive British street artist Banksy may have

The opening minutes of “Wednesday” should ring true to anyone even glancingly familiar with the creepy, kooky, mysterious, spooky, ooky Addams Family. The new Netflix series begins with Wednesday (now a teen played by Jenna Ortega) marching through the brightly colored halls of Nancy Reagan High School to exact bloody revenge on sneering jocks. Following in the footsteps of Christina Ricci’s version in Barry Sonnenfeld’s 1991 and 1993 films, Ortega’s grim Wednesday is just as magnetic. As her dastardly plan unfolds, she allows her otherwise determined stoicism to break with a thrill of satisfaction, and it’s impossible not to feel the same as Ortega absolutely nails it.

At this point, it’s not hard to see the connective tissue between this show and Addams Family adaptations past, and why none other than Tim Burton came to television in order to direct Wednesday’s new chapter. But when Wednesday’s parents, Gomez (Luiz Guzman) and Morticia (Catherine Zeta-Jones), decide to send her to the mysterious Nevermore Academy, the Netflix-ification of her and her family’s story takes over in all too typical ways.

From co-creators Alfred Gough and Miles Millar (once of “Smallville”), the ensuing eight episodes of “Wednesday” ditch Sonnenfeld’s fish-out-of-water approach by throwing Wednesday into an environment that should in theory suit her perfectly. As formidable principal Weems (a perfectly cast Gwendoline Christie) explains, Nevermore Academy is meant to act as a second home for self-proclaimed “outcasts” like Wednesday’s peppy werewolf roommate Enid (Emma Myers) and Siren queen bee Bianca (Joy Sunday). Yes, she refuses to wear the school’s indigo uniform, and her burgeoning psychic visions seem to be one of a kind. But Wednesday nonetheless makes more sense at Nevermore — where she can eat lunch with Gorgons and take classes on carnivorous plants (taught by a “normie” played by none other than Ricci) — than she ever would at Nancy Reagan High. And yet, as Weems and her court-appointed therapist (Riki Lindhome) constantly remind Wednesday, her penchant for flouting authority and indulging everything morbid is unwelcome even at this school for the chronically misunderstood. She can’t even roll her eyes at the local town’s “Pilgrim World” without risking Weems’ wrath. In trying to cast Wednesday as such a unique figure even at Nevermore, the show keeps losing its own grip on what the point of Nevermore is at all.

So much of how Gough and Millar approach “Wednesday” makes sense on paper as it checks off enough Addams Family boxes to keep the series of a piece with its source material. Gomez and Morticia are as deliriously obsessed with each other as ever; Wednesday is enthralled by the macabre and disdainful of American whitewashing such as Pilgrim World. (Casting Ortega, thus making Wednesday Addams more explicitly Latina, is one of the show’s smartest moves.) But in presenting her as a teenager who’s just as embarrassed by her family as any other, the series also distances itself from a crucial component of what made Sonnenfeld’s “Addams Family” so singular.

Gomez and Morticia’s mutual passion now makes their daughter “nauseous, and not in the good way.” (Re-creating Anjelica Huston and Raul Julia’s spark would have been asking a lot of Guzman and Zeta-Jones, but nowhere in their two episodes do they come remotely close.) What’s more, Wednesday’s reluctant to go to Nevermore specifically because it’s her parents’ alma mater, with Morticia’s sterling reputation in particular looming too large for her to stomach. The legacy of “The Addams Family” has long hinged on the fierce loyalty every family member has to one another above all else. The series doesn’t entirely shun that aspect, especially as Wednesday comes to rely on the Addams’ trusty disembodied hand, Thing (one of the show’s most defined characters despite being a disembodied hand, and an unequivocal highlight for it). But the more I watched “Wednesday,” the more I realized that its fealty lies less with translating the nuances of the Addams Family than with reimagining the Addams Family for a young and/or nostalgic Netflix audience.

Nevermore, with its boarding school drama and Gothic bent, feels like a lab-made cross between “Harry Potter” and “Chilling Adventures of Sabrina.” Wednesday, now an aspiring crime fiction writer, spends her days solving predictable mysteries alongside the town’s surly sheriff (Jamie McShane) and navigating the competing affections of brooding classmate Xavier (Percy Hynes White) and shy townie Tyler (Hunter Doohan). Love triangles indeed become a recurring theme, between her ping-ponging among those unremarkable boys, Bianca stewing over Xavier’s interest in Wednesday, and a truly weird flashback to Gomez and Morticia’s Nevermore days that struck fear into my cold dead heart that a “Young Gomez and Morticia” show might also be on its way.

The thing is, despite Ortega’s fantastic performance and Burton’s active involvement, “Wednesday” as a whole never really captures what made “The Addams Family” so viscerally strange (nor is it half as visually striking). It does, however, get what makes a teen Netflix show tick. In fact, if this were just a series about a disaffected psychic teen exploring her peculiar new school, I’d probably like it a lot better. But as more and more networks and shows do now, “Wednesday” uses the specter of its IP to lure people in and stand out among the rest. The former should prove easy enough — the latter, not so much.

