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Ryan Coogler’s MCU sequel hits its marks on opening weekend and gave theaters a much-needed vote of confidence.

Among the many impressive opening-weekend statistics for “Black Panther: Wakanda Forever” (Disney) is a per-theater average of $40,946 (4,396 theaters estimated at $180 million), higher than what “The Fabelmans” (Universal) earned in four.

The MCU sequel fell short of the year’s best opening; that remains “Doctor Strange in the Multiverse of Madness” last May, which debuted to $187 million. However, it’s $36 million better than July’s opening for “Thor: Love and Thunder.”

“Avatar: The Way of Water”

20th Century Studios

With $330 million worldwide in its initial dates (and a reported $250 million budget before marketing), “Wakanda Forever” is off to a good start. Until “Avatar: The Way of Water” (Disney, again) opens next month, the MCU has the floor. Its A Cinemascore and initial trajectory are positive, but the industry projection of $600 million is not assured.

The gross is remarkable not just for its size but also the makeup of its audience. Industry sources (not confirmed by Disney) say the initial audience was 44 percent Black, 21 percent Latino, 15 percent Asian — all told, 80 percent non-white. White audiences comprised 35 percent of the 2018 “Black Panther.” Marvel was smart to expand its appeal through diversity.

Most MCU box-office rankings are inaccurate since they don’t consider the wide variation in ticket prices. (Since 2019, they’ve increased by at least 20 percent.) For “Wakanda,” its $202 million opening equates to over $240 million now. But a 72 percent take of that puts it in line with similar second time out films that had such a stratospheric opening.

All top 10 films grossed $209 million total, making this the fourth-best week of 2022  as well as the fourth week to reach over $200 million. “Wakanda” represented 86 percent of the total. Our four-week running comparison to 2019 box office rises to 89 percent, the best it has been since late June/July. It’s almost certainly the high-water mark until “Avatar” opens December 16.

November box office totals $303 million so far. November 2019, boosted by a very strong Thanksgiving, grossed $959 million.

"Lyle, Lyle, Crocodile"

“Lyle, Lyle, Crocodile”

Sony Pictures Releasing

“Black Adam” (Warner Bros. Discovery) is #2, down 53 percent with $8.6 million and $151 million total. “Lyle, Lyle, Crocodile” (Sony) jumped two spots to #4 and fell only 5 percent. “Ticket to Paradise” (Universal) remains #3, down 29 percent, even as it debuted on PVOD this week. “The Banshees of Inisherin” (Searchlight) added a few additional theaters and fell only 17 percent, a decent hold above most specialized fall releases.

Also opening was “The Fabelmans” (Universal), with Steven Spielberg’s autobiographical film taking in $160,000 in four theaters.

“Yashoda” (CGX), a Telugu-language Indian thriller, placed #10 with $400,000 in 200 theaters. Every bit helps.

 

The Top 10

1. Black Panther: Wakanda Forever (Disney) NEW – Cinemascore: A; Metacritic: 67; Est. budget: $250 million

$180,000,000 in 4,396 theaters; PTA (per theater average): $40,946; Cumulative: $180,000,000

2. Black Adam (WBD) Week 4; Last weekend #1

$8,600,000 (-53%) in 3,603  theaters (-382); PTA (per theater average): $2,387; Cumulative: $151,123,000

3. Ticket to Paradise (Universal) Week 4; Last weekend #3; also on PVOD

$6,100,000 (-29%) in 3,633 (-433) theaters; PTA: $1,679; Cumulative: $56,512,000

4. Lyle, Lyle, Crocodile (Sony) Week 6; Last weekend #6

$3,200,000 (-5%) in 2,486 (-519) theaters; PTA: $1,287; Cumulative: $40,840,000

5. Smile (Paramount) Week 7; Last weekend #4

$2,330,000 (-42%) in 2,271 (-775) theaters; PTA: $1,026; Cumulative: $102,777,000

6. Prey for the Devil (Lionsgate) Week 3; Last weekend #5

$2,01,000 (-48%) in 2,164 (-816) theaters; PTA: $929; Cumulative: $16,961,000

7. The Banshees of Inisherin (Searchlight) Week 4; Last weekend #7

$1,700,000 in 960 (-17%) in 960 (+65) theaters; PTA: $1,771; Cumulative: $5,785,000

8. One Piece Film: Red (Crunchyroll) Week 2; Last weekend #2

$1,448,000 (-84%) in 2,161 theaters; PTA: $654; Cumulative: $12,738,000

9. Till (United Artists) Week 5; Last weekend #8

$618,254 (-%) in 1,358 (-778) theaters: PTA: $455; Cumulative: $8,038,000

10. Yashoda (CGX) NEW – Est. budget: $5 million

$(est.) 400,000 in 200 theaters; PTA: $2,000; PTA: $(est.) 400,000

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Ryan Coogler's MCU sequel hits its marks

Things got heady during a Saturday IDFA Dialogue talk featuring the fest’s artistic director, Orwa Nyrabia, and IDFA Queer Day guest curator, philosopher-writer Simon(e) van Saarloos. Titled “What Gender Are Film Festivals,” the one hour discussion touched on topics including the moral force that drives and funds documentary film festivals, the people who have the power to visualize justice, and the idea that visualizing suffering will lead to betterment.

In 2013, Raul Niño Zambrano created IDFA’s Queer Day – a program of screenings, panel discussions, and performances that showcased queer documentary stories from around the world. When Zambrano left IDFA in January to serve as head of film programs at Sheffield DocFest, Nyrabia decided to bring in guest curators each year going forward to organize Queer Day. Not a fan of the program’s title, this year’s IDFA’s Queer Day is called Not Yet Yes: Queer Day by Simon(e) van Saarloos.

The multiple-hour program taking place on Nov. 14 includes films, workshops, speakers, and dancing. The festival describes it as an “attempt to counter a common documentary form in which a process of coming out is shown—from suffering in silence to being free; as if we already understand what freedom means. (Not Yet Yes) approaches film not for its story lines, but for its potential to be a physical space for wayward bodies to gather.”

“I didn’t like the title (‘Queer Day’) because of the categorical of it,” van Saarloos said. “As if through the categorical we now know which themes we are going to engage with. In some ways I’m more interested in queer as a contagious push or pull or movement. So, instead of containing queer in the Queer Day, (I wanted it) to be present in different programs. And not just in programs, as in like what are the films that we are showing, but also how are we showing? What does it mean to show? What material spaces are we showing in? How is the curatorial process even possible?”

In van Saarloos’s “Not Yet Yes” essay, which appeared in IDFA’s “Notes on a Festival” publication, they critiques the documentary field. “Even if there are zero gays on screen, even if heterosexuality flaunts as the normative background of everyone who appears in the film, most documentaries follow the format of a coming out, because the description of the closet is portrayed as the first step towards freedom. People suffer, we see, we learn. Even if the people portrayed do not get to ‘come out’ of their oppressive reality during the film itself, a promise of progress lingers, as we an audience watching – are witnessing. As viewers witness suffering and oppression with a feeling of future potential: us watching, means us learning. Us learning, means us knowing. Us knowing will mean change. The moral force that drives and funds a documentary film festival is a belief in visibility; if we see, we know. If we know, change can happen. Sadly, this inseparability of knowledge and progress is a colonial project.”

During Saturday’s discussion, van Saarloos brought up Nyrabia’s decision to concentrate on a career in documentary as opposed to fictional cinema due to money.

“As a lover of cinema, I certainly do not see walls between fiction and documentary,” said Nyrabia. “I think it is a continuous, very fluid space that can be here, there, and anywhere in the middle, but when I was 23, I was an actor working in fiction, and there was a moment when I really stared into the eye of this business, and I saw exactly how it could go. I imagined me in a few years, and I hated him. I didn’t like him. It was not what I wanted.”

Nyrabia’s solution to his future problematic self was documentaries.

“I love the people who work in documentaries,” he said. “They are nice people. Accessible people. They are down to earth, and they care. It’s not about agents, prestige, and pretension. That doesn’t change the fact that those pretentious snobs can make some of the greatest works in the world. Absolutely, they can. I just don’t like to live with them.”

Eventually, Nyrabia discovered how to continue in the business of cinema.

“There is a certain slavery to the economy of film that is always ruled or governed by this relativity (to money),” he said. “The less money you want, the more you can be yourself. The more money you want, the less you can be yourself. So, it’s just about trying always to find a sweet spot where you’re not dying of hunger, and at the same time, you’re still proud of being yourself.”

As for the question of what gender do film festivals fall under? Nyrabia sees them as patriarchal.

“In a way, I do think festivals are very powerful institutions in our film world, and this power is commonly abused,” he said. “Similarly to many questions of patriarchy and different kinds of so-called unconscious racism or unconscious bias – I think the ‘un’ here is very questionable – but still we are living in a paradigm that is so immersive that we do not see how problematic our daily procedure and our own practices are. We think this is what it is, and it’s fine. But if we can take a step out and look at it, it’s not fine. We take our authority over tastes, over filmmakers, over audience, over the films we have and our own discourse with so much automation that comes from a paradigm that we do not design, that we just fit into.”