“Wednesday” premieres Wednesday, Nov. 23 on Netflix.

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The opening minutes of “Wednesday” should ring

We’re expecting the Samsung Galaxy S23 phones to bring a host of upgrades with them, from the cameras to the processors, but there is apparently one key spec that won’t see an improvement: the fingerprint sensor.

Reliable leaker Ice Universe (opens in new tab) seems to have got hold of a layer of protective glass for the Galaxy S23 Ultra model, and it reveals a spot where the fingerprint sensor will be located – a spot that’s the same size as it is on the Samsung Galaxy S22 handsets.

There’s nothing particularly wrong with the fingerprint sensor on the Galaxy S22, but as Notebookcheck (opens in new tab) points out, it had been hoped that the sensor on the Galaxy S23 would be bigger and better. Now that looks unlikely to be the case.

Same old same old

Specifically, the Galaxy S22 is fitted with the capable Qualcomm 3D Sonic Sensor Gen 2, whereas it was thought that the Galaxy S23 would carry the Qualcomm 3D Sonic Max – a sensor that’s more accurate, more secure, and can scan two fingers at once.

Perhaps Samsung has decided that it wants to stick with the same fingerprint sensor to keep costs down, or perhaps the original rumor about a fingerprint sensor upgrade was off the mark right from the beginning – but this is one upgrade that’s now looking unlikely.

You can argue that fingerprint sensors aren’t the most important component on a smartphone, but bearing in mind how often we unlock our phones every day, they can have a significant impact on the user experience.


Analysis: fingerprint sensor upgrades

Head over to the official website of the Qualcomm 3D Sonic Max (opens in new tab) and you’ll see there are improvements in a whole host of areas. It’s the largest ultrasonic in-display fingerprint sensor to appear so far, using soundwaves to scan fingerprints at a rapid pace and at an incredibly fine resolution.

It’s much harder to spoof a fingerprint with this technology compared with standard optical fingerprint sensors, Qualcomm says. It’ll scan fingerprints faster when they’re wet, and because of the acoustic scanning deployed, it’s more reliable when your fingers aren’t perfectly clean as well.

The larger surface area makes it possible for two fingers to be scanned at once, and the sensor has a 1 in 250,000 error rate, according to its manufacturer. However, based on the leaked protective glass that we’ve seen appear online, we’re going to have to wait until 2024 at least to see it in a Galaxy S flagship phone from Samsung.

It’s not all bad news though, because the Galaxy S23 is going to bring with it several improvements over the phone that came before it. Already this week we’ve heard that the handset is going to carry a custom version of the Qualcomm Snapdragon 8 Gen 2 chipset that provides even greater performance.

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We're expecting the Samsung Galaxy S23 phones

EXCLUSIVE: We have your first look at Branson, HBO’s upcoming four-part documentary series on highflying tycoon Richard Branson, who built an empire around the Virgin brand.

Award-winning filmmaker Chris Smith directed the series, which premieres on HBO on Thursday, December 1, with new episodes debuting each of the following three Thursdays. The series will also be available to stream on HBO Max.

“Smith… takes us on an expansive and intimate 70-year journey, from Branson’s upbringing as the son of a spirited, tough-love mother in Britain, to his pursuits of extreme, personal daredevilry that serve both to grow his businesses’ brands and feed his insatiable, lifelong thirst for high-stakes adventure,” HBO said in a statement. “Branson reveals the ups and downs of a man driven by risk taking in both his business and personal life, reflecting on the costs and rewards of his lifelong, relentless optimism and boundary-pushing.”

The key interview for the series took place 16 days before Branson blasted off on a suborbital flight aboard a Virgin Galactic rocket, making him the “first passenger to reach space in his own spacecraft.” Branson beat Jeff Bezos to the punch, who reached the boundary of outer space on a Blue Origin rocket nine days after Branson’s mission (Bezos’s rocket propelled him to a somewhat higher altitude than Branson reached).

Branson’s outsized business achievements are explored in the series, as is his upbringing in a family that encouraged risk-taking.

“He thrives on jeopardy. It’s a continuation of his childhood,” Branson’s wife Joan notes in the trailer. Branson himself says, “Having suffered from dyslexia, having left school at 15, I had a lot to prove.”

It didn’t take him long to prove himself. He became “a millionaire by the age of 22 with the booming success of Virgin Records,” HBO commented. “His launch of the airline Virgin Atlantic soon followed, along with a myriad of other Virgin branded businesses with varying levels of success, culminating in the launch of Virgin Galactic, his commercial spaceflight company in 2004.”