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Things got heady during a Saturday IDFA

ISTANBUL — A bomb exploded on a popular pedestrian street in Istanbul on Sunday, killing six people, wounding dozens and sending people fleeing as flames rose.

Footage posted online showed ambulances, fire trucks and police at the scene on on Istiklal Avenue, a typically crowded thoroughfare popular with tourists and locals and lined with shops and restaurants. In one video, a loud bang could be heard and flames could be seen, as pedestrians turned and ran away. Social media users said shops were shuttered and the avenue closed down.

Turkish President Recep Tayyip Erdogan called the blast a “treacherous attack” and said its perpetrators would be punished. In addition to the six dead, Erdogan said another 53 were wounded, according to information he received from the Istanbul governor.

Turkey was hit by a string of deadly bombings between 2015 and 2017 by the Islamic State group and outlawed Kurdish groups.

Five prosecutors were assigned to investigate the blast, state-run Anadolu news agency reported.

Turkey’s media watchdog imposed temporary restrictions on reporting on the explosion — a move that bans the use of close-up videos and photos of the blast and its aftermath. The Supreme Council of Radio and Television has imposed similar bans in the past, following attacks and accidents.

More Election Coverage From TIME


Contact us at letters@time.com.

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After experiencing a psychotic episode in 2018 and being diagnosed with bipolar disorder, Selena Gomez disclosed that she had to relearn specific terms while on medication detox.

In an interview for the cover story that will appear in the December 2022 issue of Rolling Stone, the star of the My Mind & I told the publication that she had disappeared.

She went on to say that there was no longer any component of me that resided in that location.

Gomez, now 30 years old, continued by describing how her psychiatrist “directed” her back to being who she was.

According to the singer, to properly get off the meds she was taking, she had to “detox.” I was required to train my memory to recall specific words. When we were both chatting simultaneously, I would lose track of time.

She went on to say that it took a lot of effort to (a) acknowledge that she had bipolar disorder and (b) learn how to cope with it because she knew it would never go away.

Although she barely remembers fragments of her time spent there, Gomez was admitted to a treatment facility after she started hearing voices and developing a paranoid disorder.

The actress revealed in an interview with a magazine that, at the time, she had acquaintances who did not recognize her at all. Before emerging from her psychotic state, she had spent several months receiving treatment.

Gomez claims that she has now been taken off of all of the medications provided to her except two of them.

The former star of the Disney Channel made news in February 2018 for her stint in a rehabilitation center in Connecticut.

For her anxiety and sadness, Gomez has sought treatment before, both at the Dawn at the Meadows facility in Arizona and at a clinic in Texas (in 2014 and 2016, respectively).

Although the star of Only Murders in the Building has been open and honest in the past about the challenges she has had with her mental health, she spares no details in the documentary My Mind & Me.

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Dan O’Dowd, founder of The Dawn Project, in Santa Barbara, has made it his mission to get Tesla's Full Self-Driving Beta off the road.
Dan O’Dowd, founder of The Dawn Project, in Santa Barbara, has made it his mission to get Tesla’s Full Self-Driving Beta off the road. (Jonas Jungblut for The Washington Post)

Dan O’Dowd says Tesla’s ‘Full Self Driving’ software shouldn’t be on the road. He’ll keep running over test dummies until someone listens.

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SANTA BARBARA, Calif. — When Dan O’Dowd had his midlife crisis, he bought two near-identical Tesla Roadsters, the first model the electric carmaker ever produced. This year, the 66 year-old tech entrepreneur added another to his collection: a Model 3 equipped with Full Self-Driving Beta — a software program that allows the car to drive on its own on highways and busy city streets.

The third Tesla is crucial for an unusual hobby: O’Dowd is waging a multimillion-dollar campaign to get Tesla’s Full Self-Driving software off the roads — before Tesla CEO Elon Musk follows through with plans to make the tech available worldwide by the end of the year.

O’Dowd, who made his fortune selling software to military customers, has been using the Model 3 to test and film the self-driving software. He’s documented what appear to be examples of the car swerving across the centerline toward oncoming traffic, failing to slow down in a school zone and missing stop signs. This summer, he triggered an uproar by releasing a video showing his Tesla — allegedly in Full Self-Driving mode — mowing down child-size mannequins.

“If Tesla gets away with this and ships this product and I can’t convince the public that a self-driving car that drives like a drunken, suicidal 13-year-old shouldn’t be on the road, I’m going to fail,” O’Dowd said in an interview from his Santa Barbara office, where glass cases display his collection of ancient coins and auction-bought mementos from NASA moon missions.

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O’Dowd has run nationwide TV ads with the videos and even launched an unsuccessful campaign for the U.S. Senate as part of his one-man crusade to challenge what he sees as the cavalier development of dangerous technology. For O’Dowd and other skeptics, the program is a deadly experiment foisted on an unsuspecting public — a view underscored by a recently filed class-action lawsuit and a reported Department of Justice investigation into the tech.

Despite O’Dowd’s high-profile campaign, and the concern from some regulators and politicians, Tesla is charging ahead with what it claims is world-changing technology. The company and its supporters argue their approach will help usher in a future in which death from human errors on roadways is eliminated. At the end of September, during a four-hour event in which Tesla showed off its latest artificial intelligence tech, Musk said Full Self-Driving is already saving lives and keeping it off public roads would be “morally wrong.”

“At the point of which you believe that adding autonomy reduces injury and death, I think you have a moral obligation to deploy it even though you’re going to get sued and blamed by a lot of people,” Musk said. Musk and Tesla, which does not typically answer media inquiries, did not respond to requests for comment.

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Readying Full-Self-Driving for worldwide deployment by the end of next month adds to Musk’s heavy workload. On top of running Tesla and his other companies SpaceX and Neuralink, he now owns and runs Twitter. Musk has also roped in Tesla engineers to help work on Twitter.

O’Dowd’s quest has prompted personal attacks and criticism from Musk’s legions of supporters. Tesla sent O’Dowd a cease-and-desist letter in response to his child mannequin test. And this week, O’Dowd says a new ad he tried to run on Twitter was rejected.

But Tesla fans aren’t his only critics. Safety experts have questioned whether rogue independent testing is the right way to spur tougher regulation.

“They’re doing it on public roads. It still raises the same ethical issues that you’re putting other people at nonconsensual risk,” said Phil Koopman, an associate professor at Carnegie Mellon University who has studied autonomous car safety for years. “I’m not a fan no matter who it is.”

“Consumers should never attempt to create their own test scenarios,” said National Highway Traffic Safety Administration spokeswoman Lucia Sanchez.

O’Dowd’s view that software should be developed methodically, ensuring it’s fully secure before releasing it, is a stark contrast to the “move fast and break things” mantra that allowed companies like Google, Facebook and Amazon to become the behemoths they are today. Tesla has taken that mantra and applied it to public roads, he believes. O’Dowd’s critics allege his campaign against Tesla is self-serving: One of his customers — Intel-owned Mobileye — makes a computer chip that runs driver- assist and self-driving software. O’Dowd says Mobileye is just one of hundreds of customers and his motivation is driven purely by his concerns about the safety of Tesla’s tech.

Tesla cars have had a range of driver-assist features for years, like lane-keeping and automatic braking, called Autopilot. Millions of vehicles in the U.S. use advanced drive-assist features, and more than 60 percent of the cars sold in 2021 had lane-keeping, according to research firm Canalys. Data released by NHTSA in June showed that Tesla cars were involved in almost 70 percent of the 392 crashes involving advanced drive-assist features reported over the previous 11 months. NHTSA also recorded six deaths dating back to 2019 involving the features, five of which were tied to Teslas. The data set doesn’t account for how different automakers collect data, making direct comparisons with other manufacturers difficult.

But the company’s Full Self-Driving Beta program, which is currently available to about 160,000 drivers in the U.S. and Canada, goes further than anything else used by regular drivers on public roads, giving the car the ability to navigate through city and residential streets, stop for red lights and make turns on its own while following a mapped route.

“Everybody thinks I’m exaggerating, but I have literally never seen a worse program in my life,” O’Dowd said.

As a teenager in suburban Michigan, O’Dowd found a passion for coding, learning how to program on an IBM computer.

The year after graduating from the California Institute of Technology, he designed his first “debugger,” a computer program that can run through another set of code and find its flaws. The process of methodically fixing errors fascinated him, and set off a lifelong mission against what he sees as an epidemic of terrible, bug-ridden software infiltrating the world.

Heads up: Yet another Chinese rocket is falling back to Earth

In 1982 he founded Green Hills Software in Pasadena, Calif., to make operating systems for the tiny computers that were beginning to pop up inside industrial machines, planes, ships and trains. His super-secure approach won over the U.S. military, and his first big sale was to the maker of the B1-B supersonic bomber.