Smith has become one of the most successful directors in documentary film, and he’s got an Oscar contender this year in Sr., his film about actor-director Robert Downey Sr. and his relationship with his son, Robert Downey Jr. Earlier in the year, Smith released the Netflix documentary series Bad Vegan, about a New York restaurant owner whose business collapsed after she got involved with a mystery man who claimed he could grant her dog immortality. Additional credits include the 2021 HBO documentary series 100 Foot Wave, about big wave surfer Garrett McNamara; 2018’s Fyre, about the Caribbean music event that turned into a fiasco; 2017’s Jim & Andy: The Great Beyond, about Jim Carrey’s star turn as comedian Andy Kaufman, and the 1999 documentary classic American Movie.

For Branson, Smith not only spoke with the mogul, but those closest to him: “…[T]he series features his colleagues and employees, as well as insights from both business journalists and industry experts,” HBO said. “Also included are intimate interviews with his family, including revealing excerpts from conversations with Joan, his wife of 33 years, his sisters, his daughter Holly and son Sam, and an extensive personal archive of his late mother Eve, whose lively presence in Branson’s life continues to loom large.”

The film is directed by Smith and executive produced by Kate Noble. For HBO, executive producers are Nancy Abraham and Lisa Heller, and senior producer is Tina Nguyen.

Watch the trailer above.

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EXCLUSIVE: We have your first look at

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Chris Colfer reflected on what it was like being cast as Kurt Hummel, an openly gay character, on Glee — when he himself was not open about his sexuality at the time.

For context, the role of Kurt was created specifically for Chris, replacing a character named Rajeesh. Chris himself then came out as gay on a 2009 episode of Chelsea Lately, prompting GLAAD to write at the time, “At only 19-years-old, Colfer’s announcement makes him one of the youngest openly gay actors currently working in Hollywood.”

On a recent appearance on the And That’s What You REALLY Missed podcast, former co-star Jenna Ushkowitz asked Chris what it was like playing a gay character while he had yet to be openly gay himself. “My hometown has come very far in the last couple decades, but when I was growing up there it was dangerous to be out,” Chris said of Clovis, California.

“When I found out they had written this character for me I was thrilled. When I finally got the script is when I realized it was the gay character, and I was terrified,” he continued, recalling that one family member even told him, “You can’t play a gay character, that would ruin your life.”

As Chris’ previous auditions had gone poorly, he accepted the role, regardless. “I just wanted to get out and be a part of the industry so badly, I knew there was no option,” he said. “I also knew that it would probably force me to answer and ask questions about myself that I wasn’t quite ready to do, and I’m actually quite grateful for it in a way because it kind of pushed me into a path of honesty for myself.”

Noting that the creation of Kurt as a gay character felt like a “judgement,” Chris continued, “They just assumed. And they were right! I was much more effeminate back then…I was called a faggot every single day in high school. Every single day. I couldn’t hide it, I just wasn’t ready to have that conversation with myself or anyone I knew yet.”

Then, speaking on the Glee episode where Kurt comes out to his father, Chris said that, “there really wasn’t much support for young gay people back then” and called the moment a “lonely experience.”

Chris likened his experience to that of Kit Connor from Heartstopper, who had said that he felt forced to come out as bi. “That absolutely broke my heart because essentially the same thing happened to me but 15 years ago. We were the same age,” Chris said.

back for a minute. i’m bi. congrats for forcing an 18 year old to out himself. i think some of you missed the point of the show. bye


Twitter: @kit_connor

“I really wanted to tweet something in support of him, but I didn’t want to be the old guy trying to get attention, trying to take someone’s trauma and be like, ‘Oh, I remember when this happened to me.'”

While Chris said that he does “highly encourage everyone to come out when they are ready,” he noted that “for anyone to push someone into that, that is one of the cruelest things you could possibly do.”

“People were furious that it happened to [Kit] — I think that’s proof of how far the community had come. When it happened to me it was very much ‘I deserved it.’ It was crickets. It was obvious, so therefore I had no reason to be upset about it.”

“At the time, I wasn’t ashamed of it at all. I very much knew. I just wanted to be on a boat before I called myself a sailor,” he added. “Even during Glee I would get called a faggot at auditions…When I would tell people those stories they would say, ’What do you expect? You’re an openly gay actor in Hollywood.'”

You can listen to the full interview with Chris here.

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In filming “The Quiet Girl,” the evocative 80s-set story of a mysterious child sent to live with distant relatives for the summer in rural Ireland, cinematographer Kate McCullough says she found her way by keeping herself open to the natural elements of the setting.

“When you arrive on a location, there’s lots to inspire you,” says McCullough, who filmed writer/director Colm Bairéad’s feature debut, an adaptation of Claire Keegan’s acclaimed 2010 short story “Foster,” screening at the Camerimage International Film Festival in the directors’ debuts competition.

The Berlinale prize-winning film, praised for its own quiet qualities and storytelling through minute details, unfolds with the arrival of 9-year-old Cáit at the home of distant, childless relatives – a plan devised to offer relief to Cáit’s own household, where too few morsels are in the larder for too many children.