O’Dowd is no stranger to public fights. Two decades ago, he wrote several blog posts saying that Linux, the free, available-to-all operating system that was beginning to threaten his business, was dangerous because foreign spies could insert malicious code into it. His warnings mostly fell on deaf ears. Today, Linux is everywhere, and Green Hills’ own software is capable of interacting with Linux programs. But O’Dowd’s position hasn’t changed. Linux may be fine for tools like thermostats, but when it comes to planes, power plants and cars, he insists it’s still dangerous.

O’Dowd owns most of Green Hills, which was worth just shy of a billion dollars in 2019 when he sold a $150 million chunk of it. Beyond several houses in tony Santa Barbara, he doesn’t want to spend his money on the yachts and private islands other wealthy tech founders seem to delight in.

In the past, O’Dowd bought historical artifacts — he owns the world’s most expensive coin collection, and has both a Nazi-era Enigma encoding machine and a nearly intact fossilized Tyrannosaurus rex skull displayed in his offices.

As he got older, O’Dowd said he began looking for a more lasting project to spend his money on. About a year ago, a colleague told him about Tesla Full Self-Driving videos online. O’Dowd spent hours watching them, and said he was shocked by what he saw.

“Why would you put a car on the road that does something that would be illegal, that would cost you your license?” he said. He decided to make Tesla’s software the centerpiece of a bigger campaign he has named the Dawn Project to expose what he sees as incomplete and unsafe software being used in cars and power plants and in cybersecurity.

In early 2016, a year after Tesla first launched Autopilot, Musk said the tech was already “probably better” than a human driver and predicted that in two years his cars would be able to drive themselves across the country.

That hasn’t happened yet, but the company has steadily upgraded Autopilot over the years, allowing drivers to give up more control over their vehicles, though Tesla insists they must stay alert at all times. Full Self-Driving Beta represents the latest version of Tesla’s tech, and is available to Tesla drivers who’ve already paid $15,000 for the regular version of Full Self-Driving and have a good “safety score” as measured by Tesla’s in-car software.

In an interview with a Tesla owners group posted in June, Musk said successfully building self-driving software is “the difference between Tesla being worth a lot of money and being worth basically zero.”

Autopilot technology has spurred several government investigations, including one from NHTSA that is looking at whether the tech played a role in Teslas crashing into parked emergency vehicles.

Overall though, Tesla has benefited from a U.S. regulatory vacuum, where there are no rules against putting new driver assistance software out on public roads as long as the automaker specifies that the driver stay alert at all times.

Auto safety rules were written well before the advent of cars that can make their own decisions, said Koopman, the auto regulations expert. The government moves at a “glacial” pace, and the rules have in some ways become more permissive, Koopman said. In 2022 NHTSA said cars don’t need to have a steering wheel and pedals any more to meet safety standards.

“The regulatory pressure has been to make it easier, not harder,” he said.

NHTSA says that no vehicle available for purchase is self-driving, and drivers are always required to stay attentive, regardless of what technology their cars have.

O’Dowd’s strategy is straightforward: Find proof that Tesla’s software makes serious mistakes and get that evidence in front of the public and regulators.

He kicked off his campaign in January with a full-page ad in the New York Times, which alleged that the software makes a mistake every 8 minutes, based on analyzing dozens of hours of YouTube footage. The ad demanded that regulators ban Full Self-Driving from American roads.

Then came his Senate campaign, something he said was partly motivated by the fact that campaign advertising laws would make it easier for him to get his message out if he was technically running for public office. He’s spent millions of dollars on ads that play on TV channels across the country.

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The ads pull from videos of Tesla drivers having to intervene when their cars running Full Self-Driving Beta make mistakes. Another set of ads compares Musk’s predictions for when his cars would be able to drive themselves to the reality that they still need close driver supervision. (One of O’Dowd’s ads quotes text from a Post story. The Post was not involved in the ad’s production.)

Next, O’Dowd began shooting his own videos. He hired a driver for his new Model 3 to do tests on public roads and closed courses. At one point, O’Dowd was in the passenger seat when the vehicle began crossing the centerline just as another car was coming in the other direction. The test-driver grabbed the wheel and averted a head-on collision, according to O’Dowd’s recollections and dash-cam video reviewed by The Post.

“It almost killed me,” he said. “It’s personal now.”

In addition to his ads and online videos, he sends the videos to NHTSA, imploring the agency to take action. Besides confirmation of receipt, he hasn’t heard more from the agency.

NHTSA looks at all relevant information in its investigations, Sanchez, the agency spokeswoman said.

O’Dowd has set up an entire media operation, converting a large room in his company’s office building into a TV studio, complete with green screen and high-speed upload link. He’s hired public-relations professionals and video editors.

The campaign has gotten attention from Musk’s many followers. Online, some call O’Dowd by the clunky nickname “O’Clown.” Musk himself has referred to O’Dowd on Twitter with the emoji for bat and poop — suggesting he’s crazy — although there doesn’t seem to be much direct interaction between the two men. O’Dowd says they’ve never spoken.

In August, O’Dowd released the video of his Tesla repeatedly hitting the child-size mannequins. He set up the test at a closed course, then had his driver go down a lane of orange safety cones and engage Full Self-Driving Beta. When the video came out, skeptics accused him of rigging the test by not turning on Full Self-Driving or by overriding it by having the driver press down the accelerator pedal. O’Dowd says the test was legitimate and has begun running more, with video cameras filming from more angles to back it up.

Hours after O’Dowd released video of his test, one of the best-known Tesla fans put out a call on Twitter for a real child so that he could run the test himself. In the test by Omar Qazi, a 28-year-old software engineer who goes by the name Whole Mars Catalog and frequently clashes with O’Dowd and other Tesla critics, the car spotted the child and wouldn’t move forward.

Qazi views O’Dowd as just another anti-Tesla character, standing in the way of progress but doomed to fail.

“This is something that can’t be stopped by Dan or anyone else,” said Qazi, who owns Tesla shares but says they make up a small part of his overall investments. “I think putting something out now, even if it’s imperfect, it really has a lot of benefits.”

O’Dowd said he wants to do the tests again, this time with media, regulators, Tesla supporters and even Musk himself in attendance, so he can erase whatever lingering doubts there may be about his methods.

Qazi, for his part, isn’t worried O’Dowd will get the program banned any time soon, despite his incessant lobbying.

“Dan O’Dowd has been talking their ears off, everyone who will listen, and they have not banned it,” he said.

Faiz Siddiqui contributed to this report.

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Dan O’Dowd, founder of The Dawn Project,

“SNL” is taking the rest of November off, but when the show returns on “Dec. 3,” Keke Palmer will host with musical guest SZA.

The show announced the lineup Saturday.

The show comes three weeks after Dave Chappelle’s third time hosting — and third time hosting after a contentious election. Palmer meanwhile will be hosting after a contentious Thanksgiving holiday following that contentious election — or so we assume that’s how things will go.

Amy Schumer hosted last week’s show on Nov. 5 with musical guest Steve Lacy.

Season 48 premiere kicked off three new shows in a row, with Miles Teller hosting the first episode of the season followed by Brendan Gleeson on Oct. 8 and Megan Thee Stallion on Oct. 21.

The end of Season 47 marked the exits of cast members Pete Davidson, Kate McKinnon, Aidy Bryant, Kyle Mooney, Alex Moffat, Melissa Villaseñor, Aristotle Athari and Chris Redd.

While there was speculation that major cast members like Kenan Thompson, Pete Davidson, Cecily Strong and Aidy Bryant might leave “Saturday Night Live” in Season 47, all four returned. The only cast members who did not come back for last season were Beck Bennett and Lauren Holt.

In Season 48, “SNL” adds new cast members Marcello Hernandez, Molly Kearney, Michael Longfellow and Devon Walker. Kearney is the show’s first non-binary cast member.

The returning cast members for “SNL” Season 48 are Michael Che, Mikey Day, Chloe Fineman, Heidi Gardner, Colin Jost, Ego Nwodim, Cecily Strong, Kenan Thompson and Bowen Yang. Returning featured players are Andrew Dismukes, James Austin Johnson, Punkie Johnson and Sarah Sherman.

Executive producer Lorne Michaels called Season 48 a “transition year,” adding that “changes are always difficult but always exciting.”

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“SNL” is taking the rest of November

Tyrone Biggums, Rick James and Silky Johnson are now “Game of Thrones” canon. The original “Chappelle’s Show” characters were resurrected for a very special “House of the Dragon” sketch on “Saturday Night Live.”

Returning host Dave Chappelle brought back three characters from his sketch series, which ran from 2003 to 2006 on Comedy Central. Similar to his show, Chappelle re-appeared after his 15-minute opening monologue ridiculing Kanye West for his antisemitic comments, and gave this pre-recorded video a little set up.

“Anyone out here watching this new show, ‘House of the Dragon,’” Chappelle asked the crowd, mic in hand. “I am the biggest ‘Game of Thrones’ fan, I love their new show. And I got to tell you, I love that they’re including Black characters. But to be honest, the Black characters … they take me out of it a little bit. It’s that blonde hair and old timey accents. It’s a little jarring, where are these people from?”

He then teed up the SNL “House of the Dragon” sketch dotted with “Chappelle’s Show” throwbacks. First up, Silky Johnson, who was reunited with original cast member Donnell Rawlings. After that, Tyrone Biggums made a cameo and then Rick James (complete with a Targaryen blonde wig) all played by Chappelle. And Ice-T also popped in for a quick appearance as “Larry Targaryen.” The brief sketch ended with James, Johnson and Biggums flying off on the backs of dragons with James kicking his feet all over the saddle, shouting his famous catchphrase into the clouds.

This is not the first time Chappelle has brought back his older characters for “SNL.” In 2016 the comedian recreated “The Walking Dead” with several “Chappelle’s Show” characters. Watch the whole clip below.

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Tyrone Biggums, Rick James and Silky Johnson

Kantara, a Kannada movie has gone global by the nativity of its storytelling. The content, the script, the narration, music and everything related to this movie has been a topic of discussion for a long time now. Rishab Shetty, the actor-director of this beautiful piece of art, has a solid back-up in his wife Pragathi Shetty, who is also the costume designer for Kantara. In a detailed conversation with News18.com, Pragathi Shetty has revealed the effort that has gone in bringing the world of Kantara into reality on screen through well-researched and tailored costumes.

How many costumes did you make for Kantara?
Overall it should be around 1000-plus costumes. The costume of the leads was around 350 with 10 change overs. Rishab’s role had roughly 20 sets and Sapthami Gowda (lead actress) had twice the number. So it’s over a thousand almost.

How did you plan these sets of costumes?
As soon as the script was ready and I got the narration, I began my research. I was pregnant with my daughter at that time. I visited couple of Guthinamane (the family house of the people who are leaders of the village in coastal Karnataka) and checked their old photographs. The reference for the attire and jewellery of the king and queen came from there. I also visited museums of Rani Abbakka and collected several images of that era which helped a great deal.

Pragati Shetty with husband Rishab Shetty on the sets of Kantara. (Photo: Pragathi Shetty)

Tell us more about the fine details of the costumes in this project.
Kantara spans across ages. The early era where Shiva’s father was performing the Kola and the later major part where Shiva’s story happens are in completely different periods of time. I had to be very careful and cautious since the story revolves around a demi-god who is revered by many. The overall costumes vary completely in these two zones. If you observe even the Panjurli (the demi-god avatar) costume has differences which can be made out at the end of the movie while both the roles meet. But the costumes of Panjurli was completely done by the people who are actually a part of Kola, I had nothing to do with it. It is followed in a certain divine way and it was let to be in that way.

How big was your team in the costumes department? How did you source the jewellery and attire?
We were basically 3 – Rocky and Kiran were my helpers and there were 4 other costumers who would look into the continuity of the costumes in the scenes. The costumes were majorly sourced from various vendors in Bengaluru, Mangaluru, Udupi, Manipal and Kundapura. The vendors would drop the parcel in a bus and the team would collect it at the destination. I had a detailed design for every character which helped later since procuring and aging them was the only challenge later on.

Pragathi herself played the role of a queen in a small sequence in Kantara. (Photo: Pragathi Shetty)

You have also played a role in the movie with your kids, how was that costume planned?
Yes, I have played the role of the queen that comes in the beginning of the movie. I have worn 3 sarees and each saree has a story. I wanted a specific material and color that is not in vogue now but is vibrant nonetheless since the role is of a different era of a queen. One saree, the yellow one is a banarasi saree with an artistic pallu as the highlight. It had to be a 50-year-old one but it isn’t. Thankfully, it can’t be made out on camera. The second saree, a maroon colored one is my mom’s wedding saree. And the third one is of an old woman whom I know. The whole sequence of king and queen comes for roughly 2 minutes on screen but was shot for 15 days – day and night at a stretch. Ranvith and Radhya, my kids play the same role (the queen’s kids) in the movie.

What was the most challenging part in designing costumes of Kantara? Any jugaad that you had to do?
Other than the research, it’s the aging of the costumes that was very challenging. Some costumes take at least 2-3 days to age to a certain tone. Especially the ones that were used during fight scenes, we had multiple sets of costumes and slippers because they may damage while the actors get involved in various action scenes. There are totally 4 fights in Kantara and we had 4 sets of all costumes ready. Despite that, a few costumes and footwear were completely damaged and we didn’t have enough time to get them done and also age appropriately. Hence we had to just go behind the screens and apply some soil on the clothes to make them look old. If the actors knew we did this, they would definitely refuse to wear them. But it saved the day.

Tell us more on costumes of Sapthami Gowda, the lead actress. Her double nose ring is now a rage, how did you come up with that?
Sapthami was a sport from the beginning. Initially we tried by using the pressed nose pin since she will have to work in other projects in the future that may not need this piercing. But somehow, the pressed one didn’t look natural. Later we decided to get one side of the nose pierced for her, and she readily agreed. Something was amiss even after that so we went for a 2-sided one. I had told her that the pain she took to get 2 nostrils pierced will not go in vain, and here it is. People did notice that style and many girls are following her now. It feels good when your efforts pay off.

Her costume as forest guard was a different project altogether. I sat down with forest department staff and studied the costumes of that era – the ’90s. It was the time when women began joining the forest department. So I studied badges of that time and the specific color of their uniform fabric. I can’t use the current uniform, so many things have changed now. We got the motif hand-embroidered and the color is a mix of olive green and khaki. Also, while wearing the uniform, Leela wears a dried stick in the place of nosepins which is what most women in coastal Karnataka do. We followed all of this to the T.

And the jewels? Where did you find them?
Oh, most were handmade for the movie. I literally sat in front of the goldsmith and drew pictures on a paper and made him follow it. Most jewels were made in silver and coated in gold. Many details that I referred didn’t have images to show so I had to sit and draw them.

What about Rishab’s attire for promotions? He seems to have made panche a new fashion statement across India now.
That was a planned one for sure. I have kept multiple sets for him for promotion. His shirt matches the border of the panche (Panche is Dhoti in Kannada). It is to give the feel of the movie to people whom he meets. Similarly for Sapthami, I told her to go traditional with her looks and that is sorted.

How did this interest in costumes begin for you? And what’s your dream project?
I was a software professional till I found my calling in costumes. Sanjay Leela Bhansali’s Devdas is my all time favourite movie. I must have watched it over a 100 times. When people around me paid attention to the story, actors etc, I always stared at the vibrant costumes, the jewellery and the fine details of the craft. I am mesmerized by period dramas and vintage styles. So after marriage, when I decided to take a plunge in this field, I joined a fashion designing course and started working thereafter. I loved working in Bell Bottom, another flick of Rishab with a retro theme. Similarly with Kantara, it is a different era altogether and I enjoyed every bit of working with this team. My dream project is always to be with an amazing team that gives enough space to experiment. I am hoping to work more in such projects that is adventurous, fun and soul satisfying all the same.

Read all the Latest Movies News here

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Kantara, a Kannada movie has gone global

Imax CEO Richard Gelfond is opening up about how important the theatrical window is and how he thinks some streaming services are realizing it now.

“The debate is over,” Gelfond said in an interview with Yahoo Finance Live. “The argument that you can skip a theatrical window and make up for it on streaming just isn’t true. The theatrical window is more essential than ever to get the streaming revenue.”

Gelfond’s comments come as Disney’s earnings fell short despite a surge in Disney+ subscribers. The Imax CEO referenced the success of Top Gun: Maverick over the summer breaking records and becoming Paramount’s biggest worldwide grosser.

“So that $1.5 billion not only didn’t distract from the streaming revenue — it added to it,” Gelfond said, adding, “almost every streamer has now said they recognize the need for theatrical release.”

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Imax CEO Richard Gelfond is opening up

Image for article titled Amidst controversy, Dave Chappelle hosts another post-election SNL

Photo: SNL

This week marked comedian Dave Chappelle’s third time hosting a post-election Saturday Night Live following his stings after the 2016 and 2020 presidential elections. A lot has happened since then. The announcement of Chappelle as host created a divisive response stemming from transphobic remarks he made during his controversial special The Closer on Netflix, as explored here. In addition, Chappelle found himself as a victim when he was attacked on stage at a Netflix event at the Hollywood Bowl. Eyes have been closely watching SNL this week with talk of writers boycotting the episode and suggestions that some cast members were upset by Chappelle’s participation in the franchise. What unfolded this week will likely entrench the gulf between Chappelle’s supporters and detractors. As a host, Chappelle appeared confident and unrepentant producing a polemic SNL episode that will get people talking, which may have been Lorne Michaels’ plan all along.