The destination is a mystery to the child just as she is to its residents. “The trees through the window, moving in a certain way, doors are creaking, floorboards, smells, it’s all very layered in,” says McCullough of the farmhouse location. “I find that really helpful in the process of prepping a film. You can start to build out from that and it’s kind of an anchor.”

The crew managed to find an atmospheric house from the era in which the story is set, says, McCullough, which signified a wealth of visual opportunities – if also challenges.

“The book is set in Waterford, which is down on the south coast. But we shot in Meath, about an hour north of Dublin, which is where I’m originally from. That was quite nice because I grew up on a farm. That milking parlor hasn’t changed, I’d say, since the 80s or 90s. It’s very hard to get access to those spaces now.”

Because the house had not been renovated, it offered authenticity in spades – but also forced McCullough to shoot around whatever angles she could find.

“I’m used to working on location,” she says. “I come from a documentary background so I’m used to tight corners. Also, the car was pretty tight – we didn’t have access to remote gear so I was in these weird contortions in the car.”

But the pain is worth it for the realism, she says. “I like locations – I’ve only shot in the studio maybe twice. It’s a bit of a novelty to me, dreaming up reality in a box.”

McCullough’s past work shows remarkable versatility, with dozens of shorts, music videos, TV, film, narrative and documentary projects, and she relishes new challenges.

“It’s about trying to rethink again and forget everything you know and be fresh to the material.”

The director, for his part, was also committed to finding targets of opportunity rather than going in with a detailed shoot plan, says McCullough. “We didn’t do any storyboards. It was a shot list, but in a way the shot list was developed just to be sure we got the story shot in the time we had.”

Under child labor laws, with a 9-year-old star such as Catherine Clinch – who turns in an arresting, naturalistic performance as Cáit – shoots with her were restricted to half days. With a total production time of five weeks, it meant the entire cast and crew had to be fully primed to go when Clinch’s day started.

“You have to sort of begin the scene without her, then bring her in, then take her out. There’s lots you can do with a double but it probably forced us to shoot a bit differently. If we wouldn’t have Catherine, how can we rethink this scene?”

The time limits also led to shots that would build dramatic tension, McCullough says: “Trying to hold back on revealing her, her character, also this kind of slow tilt down from the landscape to reveal her – things aren’t always as they seem.”

Filming a story from a child’s perspective was new to the cinematographer too, she says, but the Academy frame size used made sense for the perspective.

“I haven’t done a feature centered on a kid. Coming down to her level, the choice of aspect ratio was linked to that. You’re more focused on the verticality of things, the difference between the adults and Catherine.”

Working with a first-time child actor is taking a risk, certainly, she says. But in this case, it was a sound bet. “She sort of set the tone. This actor, from day one, was just very composed and focused and wanted to get it right.”

Clink’s manner is much like her character’s in some ways, says McCullough – though luckily that does not grow from a place of neglect, as Cáit’s does.

“She’s quite contained,” she says of the actress. “I’ve seen her smile and laugh much more since the film has come out.”

Clink was cast after a call went out to Irish-language schools throughout the country, and the film itself was funded in part through a Cine4 initiative to develop more such projects. When filming Irish-speaking subjects, McCullough adds, it’s important to allow for body language in the frame.

When filming children, most cinematographers would be nervous about using a locked-down camera and employing the long takes that make up “The Quiet Girl.” The thinking is often “Maybe we should go handheld so we won’t miss a thing,” says McCullough.

But not with Clink. “It was just allowing her space within the frame – she’s just incredible to look at. There’s always something going on. There’s an interior world. Even when we were doing camera tests, she’d never been on camera before but she was like, ‘I’m ready for this.’”

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In filming “The Quiet Girl,” the evocative

In January, Theranos founder Elizabeth Holmes was found guilty of wire fraud and deliberately misleading investors. Now, 10 months later, she has finally received her sentence: 11.25 years in prison and 3 years of supervised release, according to Law360 reporter Dorothy Atkins. Judge Edward Davila will schedule a follow-up hearing to determine what Holmes owes in restitution. 

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According to Atkins, Judge Davila calculated the sentence based on the defrauding of 10 investor victims—among them Rupert Murdoch and the family of former secretary of education Betsy DeVos—for a grand total of $385 million. Among the victims are Rupert Murdoch and the family of Betsy DeVos. Per NBC News reporter Scott Budman, Judge Davila said federal sentencing guidelines indicated that Holmes should serve 11 to 14 years in prison.

Ahead of today’s sentencing hearing, more than 140 people, including New Jersey senator Cory Booker, wrote letters to Judge Davila asking for leniency. Some of the letters were filed as late as last night, Judge Davila noted. Holmes, who arrived heavily pregnant to her hours-long hearing, remained stoic as attorneys on both sides attempted to sway the judge’s final decision. 

Holmes was once considered a  Silicon Valley wunderkind—a Stanford dropout with an idea big enough to save lives and change healthcare forever. Through her infamous start-up Theranos, Holmes set out to create an at-home testing device that could diagnose hundreds of diseases with a single drop of blood. The glaring problem, of course, is that the technology to achieve such a feat doesn’t exist. Even when the company was valued at $9 billion, the device—proudly named the Edison in an homage to the prolific inventor Thomas Edison—was medically useless. 