Best sketch of the night

Potato Hole – SNL

It was sort of hard to narrow this down to one. Many of the sketches of the night revolved around white discomfort, confusion, and ignorance interacting with Black culture as seen in “P.M. in the Afternoon,” “Barber Shop Talk,” and “Heaven Scene.” It was at its most succinct in the first sketch which juxtaposed the cheery landscape of morning television with Black trauma. The way that the correspondents boorishly use the term “Potato Hole” without a correct understanding and their dismay when they are enlightened by Chappelle’s musician made for a potent sketch about misappropriation. “Barber Shop Talk” reversed the racial dynamic of the first sketch to explore the disconnect between the white and Black perspectives with various touchy issues. “Black Heaven” furthered the theme by placing Mikey Day in a role supposedly meant for Chappelle, while Chappelle reveled in Day’s discomfort.

 Both the best and worst of the night

Dave Chappelle Stand-Up Monologue – SNL

 Chappelle was given a sprawling fifteen minutes for his monologue which covered topics such as Kanye West, Trump, the war in Ukraine, and free speech. His relaxed and fluid delivery was a reminder of what a gifted comedic communicator Chapelle can be. It also served as a reminder of why it is so important how he expresses his thoughts. He opened the monologue by saying he wanted to read a statement. It would not be a leap to think he may address the transphobic remarks he had made in his last comedy special. In fact, The Closer actually begins with an apology to the city of Detroit. However, it leads to an examination of Kanye West and his recent anti-Semitic remarks. He remarked that one should never put “the” before “Jews,” but did not have the self-awareness, or inclination to acknowledge that he should not have used “the” before “transgenders,” or the term “transgenders” at all in The Closer. It was somewhat uncomfortable parsing some of his thoughts on anti-Semitism, mental illness, and how race impacts such issues. He gave an astute analysis of Trump as an “honest liar” and touched on how society comes down harsher on Black people for mistakes. At the same time, much of the monologue had a ring of trolling or mocking of those who have challenged Chappelle for his words. He lamented that “it shouldn’t be this scary to talk,” which could be read a myriad of ways. He could be referring to his attacker, it could be about cancel culture, and it could be about the lack of intelligent discourse surrounding controversial issues. It will surely have fans and critics, but it succeeds in getting people to talk and think.

Most current sketch of the night

Fox & Friends Cold Open – SNL

This was one of the season’s best Cold Opens because of its immediacy. As elections drag on well beyond Tuesdays, the sketch felt fresh with the uncertainty of American democracy at this moment. It revolved around the Red Wave, or lack thereof, from this week’s midterm elections. It was underlined by Kari Lake’s shifting perspective on election integrity contingent on whether she is leading or not in her race in Arizona. It also touched on tonight’s revelation that the Democratic party will retain control of the senate while Trump is at his black-sheep daughter Tiffany’s wedding. Likewise, it touched on the conservative media’s turn against Trump in favor of Florida’s Ron DeSantis. Anchored with James Austin Johnsons Trump impression and Cecily Strong’s epic Kari Lake impersonation, it was a cold open that felt fresh and immediate.

Best throwback sketch of the night

House of the Dragon – SNL

 While one of the least thought-provoking sketches of the night, “House of the Dragon” was one of the funniest. Building off the hoopla surrounding the response by some to the inclusion of Black figures in the fantasy program, Chappelle took us back to simpler times by including past beloved characters from The Chappelle Show, such as Player Haters, Tyrone, and Rick James. The joke that Ice T’s character looked like E.T. when they dressed him up for Halloween was perfect. It is also worth applauding the production value that SNL invests in these pre-taped segments.

MVP of the Night

Image for article titled Amidst controversy, Dave Chappelle hosts another post-election SNL

Photo: SNL

Love him or hate him, Chappelle was surely the MVP of the night. This isn’t an endorsement of any of his views, but rather an acknowledgment that his fingerprints were all over this episode. It felt like Chappelle’s vision of SNL. Defiantly smoking in his promo pictures and on set, Chappelle appeared confident and resolute in his comedy. The flip side of this was the sense that his point of view can give a false sense of a monolithic Black perspective, such as “Barber Shop Talk,” and some of his points during his monologue. This was certainly one of the most provocative episodes and arguably the best episode of the season. He made SNL feel like it was Chapelle’s show.

Stray observations

  • I learned that Potato Hole is also a website to help find and support Black-owned businesses. I wonder how much traffic they might get after this episode.
  • Maybe it was because of the lengthy monologue but the sketches felt sort of short. It made them stronger and snappier.
  • “Sarah News” seemed to have divided social media. It was at times annoying and at others hilarious. I think it should come back in the future.
  • I thought you couldn’t really smoke on network television like that anymore. I also read that maybe Chappelle wasn’t censored during the monologue, but I’m not sure the protocol since I was watching on Peacock.
  • While none of the cast was completely M.I.A. I noticed that Bowen Yang, Molly Kearney, and Sarah Sherman were notably absent from the end of the show send off when the cast normally joins the host and musical guests for goodbyes.
  • It felt like a particularly strong “Weekend Update.” Maybe it was a midterm bump.
  • Marcello Hernandez is really distinguishing himself quickly.
  • I really didn’t feel like there was a ‘worst’ sketch of the night.
  • Could not be more excited for Keke Palmer to be the next host on December 3.

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Photo: SNLThis week marked comedian Dave Chappelle’s

I’ve done now 312 Thursday podcasts. And I usually don’t like to rank them or point out my favorites just because it makes it seem like I didn’t like others if they don’t make some top 10 list. And that’s not the case. But there are some that definitely stick out more than others. Today is one of those. And if I’m being honest, this is a top 3 podcast I’ve ever done. And not because of anything in particular I did, but for the information, insight, and education about epilepsy, Asperger’s, and service dogs. Ali Appleby won Miss Dallas Teen USA last month, a pageant that I was a judge at. I judged Miss Dallas, but the Teen competition ran simultaneously so I saw Ali compete all weekend. She is an amazing young woman and her story has gotten national attention from People, E! News, the AP, Fox News, and many more. After listening today, I think you’ll hear why. I can’t believe I was talking to a teenager. You don’t have to care about pageants to be interested in Ali’s story. Learned so much from her today and I hope you do too. And I really don’t think there’s any way you can’t NOT root for her after this. What an incredible young woman who is, and is going to be an inspiration to, so many kids going forward with the platform she has now. If it’s not asking too much, after you listen to this, drop Ali a line on her IG (@ali_appleby_) if need be. I don’t know how you can listen to this and not be moved by her story and what she’s been through. Can’t thank Ali enough for coming on and sharing her story. Wish her all the best going forward and best of luck in Miss Teen Texas in 2023.

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


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

(SPOILERS) I begin by talking about your Bachelor spoilers and when they’re coming, and a possible new relationship for a BIP guy. Then Ali joins me (10:40) to talk about her journey to winning Miss Dallas Teen last month, dealing with epilepsy, high functioning Aspergers, how big of a role her service dog Brady plays in her life, and so much more. One of the most educational and informative podcasts I’ve ever done.

Instagram – @ali_appleby_

(SPOILERS) Today’s Daily Roundup covers today’s Thursday interview, when are your Bachelor spoilers coming, possible new relationship for a BIP guy, Survivor, the Challenge, & a story from rehab yesterday.

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)

As I mentioned in both podcasts today, it was brought to my attention a couple days ago that Aaron Clancy seems to have a new gf. Because this girl is not Bachelor Nation, I will not reveal her name, her IG, or show her face. But I was told they were definitely dating/seeing each other/hooking up, and based on some of her IG posts, seems like this is someone who’s been around for a while. Her birthday was two days ago, and here were two pics she posted:

So I mean, I think at least she thinks she’s in some sort of relationship with Aaron. I doubt you’d post that if you were trying to keep things private. So, this is 5 months since BIP filmed, what’s the big deal? Well, there’s this photo she posted on her highlights from 18 weeks ago, which if my math is correct, looks to be right after he got back from BIP filming. 18 weeks ago from now is around beginning of July, and BIP filmed basically all of June:

Then, last summer, looks like they clearly took a trip to Tulum, Mexico when she posted this picture of them together:

That pic was from 42 weeks ago, so it’s from last summer. There’s nothing that I’ve found from right before he left for BIP filming, but I’m just being realistic here. Aaron is no different than a lot of the guys in this franchise. Plenty of them go on the main show and BIP with women back home that are basically put on “hold,” or they have in the back of their minds if things don’t work out. And knowing that he was with her last summer, then right after filming, and is currently with her, I don’t think it’s far fetched that Aaron probably was talking/hooking up with her pre-BIP filming. How they defined their relationship is beyond me. And to me, my opinion is that I think it explains a lot of his behavior with Genevieve that we’re seeing play out on the episodes now. It just seems like he was using Genevieve for roses, went down to BIP for fun, hang with James, gain some followers, be on TV, and just was never interested in being serious with Genevieve. Kind of explains hit hot and cold behavior with her. One minute he’s telling her he’s not just falling in love with her, but that he IS in love with her. Then a day later he’s fighting with her again. It just screams to me he knew he had someone back home and was just doing whatever he could to stay on the beach as long as he could. Nothing wrong with having someone back home. Most of them do. But now just finding this out a couple days ago, and being able to track this “relationship” going back all the way to last summer, I don’t think it’s far fetched to think 2 + 2 = 4 here. But hey, maybe that’s just me.

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






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Share Tweet Share Share Email I’ve done now 312 Thursday podcasts.

Dave Chappelle’s third “Saturday Night Live” monologue avoided anything closely related to the midterm elections, which was weird considering it’s not only his third time hosting, but also his third time hosting immediately after an election.

Chappelle’s first time hosting “SNL” came on the first episode after Trump’s victory in the 2016 election. He hosted again in 2020 in the first episode after that year’s election. Both times his monologues were observational musings on the state of the country after contentious elections.

But this time, Chappelle basically tested out some jokes about recent, but not *as* recent events. Specifically he spent a lot of time talking about Kanye West’s antisemitic comments and the trouble it’s caused him. And for some reason he talked a lot about Donald Trump — but mainly about Trump in 2016.

Chappelle stepped out on stage as the “SNL” band played “Auld Lang Syne,” for some reason. Then Chappelle opened his monologue with a gift for Kanye.

“Before I start tonight I want to read a brief statement. I renounce antisemitism in all its forms and I stand with my friends in the Jewish community. And that, Kanye, is how you buy yourself some time.”

Chappelle joked that in his career, he’s learned “there are two words you should never say together in sequence. And those words are ‘the’ and ‘Jews.’”

Chappelle then did a stand-up routine summarizing that whole drama, which we’re sure you’re familiar with by now. He also sort of joked about the possibility that Kanye’s antisemitic statements might have some kernel of truth, joking at one point that Kanye’s comments violated “show business rules.”

“If they’re black it’s a gang, if they’re Italian, its a mob. And if they’re Jewish it’s a coincidence and you should never speak on it,” he said.

Chappelle also joked that “Kanye got in so much trouble Kyrie Irving got in trouble,” referencing the Brooklyn Nets players own antisemitism controversy. But then he defended Irving, or appeared to, saying “I know the Jewish people have been through terrible things around the world, but you can’t blame them on Black Americans.”

He also made a few jokes about how many Jewish people actually are in Hollywood.

Chappelle did briefly talk about the midterms, insulting Georgia Senate candidate Herschel Walker for a minute or too. “I have to admit he’s um, he’s observably stupid,” Chappelle said. Then he did an extended bit about why he thinks Trump appeals to people. It boiled down to Trump’s comment in 2016 that “I know the system is rigged because I use it.”

Then he talked about the situation in Ukraine, but concluded by returning to the Kanye stuff. Chappelle noted how Kanye’s finances have been devastated by what he said, and then implied he says bad things too. “I hope they don’t take everything away from me. Whoever they are.”

Ok, sure.

Before the monologue, “SNL” opened with yet another sketch commenting on current events with people doing celebrity impressions, in this case an episode of “Fox and Friends” where the hosts break up with Trump. Watch that below:

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Dave Chappelle’s third “Saturday Night Live” monologue

New York Islanders (9-6-0, second in the Metropolitan Division) vs. Ottawa Senators (5-8-1, eighth in the Atlantic Division)

Ottawa, Ontario; Monday, 5 p.m. EST

BOTTOM LINE: The New York Islanders visit the Ottawa Senators after Brock Nelson’s two-goal game against the Columbus Blue Jackets in the Islanders’ 4-3 overtime win.

Ottawa is 4-4-0 in home games and 5-8-1 overall. The Senators rank sixth in the league serving 12.7 penalty minutes per game.

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New York has a 4-3-0 record on the road and a 9-6-0 record overall. The Islanders have given up 38 goals while scoring 49 for a +11 scoring differential.

Monday’s game is the fourth time these teams meet this season. The Islanders won the previous meeting 3-0. Nelson scored two goals in the win.

TOP PERFORMERS: Brady Tkachuk has six goals and 13 assists for the Senators. Shane Pinto has scored five goals with one assist over the last 10 games.

Anders Lee has eight goals and six assists for the Islanders. Nelson has scored eight goals with three assists over the last 10 games.

LAST 10 GAMES: Senators: 3-6-1, averaging 3.4 goals, 5.1 assists, 5.6 penalties and 13.6 penalty minutes while giving up 3.2 goals per game.

Islanders: 8-2-0, averaging 3.4 goals, 5.5 assists, 3.1 penalties and 7.9 penalty minutes while giving up 2.2 goals per game.

INJURIES: Senators: Josh Norris: out (shoulder), Artem Zub: out (upper-body).

Islanders: None listed.

___

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

&copy 2022 The Canadian Press

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By Staff The Associated Press Posted November 13, 2022

  • Michael Boulos married Tiffany Trump after a near two year engagement on Nov. 12 at Mar-a-Lago in Florida
  • The couple began dating in 2018, and became engaged in Jan. 2021
  • He is set to inherit billions from his family’s business in Lagos, Boulos Enterprises

Tiffany Trump, who is the youngest daughter of former President Donald Trump is a married woman! The 29-year-old walked down the aisle with her fiancé of over a year Michael Boulos, 24, at her father’s Mar-A-Lago estate in Palm Beach, FL on Saturday, Nov. 12 (despite a weather fiasco). The blonde looked absolutely radiant in floor length Elie Saab gown with a mermaid cut skirt, conservative long sleeves and an elegant scoop cut neck.

Tiffany announced that she was she was engaged to Michael back in January 2021. She posted a beautiful photo of herself and her now husband standing in a corridor outside the White House with a diamond ring sparkling on her left hand.

“It has been an honor to celebrate many milestones, historic occasions and create memories with my family here at the White House, none more special than my engagement to my amazing fiancé Michael! Feeling blessed and excited for the next chapter,” she captioned her January 19 post. Here’s five things you should know about Michael, the guy Tiffany is now married to.

He grew up in Lagos, Nigeria.

It may have been awkward when Tiffany brought Michael home to meet the family for the first time. Nigeria is one of the places that President Trump famously called a “sh*thole country” during a 2018 meeting with senators. Michael was born in Kfaraakka, Lebanon, but as a young boy moved with his parents to Lagos, where his family’s business, Boulos Enterprises, operates. The motorcycle company is extremely successful, and Michael is an heir to the multi-billon dollar family fortune.

Tiffany Trump and Michael Boulos are in good spirits as they arrive at Mosimann’s Restaurant in London, 1/10/19 (BACKGRID)

He and Tiffany started dating in 2018

Michael and Tiffany began seeing each other in summer 2018, after she broke up with longtime boyfriend Ross Mechanic. The two reportedly met in Mykonos, Greece, where they were both partying over the summer (Tiffany at Lindsay Lohan‘s club) and hit it off instantly. While they initially kept things under wraps, Tiffany took the relationship public by inviting him to Thanksgiving with her family at Mar-a-Lago later that same year.

At 24, he runs multiple successful businesses.

It helps that they’re his family’s businesses. Michael was named the associate director of SOCA Nigeria, a conglomerate “active in furniture production and interior design, automobile assembly and distribution, power generation, retailing and trade,” since 2016. He was just 19 years old. His father remains the CEO. He became the director of Fadoul Group in 2019, as well as the business development manager of Royalton Investment the same year.

He’s an accomplished student.

After graduating from the prestigious American International School of Lagos, Michael attended college at Regent’s University London, where he studied Global Business Management. He graduated with his bachelor’s degree in 2018. He received his master’s degree in Project Management, Finance, and Risk from City University of London in 2019. He currently splits his time between London and with Tiffany in the United States.

Tiffany Trump Michael Boulos
Tiffany Trump and Michael Boulos arrive at the White House for the fourth night of the Republican National Convention, 8/27/20 (AP)

He has the stamp of approval from Tiffany’s family.

Tiffany’s mother, Marla Maples, told Town & Country that she “adores Michael. Tiffany’s big sister, Ivanka Trump gushed about their engagement on Instagram when Michael posted his own engagement announcement. “Love you Michael!” she wrote, adding a heart emoji. While Tiffany’s father has never mentioned his future son-in-law publicly, it’s clear that they’re on good terms. He even invited Michael and his parents to Christmas Eve at the White House in 2019, and his February 2020 State of the Union.

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Michael Boulos married Tiffany Trump after a

Mila Kunis, Debra Messing and Mayim Bialik are among more than 200 celebrities and entertainment executives who have signed an open letter calling on Amazon and Barnes & Noble to remove the antisemitic documentary and book, “Hebrews to Negroes: Wake Up Black America,” from their respective platforms.