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In January, Theranos founder Elizabeth Holmes was

Disney Channel just gave us a Baxter family reunion 17 years in the making.

Friday’s episode of Raven’s Home welcomed T’Keyah Crystal Keymáh as Raven’s mother Tanya Baxter, marking the character’s first on-screen appearance since Season 3 of That’s So Raven back in 2005. (Keymáh left the show midway through its run to care for her grandmother, so Tanya was sent off to law school in London.)

Raven was thrilled to have her mother back on the right side of the pond for the first time in more than a decade, but Victor had a slightly more complicated reaction to his estranged wife’s unexpected return. Considering he never even told her about his heart attack, it’s fair to wonder how much the long-distance spouses speak to one another. His awkward inability to ask his own wife out to lunch was also troubling.

To make matters worse, Raven had a vision of Victor telling Tanya, “I can’t live like this anymore.” Traditional shenanigans ensued as Raven’s paranoia led her to crash her parents’ romantic sail boat ride. (“No one dumps my mama, not even my daddy!”)

Meanwhile, Booker and his associates tracked down the exact tree in which Victor and Tanya once carved their names — the perfect gift for Victor’s 60th birthday — but they fumbled the delivery. More specifically, they dropped the stump off the Golden Gate Bridge… and wouldn’t you know, it fell directly onto Victor and Tanya’s sailboat.

After being rescued by the coast guard and returning home, Victor finally told Tanya what Raven had been fearing. But here’s a shocker, if you can believe it — Raven misinterpreted her vision! “I just can’t live like this anymore,” Victor said. “We’ve been living apart for years. I thought I was fine with that, but I saw you today and I realized I’m not.” Instead of ending things with Tanya, however, Victor announced that he wants to move to London so they can finally be together.

Tanya was elated by this turn of events, even more so than Lazlo, who claimed Victor’s now-vacant bedroom as soon as he heard about the big move.

But fear not, Victor won’t be staying in London for long. Rondell Sheridan is expected back for the sixth season of Raven’s Home, which was announced at Disney’s D23 Expo in September.

Did you enjoy this long-overdue Baxter family reunion? Which other That’s So Raven characters are you still hoping to see on Raven’s Home? Drop a comment with your thoughts below.

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Disney Channel just gave us a Baxter

“Anyone who knows me knows how much I love an evening devoted entirely to me,” Ryan Reynolds joked when receiving his American Cinematheque Award in Los Angeles on Thursday night, and love it or not that’s exactly what he got. The actor was the 36th recipient of the prestigious honor and was celebrated with an evening highlighting his success across acting, producing and his many entrepreneurial ventures, by a roster of friends and colleagues including Will Ferrell, Hugh Jackman, Octavia Spencer, Helen Mirren, Salma Hayek, Shawn Levy and wife Blake Lively.

While the program showcased the many facets of Reynolds’ career via segments titled “The Comedian,” “The Sexy Man,” “The Serious Man” and “The Smart Ass” — and even featured a ballroom-wide singing of the Canadian national anthem (as Reynolds is the first Canadian to win the award) — Lively’s speech toward the end of the night proved to be the breakout.

With the couple’s two oldest daughters in attendance and currently pregnant with their fourth child, Lively noted how the star has always had something in him that has beckoned him home, starting from when he first moved to L.A. to pursue acting and would drive home to Canada every weekend.

“Now I am his home, and his girls are his home, and just like that 19-year-old boy he races home, whether it’s from across the globe or a meeting across the street; he is hardwired to get home,” Lively told the crowd in the Beverly Hilton ballroom. “If he came home from set not in his wardrobe we would be very concerned — soaked in mud, fake blood, real blood, prosthetic scars, superhero suits, tap shoes or clown makeup, Daddy always comes home.”

“That man races back to his real life like nothing I have ever seen, especially not by someone who is able to be so all-in in his work life,” she continued. “He’s able to somehow be everything to everyone all at once; he is the most present person you will ever meet. And yes he creates magic in his work, but man oh man does he create magic in his real life.”

Blake Lively and Ryan Reynolds

Emma McIntyre/Getty Images

Reynolds’ frequent collaborator Levy — who is reteaming with him for Deadpool 3 and teased that if the third one does not live up to the previous two, it will be the fault of Jackman, who is joining the project as Wolverine — also highlighted Lively in his speech as Reynolds’s superpower and his entire world, noting, “One of the most beautiful things is I don’t think a day has gone by in the four years we’ve been working together that he doesn’t acknowledge that and express gratitude for that.”

Levy, who was the night’s last speaker, jokingly also complained that no one told him he was “going to be fucking 17th, and everyone who goes before you are actual professional actors and comedians and leaders of nations. They’re going to fucking pillage every idea you had, so I have nothing original.” But Levy summed up Reynolds as “more than a great artist, he’s a great man.”

Ferrell, who costars with Reynolds in their new Apple TV+ musical Spirited, was Reynolds’ first presenter, commenting that past recipients of the American Cinematheque Award have included “Steven Spielberg, Ron Howard, Martin Scorsese, Jodie Foster and Sean Connery, just to name a few. And tonight you chose Mr. Ryan Reynolds. What were you thinking? What happened? Who fell through? He’s not even American, he’s Canadian!”

He also had some kind words, though, saying, “Ryan Rodney Reynolds, or Ry-Rod, as you are affectionately called by your fans, you are an incredibly talented actor, filmmaker, businessman, but more importantly you’re just a great guy and I’m lucky to be able to call you a friend.”

Will Ferrell

Emma McIntyre/Getty Images

Hayek, Mirren, Jackman, Jeff Bridges and Canadian Prime Minister Justin Trudeau sent in video messages, and Spencer, Nathan Fillion, Mary Steenburgen and Rob McElhenney served as in-person presenters. McElhenney purchased Welsh soccer club Wrexham A.F.C alongside Reynolds two years ago, and he said, “there’s a strong chance that we’re in this thing together for the rest of our lives. And I can honestly say that there’s no person on Earth that I would rather be doing this with than Ryan.”

When Reynolds finally took the stage to accept his award, he admitted “I’ve never really taken myself too seriously, as many of you know, and it creates a pretty confounding paradox when I’m celebrated by a very serious award show with prestigious company like this.” He recalled Bridges once gesturing to a room full of actors and producers and proclaiming, “This is our tribe, man,” which is something he didn’t relate to at the time.

“While I’ve been given the privilege to play in different fields and sandboxes, I’m mindful that I’m primarily known as a movie actor, and that is humbling because movies bring people together in ways both figurative and literal,” Reynolds said. “That togetherness feeling is, more than anything else, what I yearn for, what I yearn to create,” adding that so much of what he does is for his daughters.

“Most importantly I get to spend my days working with my favorite collaborator of all, my wife Blake. You are the greatest ghostwriter in Hollywood history, you have literally authored me into this moment,” he continued, before wrapping up: “Here I am standing before you with this fancy and beautiful trophy, drenched in all of this privilege and luck and gratitude, and despite what I thought of Jeff Bridges’ comment years ago, I’m starting to suspect I may be part of a community.”

Jason Blum and his Blumhouse Productions were also honored as part of the evening, receiving the Power of Cinema Award from Hill Valley; Universal Pictures chairman Donna Langley presented to him, teasing to Blum, “I just have to warn you that your co-honoree this evening, Ryan, is very funny and makes very funny movies, so he has funny people introducing him. You make scary movies so you have this scary person introducing you.”

“He’s crazy, he’s bold, he’s fearless, he’s brave, and I have to say, Jason, your partnership and friendship have been invaluable,” Langley said. “I’m just so proud that you’ve chosen to make Universal your home for more than a decade.”

(L-R) Donna Langley and honoree Jason Blum pose in the press room during the 36th Annual American Cinematheque Award Ceremony honoring Ryan Reynolds at The Beverly Hilton on November 17, 2022 in Beverly Hills, California.

Donna Langley and Jason Blum

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Taking the stage, Blum noted, “It’s funny to be up here accepting an award because everyone in Hollywood says we don’t do it for the awards, which we know is not true, but in horror it kind of is actually true because the awards for horror are few and far between, so this is very, very cool.”

“For a long time at Blumhouse we’ve been kind of a group of misfit outsiders — we’re not allowed to think of ourselves like that anymore I suppose, especially here tonight that feels silly to say, but I still do feel that way, which I’m happy about actually — working in a genre that we love, with some of the most creative filmmakers in our business,” he continued, dedicating the award to all of the filmmakers his company has worked with — including James Wan, who Blum is in talks with to merge their two horror production companies. “I’m very, very excited for what might come when we all hopefully work together,” he said of that partnership, while also thanking “lunatic horror fans. There are millions and millions of misfits and outsiders who come to watch our Blumhouse films in theaters and have a shared experience of being scared together.”

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“Anyone who knows me knows how much

I’ve always considered Les Misérables—known affectionately as “Les Miz”—the perfect musical. And I’m happy to say that after seeing it decades later at the Providence Performing Arts Center, it really lived up to that proclamation.

There is just no fat in the production of Alain Boublil and Claude-Michel Schönberg’s Tony Award-winning musical. Based on the riveting novel by Victor Hugo (which I’ve read), the sensational story packs in powerhouse performances, enthralling characters, sweeping music, and iconic songs, all set against the dramatic backdrop of the historical French Revolution. The production weaves all these engrossing elements into a storytelling paradigm where every moment counts.