The letter was released by Creative Community for Peace, a non-profit entertainment industry organization. Additional signers of the statement include Sherry Lansing, former CEO of Paramount Pictures; Haim Saban, chairman and CEO of Saban Capital Group; Orly Marley, president of Tuff Gong Worldwide; Rick Rosen, Endeavor co-founder; Disturbed frontman David Draiman; Nina Tassler, co-founder of PatMa Productions; songwriter Diane Warren; comedian Iliza Shlesinger; Ben Silverman, chairman and co-chief executive officer of Propagate Content; and actors Tracy-Ann Oberman and Emmanuelle Chriqui.

The letter reads, “After more than a week of private messages and public calls to take the fallacious book and movie ‘Hebrews to Negroes’ from your sites, you have so far refused to act.”

“Hebrews to Negroes” was recently promoted by Brooklyn Nets guard Kyrie Irving on Twitter, boosting the title to a bestseller on Amazon. According to a statement from Creative Community for Peace, “both Amazon and Barnes & Noble have refused to remove the title and continue to profit from its bigotry.” After a temporary suspension, $500,000 donation to the Anti-Defamation League and having his Nike shoe line dropped, Irving apologized last week for promoting the film.

“At a time in America where there are more per capita hate crimes against Jews than any other minority, overwhelmingly more religious-based hate crimes against the Jewish people than any other religion, and more hate crimes against the Jewish people in New York than any other minority, where a majority of American Jews live, it is unacceptable to allow this type of hate to foment on your platforms,” the letter continues.

“Respected platforms and companies like Amazon and Barnes & Noble have a choice,” said Ari Ingel, director of Creative Community for Peace. “They can either continue to profit off of hatred and antisemitism, while turning a blind eye to the fears of the Jewish community, or they can choose to be an ally, and stand on the right side of history. While free speech is vital, corporations don’t need to help facilitate the spread of dangerous conspiracy theories that threaten the Jewish community. We implore them to take the prudent, responsible steps needed to remove this content.”

Amazon continues to sell other controversial texts, including copies of Adolf Hitler’s “Mein Kampf.” However, a note in the description reads, “Proceeds donated to Jewish Charities & Organizations.”

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Mila Kunis, Debra Messing and Mayim Bialik

After venturing into the Amazon with Lost City Of Z, and then outer space with Ad Astra, writer/director James Gray has gone back to the New York roots that colored so many of his earlier films, and now has made his most personal with Armageddon Time, his latest which reflects much of what his formative years were like growing up, even to the point of filming just feet away from his childhood home. Gray joins me this week as we launch the new Oscar season edition of my Deadline video series, Behind The Lens. An independent filmmaker in the best sense of the term, Gray made waves, and several trips in competition at the Cannes Film Festival with NY-set movies like Little Odessa, The Yards, We Own The Night, Two Lovers, and The Immigrant. Now with Armageddon Time, which he also premiered in Cannes last May, and which stars Jeremy Strong, Anne Hathaway, and Anthony Hopkins, he has once again won acclaim by going deep into a world he knows well in this movie set in 1980. In our conversation we explore why now was the right time to do this thinly disguised film of his own life and times, the difficulties getting indie movies made and distributed, how Fred and Donald Trump figured into both his life and this film, and what drives his filmmaking ambition, plus so much more. To watch just click on the link above.

Join me every Friday during Oscar season for another edition of Behind The Lens.

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After venturing into the Amazon with Lost

Back from a commercial break, Dave Chappelle returned to the Saturday Night Live stage to address the audience and asked if they were watching House of the Dragon before introducing a spoof sneak peek of the HBO series.

“I am the biggest Game of Thrones fan, I love the new show,” he said. “And I gotta tell you, I love that they are including Black characters but, to be honest, the Black characters — they take me out a little bit with the old time accents, it’s a little jarring like where are these people from.”

Chappelle then says that Lorne Michaels got a hold of an exclusive sneak peek of Season 2 of the show and introduced a previously recorded sketch.

Chloe Fineman played Princess Rhaenyra Targaryen and Michael Longfellow played Prince Daemon Targaryen. Kenan Thompson was introduced as Lord Corlys Velaryon, the Sea Snake, and when asked where he came from he jokingly said, “The Matrix.”

When Daemon presumes that Corlys has been at sea for a long time he says, “Of course, this is where my people are most comfortable — the ocean. We especially love being on ships, don’t have any concerns with ships or what might happen to us on ships.”

King Viserys Targaryen, played by James Austin Johnson, then makes an appearance saying that his leprosy infection was “nothing, just a little cough, my skin melted and my eye fell.”

Lord Corlys Velaryon then introduces “new allies” with Chappelle playing one of the characters and quickly spotting King Viserys’ condition. He then spots his cousin, who is played by Ice-T, who has a guest spot. Chappelle’s character tells Ice-T’s that he looks like E.T. when they dressed him up for Halloween.

More “allies” started appearing with Chappelle showing his range and playing the different characters showing up.

Watch the House of the Dragon spoof in the video posted below.

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Back from a commercial break, Dave Chappelle

Black Panther: Wakanda Forever

Starring Letitia Wright, Angela Bassett, Lupita Nyong’o, Danai Gurira, Tenoch Huerta Mejia, Winston Duke, Florence Kasumba, Dominique Thorne, Michaela Coel, Martin Freeman, Julia Louis-Dreyfus and Lake Bell. Directed and co-written by Ryan Coogler (with Joe Robert Cole). Opens Friday at theatres everywhere (with Thursday previews). 161 minutes. PG

It’s both a tribute to the late Chadwick Boseman and a problem for the movie that “Black Panther: Wakanda Forever” feels his loss so keenly.

Other superhero franchises can adeptly move on with major personnel changes. A succession of actors have played James Bond, Spider-Man, Batman and Superman over the decades, with little discernible impact on fan loyalty or box office results.

The departure of the charismatic Boseman, who died of cancer in 2020 at the age of 43, is a whole other matter. He is sorely missed in the dispiriting “Wakanda Forever,” which labours to find a compelling narrative in this second chapter of the Marvel Cinematic Universe franchise. It pales in almost every way when compared to the 2018 origin story.

It may well be that Boseman was irreplaceable in the role of King T’Challa, a.k.a. Black Panther, the benevolent ruler and powerful protector of the remote (and fictional) African nation of Wakanda. “He was everything!” a character laments.

Whether or not Boseman was essential to “Black Panther” remains to be seen. Director/co-writer Ryan Coogler chose not to go the standard franchise route of immediately swapping in another actor for Boseman and carrying on as if nothing had changed.

Instead, Coogler and co-screenwriter Joe Robert Cole double down on genuine audience grief over Boseman’s untimely loss by making it a big part of the story.

The movie opens with T’Challa’s death from an unspecified illness, despite valiant efforts to save him made by his brilliant scientist sister, Shuri (Letitia Wright).

After a stirring funeral that sees T’Challa’s coffin being airlifted into a spaceship, Wakanda is plunged into a state of uncertainty regarding vibranium, the blue-glowing magical substance that is the source of the tiny kingdom’s outsized power and technological achievements.

Other countries want Wakanda to share its vibranium, thought to be available nowhere else on Earth. New Wakandan ruler Queen Ramonda, the mother of T’Challa and Shuri played with marvellous fury by Angela Bassett, swiftly smacks down that idea at a meeting of the United Nations Security Council. She also dramatically demonstrates how a supposedly peaceful UN member has already tried to steal vibranium.

An even greater threat to Wakanda and the world suddenly arises from the depths of the Atlantic Ocean: a Mayan-derived Indigenous people from the underwater realm Talokan. Led by the fierce warrior Namor (Mexico’s Tenoch Huerta Mejia), a wing-footed mutant, the Talokans have a serious grudge against “the surface world,” which is another way of saying “colonizers.”

The Talokan fighters make their presence known in the film’s most compelling action sequence, when a U.S.-led effort to extract a deep-sea cache of vibranium — notably located outside Wakanda — meets with fierce resistance. Namor wants Wakanda to ally with Talokan in keeping interlopers out of their hidden kingdoms, but Ramonda and Shuri are understandably wary about trusting a ruthless dude who looks like an extra from an “Aquaman” film.

All of this would be enough personnel and plot for most superhero movies, but “Wakanda Forever” is just getting started on its nearly three-hour journey, one made all the heavier by Autumn Durald Arkapaw’s colour-drained cinematography.

The middle portion of the film groans from expositional overload, as familiar “Black Panther” characters return with differing impacts: Danai Gurira’s Okoye, leader of Wakanda’s all-female Dora Milaje military force; Lupita Nyong’o’s Wakandan master spy, Nakia; Winston Duke’s gruff M’Baku, a rural Wakandan defender; and Martin Freeman’s CIA good guy, Everett K. Ross.