Almost every song in the production can be considered among the best Broadway songs to ever be belted out in a theater. You’ve heard the tunes before (“I Dreamed a Dream,” “Do You Hear the People Sing?” “One Day More”), but this in no way diminishes from the impact of hearing these iconic songs performed in their theatrical setting. Even though Cameron Macintosh’s production of Les Misérables was staged in the 1980s, the musical phenomenon stands the test of time and proves the timeless brilliance of the production’s constant relevance with themes of injustice, love, forgiveness, redemption, war, and hope.

In fact, I can’t think of any other musical with so many numbers that transcend the actual production. Is there another song like “I Dreamed a Dream” that encapsulates the youthful hope of life being crushed under the weight of harrowing circumstances? Or the cynicism of fraudulent landlords like the Thenardiers in “Master of the House?” “Red and Black” captures the spirit of the youthful exuberance of the French Revolution. And who wouldn’t be moved by those same youths cut down in their prime, whose spirits are paid tribute to in “Empty Chairs at Empty Tables,” (beautifully staged with candles representing each lost soldier and equally sung by Gregory Lee Rodriguez)? And Valjean’s line at the end, “to love another is to see the face of God” still packs an emotional punch all these years later. There were quite a few sniffles heard in the last moments, myself included.

The transition songs are almost as good as the hits, like “Lovely Ladies” and “Who am I?” which is what I mean about the production having no downtime: every minute counts. But a great Les Misérables rests on the shoulders of the two main leads, Jean Valjean (Nick Cartell) and Inspector Javert (Hayden Tee), both of whom hail from previous productions and reign supreme in this one. Cartell and Tee have a commanding presence in their roles, equally bringing down the house in their marquee numbers, with Cartell holding the audience enraptured with the lyrical “Bring Him Home.” Contrastingly, Tee embodies all the conflicting emotions that lead him to his awe-inspiringly staged end in “Soliloquy.” Additionally, the rest of the cast is excellent, with the Bishop (Randy Jeter) who inspires Valjean’s path of salvation, and Eponine (Christine Heesun Hwang) as particular standouts (her “On My Own” stunned).

The audience on opening night gave the production an instant standing ovation. You could hear notable gasps throughout as attendees were obviously thrilled to not only see such an iconic production but one that far exceeded their expectations. That also included my 14-year-old daughter. It’s always a gamble bringing a teenager to a performance that is over three decades old. Not only was she completely blown away by the production, but I’m happy to report that she is now embarking on reading the original novel by Hugo.

In other words, Les Misérables after all these years can still be considered the gold standard of musical theater. It’s playing at the Providence Performing Arts Center through Sunday, November 20. More information can be found at https://www.ppacri.org/. Les Misérables continues its tour throughout the nation. This is a bucket list must-see.

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I’ve always considered Les Misérables—known affectionately

Ten years ago when she was a student, Kathleen Cassidy discovered the power of couponing when shopping for food.

Nowadays, with high food prices taking a bite out of Canadians’ wallets, Cassidy has turned to social media to share her experiences in saving money at the grocery store.

“I normally save thousands of dollars a year,” said Cassidy, who is the founder of the Living on a Loonie social media blog.

“Depending on what you use and how brand loyal you are, you can definitely save a lot of money.”

Read more:

Canadians turning to couponing to save money amid high inflation rates

Couponing has been making headlines throughout the year as the Bank of Canada works to bring down the rate of inflation. According to a recent CIBC poll, many Canadians are employing savings strategies like couponing to save money on purchases. So how does it work?

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Coupons are often given by manufacturers and can be used for discounts on their products, said Sylvain Charlebois, director of the Agri-Food Analytics Lab at Dalhousie University.

Coupons incentivize the marketplace by offering consumers a discount in exchange for purchasing their product. Coupons are different than grocery flyers, which are a form of advertising managed by supermarkets, Charlebois said.

“Coupons will actually incentivize consumers to buy the product by offering a discount, so you have to take a physical action in order to save money, whereas a flyer there’s some vertical coordination between grocers and manufacturers, and so manufacturers will want grocers to promote their products as much as possible,” he said.

“Often, money incentives aren’t necessarily just for consumers, they’re for the grocer as well. So PepsiCo will say ‘If you actually put my chips on the front page, left corner this week, we’ll give you credits, we’ll give you some sort of dividend based on sales’ and things like that.”

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Click to play video: 'Tips to save money while shopping'


Tips to save money while shopping


Sometimes in a grocery flyer, coupons can be found and they can be cut out, Charlebois added. They’re a way for a food manufacturer to have a relationship with a customer.

“Normally, manufacturers don’t sell directly to consumers. That coupon creates that relationship with consumers. That’s the incentive for manufacturers,” he said.

“In return, you’ll give them some data at some point because you may actually have to mail in a coupon or you’re using it at the point of sale. If it’s used at the point (of sale) itself, it will be sent back, it will be recorded, and manufacturers will know when you bought their product and what other product you bought their product with. That’s very important market data.”

Where can coupons be found?

According to the Nov. 7 CIBC poll, which sampled 1,520 Canadians online Sept. 14-15, 37 per cent of respondents said they’re employing strategies such as couponing or looking for deals at the store.

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Coupons can be downloaded online from manufacturers’ websites or on savings websites, and they can also end up in the mail, said Cassidy.

“The other one would be when you are actually at the store, so when you’re in the store a lot of the times (paper coupons) are directly by the products in the aisle,” she said.

“So it’s just kind of keeping an eye open for those.”

Read more:

‘She’s a wealth of knowledge’: Nova Scotia ‘Coupon Nannie’ offsets inflation

While Cassidy said couponing has saved her thousands of dollars, when used with other tools like loyalty programs, the savings can add up even more, she said.

“How much money you’re going to save when couponing really depends on how much time and effort you want to put into things,” Cassidy added.

How can Canadians utilize these tools to save on food?

Before going to the grocery store, Canadians should consider a meal plan, Cassidy said. That involves thinking about what they’re having to eat each night, and what’s already in their fridge and freezer.

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“What items do you actually need to buy? That alone can help you kind of pinpoint what items you need to purchase that week, what proteins are on sale,” she said.

“It also helps you reduce waste because a lot of Canadians will go to the grocery store and pick up a bunch of stuff that they think they need, but they haven’t kind of thought through what their plan is. So by making a meal plan, even before you go to the grocery store, it can really help save in all those areas.”


Click to play video: 'Inflation rates hold steady in October as economists expect another rate hike'


Inflation rates hold steady in October as economists expect another rate hike


By spending some time online before going to the grocery store, Canadians can find out what the fair market value is of items on their grocery list, said Charlebois.

“Do your homework first, then when you show up at the grocery store, if that price doesn’t match the price that’s on your piece of paper or on your phone, just walk away,” he said.

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“Don’t go to the same store all the time, go to a different store every other week. You don’t have to go to two, three stores a week – just go to one store a week, but alternate, and you’ll find out that things are very different from one store to another, even if it’s owned and operated by the same owner.”

Read more:

Grocery shoppers using coupons to save money amid inflation

Cassidy agrees.

“A lot of stores are fighting for your money and for your attention … there’s going to be a lot of loyalty points offers,” she said.

“When you come to the store and you spend X amount of dollars, you’re going to get say, $25 back in points or something like that, so that can really help you then redeem your loyalty points to get that $25 off of your grocery bill or whatever the offer is in store.”

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Ten years ago when she was a

FIFA president Gianni Infantino has hit back at criticism of Qatar’s human rights record in an extraordinary press conference in Doha, the day before the World Cup kicks off in the Middle East. 

Infantino began with a singular expression of his support for the LGBTQ community and migrant workers. 

“Today I feel Qatari, today I feel Arab, today I feel African, today I feel gay, today I feel disabled, today I feel a migrant worker,” he said.

“I’m not Qatari, African, gay, disabled and I’m not really a migrant worker but I know what it means to be discriminated and bullied, as a foreign in a foreign country, as a child at school I was bullied because I had red hair and freckles. I was bullied for that.

“There are 1 billion disabled people in the world … and nobody cares.”

In a 90-minute conference, Infantino lashed out at what he called the “hypocrisy” of those criticising the Muslim country. 

“This moral lesson-giving – one-sided – is just hypocrisy,” the Swiss said.

“I don’t want to give you any lessons of life, but what is going on here is profoundly, profoundly unjust.

“For what we Europeans have been doing for the last 3000 years we should apologise for the next 3000 years before starting giving moral lessons to people.

If Europe really care about the destiny of these people, they can create legal channels – like Qatar did – where a number of these workers can come to Europe to work. Give them some future, some hope.

“I have difficulties understanding the criticism. We have to invest in helping these people, in education and to give them a better future and more hope. We should all educate ourselves, many things are not perfect but reform and change takes time.

“This one-sided moral lesson is just hypocrisy. I wonder why no-one recognises the progress made here since 2016.

“It is not easy to take the critics of a decision that was made 12 years ago. Qatar is ready, it will be the best World Cup ever.

“I don’t have to defend Qatar, they can defend themselves. I defend football. Qatar has made progress and I feel many other things as well.

“Of course I am not Qatari, Arab, African, gay, disabled or a migrant worker. But I feel like them because I know what it means to be discriminated and bullied as a foreigner in a foreign country.”

The tournament begins under a shadow of international condemnation of Qatar’s human rights record, including criticism of of its treatment of LGBTQ people and the plight of migrant workers – many of whom have built the stadia for the football in the weeks ahead. In February 2021, the Guardian said 6,500 migrant workers from India, Pakistan, Nepal, Bangladesh and Sri Lanka had died in Qatar since it won its World Cup bid – a figure that was disputed by the state, which said not all the deaths recorded were of people working on World Cup-related projects.

Qatar officials previously said international criticism amounted to “racism” and “double standards” when there are so many injustices in the world.

The World Cup begins on Sunday with host nation Qatar playing Ecuador in the opening match.

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FIFA president Gianni Infantino has hit back