A scene from Marvel Studios' "Black Panther: Wakanda Forever."

Gurira’s Okoye fares the best of all the supporting players. Her supremely stoic character is allowed to grow and experience pain and humour, the latter an important asset to the film. She brings much-needed levity in her interchanges with Shuri, whose ebullience from the first “Black Panther” film is understandably dialed down for the melancholy the sequel summons.

Also worth noting is that the Dora Milaje are less spirited in this film than they were in the first “Black Panther.” They’d likely be no match for their ferocious Agojie counterparts from “The Woman King.”

One new character is almost risibly unnecessary: Dominique Thorne’s Riri, a 19-year-old MIT polymath who has somehow invented, all by herself, a machine to track vibranium. Coming across as Shuri’s doppelgänger, she’s the most comic-book character in a franchise that until now has exceeded its pen-and-ink origins. On the plus side, and it’s a big plus, she’s another diverse female member of a cast blessed with abundant female characters and actors of colour.

And what of the Black Panther? Who will wear the magical black-and-purple suit, the best of Oscar-winning costume designer Ruth E. Carter’s awesome sartorial creations?

“Wakanda Forever” answers that question but also leaves the door open for another development. It’s a state of limbo appropriate for a franchise situated midway between a dynamic beginning and an uncertain future.

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Black Panther: Wakanda ForeverStarring Letitia Wright, Angela

Two big ticket films starring some of India’s biggest stars could possibly end the long dry spell that Bollywood is currently enduring at the box office, trade analysts predict.

In recent years, the cinema of South India, comprising the Telugu, Tamil, Kannada and Malayalam language industries, has stolen a march over its hitherto more glamorous Bollywood counterpart in both content and box office. In recent months, big ticket releases from the Hindi-language Mumbai-based Bollywood have underperformed. In recent weeks, the trend has continued, with the Hindi-dubbed version of Kannada-language blockbuster “Kantara” outperforming its made-in-Hindi counterparts.

The trend, understandably, has sent alarm bells ringing across Bollywood, but analysts have high hopes from “Cirkus,” starring Ranveer Singh, due a Christmas 2022 release, and “Pathaan,” headlined by Shah Rukh Khan, which is scheduled for a Jan. 25, 2023, bow, during India’s Republic Day holiday frame.

Reliance Entertainment, Rohit Shetty Picturez and T-Series Films’ “Cirkus,” directed by hitmaker Shetty (“Sooryavanshi”), features Singh in a dual role and also stars Pooja Hegde, Jacqueline Fernandez and Varun Sharma, with cameos from Deepika Padukone and Ajay Devgn. The film is a comedy loosely based on William Shakespeare’s play “The Comedy of Errors,” which has been adapted several times successfully for the screen in India.

Yash Raj Films’ “Pathaan” is directed by another hitmaker, Siddharth Anand (“War”). It also stars Padukone and John Abraham. The spy action thriller is part of producer Aditya Chopra’s spy universe, which also includes the “Tiger” franchise.

“There is a high likelihood that both these films will bring back cheer in terms of the Hindi box office numbers. If you look at the Hindi box office, films have been reporting a positive surprise very sporadically. In the last eight months, since we’ve moved out of COVID-19, and cinemas have unlocked, we have seen just about four films doing well and breaching that INR1.5 billion to INR1.7 billion [$18-20 million] mark at the box office. The last one was ‘Brahmastra Part One: Shiva,’ when we breached the INR2 billion mark,” film trade analyst Karan Taurani of Elara Capital told Variety.

Taurani points to “Cirkus” director Shetty’s track record, which includes the Golmaal and Singham franchises and says that the film being a family mass entertainer in the comedy genre will be a highlight for audiences. As for “Pathaan,” Khan’s most recent release as a solo hero was “Zero” in 2018 and Taurani feels that there will be high audience curiosity about the star’s comeback film.

“The ‘Pathaan’ teaser looks compelling, it looks like a large franchise, like we had ‘Dhoom.’ I’ve always maintained that it is not only star power which will work but a blend of star power and content is going to be the big driver for getting the numbers back to pre-COVID levels and beyond that, so we are moving towards that path slowly and steadily,” says Taurani.

Atul Mohan, editor of Indian trade publication Complete Cinema told Variety: ” ‘Cirkus’ and ‘Pathaan’ are the biggest hopes for the Hindi film industry in the coming months. Both films come with the right mix of star power and entertainment value. Shah Rukh Khan and Ranveer Singh are the last-standing superstars. They still command a massive craze among the viewers. Audiences trust them wholeheartedly. As the promotional campaigns kick in, and we get a closer look at these movies, I’m sure they will surpass everyone’s expectations and dispel all doubts about the industry’s survival.”

Box office analyst Ramesh Bala added: ” ‘Pathaan’ is a big-scale actioner offering a larger-than-life ride. It is also Shah Rukh Khan’s much-anticipated comeback. Meanwhile, ‘Cirkus’ brings together the superhit combo of Ranveer Singh and Rohit Shetty. The film is a comedy and audiences have been dying to see Ranveer in an all-out comedic role. Together, these two films will work wonders at the box-office and end Hindi cinema’s dry spell.”

Taurani predicts that the robust numbers for South Indian cinema and Hollywood, which has also been performing well in India, will continue and contribute to the overall growth of the Indian box office, with 2023 set to surpass pre-COVID 2019 levels. He also sees the Hindi box office catching fire from the May-June 2023 period, when Bollywood films based on concepts and scripts developed in line with changing audience preferences begin releasing.

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Two big ticket films starring some of

‘Yellowstone’ Creator Taylor Sheridan Reacts to Suggestion His Series Is a ‘Republican Show’: ‘Really?’ | Entertainment Tonight
































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Change was in the air as The Crown wrapped up its penultimate season… and more than one relationship was changing along with it.

Season 5’s finale opens with Dodi al-Fayed telling his father Mohamed about a house he wants to buy in Malibu. (He has to act fast, “or I will lose it to Michael Douglas.”) He also wants to introduce his dad to his new girlfriend… and it’s not Diana. Yet. She’s busy phoning into a call-in show to vote “no” on keeping the British monarchy and cackling to herself. Elsewhere, Tony Blair and the Labour party are poised to sweep Parliament, and the British colony of Hong Kong is due to be handed back to the Chinese, so the times, they are a-changin’. The Queen sees the handover as undignified, so she sends Charles to represent her in Hong Kong while she heads to Canada.

Dodi brings his actress girlfriend Kelly Fisher to London on a private jet to meet Mohamed, but he’s unimpressed: “Isn’t it enough just to f–k her?” (They speak in Arabic, leaving Kelly and Mohamed’s wife out of the loop.) Mohamed also chides Dodi for making him bankroll a string of Hollywood flops, telling him, “The only thing you have a talent for is women.” He still thinks Dodi could hit “the jackpot” there, though. (Hmmm.) Tony Blair and the Labour party win big on election night, and John Major gracefully steps aside, telling Elizabeth he’ll do what he can to save the Britannia, even though Labour is bound and determined to decommission her. (Metaphor alert!)

In her first meeting with Blair, Elizabeth brings up the Britannia, but Blair has a better idea: a brand new yacht, privately financed that the government could lease. He suggests the name New Britain, which Charles likes, of course. But Elizabeth would rather have no yacht at all, so Charles’ trip to Hong Kong will be the Britannia‘s final voyage. He’s even forced to fly there in business class (gasp!) while Blair and his cronies laugh it up in first class. Back in London, Mohamed spots Diana sitting alone at the ballet and invites her to join him and his wife for dinner. She confesses she’s “more glum than ever” after the divorce and doesn’t want to be around for Camilla’s birthday, which is coming right up. So Mohamed invites her to bring her boys and come to Saint-Tropez with him and his family. He’s even got a big gleaming new yacht!

The Crown Season 5 Finale CharlesIn Hong Kong, Charles makes a speech commemorating the handover to the Chinese — and pulls Tony Blair aside for a private chat afterwards. Blair apologizes about the Britannia, but Charles waves that off: “There’s no point clinging to the past.” In fact, he thinks “the royal family needs a similar renovation.” He’s chafing at the restraints his family has put on him, specifically about remarriage. Elizabeth catches wind of this and confronts her son, reiterating that she doesn’t approve of him marrying Camilla. She pulls rank as sovereign… “which will one day be me,” Charles notes. “One day, but not yet,” Elizabeth counters. He calls her values old-fashioned and worries that “the world will move on, and those who come after you will be left with nothing.”

As Elizabeth takes a sad final tour of the Britannia before it’s scrapped, Dodi proposes to Kelly, and Diana packs for her Saint-Tropez trip, with Mohamed enjoying life aboard his shiny new yacht.

Alright, loyal subjects: Give The Crown‘s finale — and Season 5 as a whole — a grade in our polls, and then tell us what you think in the comments.


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Change was in the air as The

Sam Mendes spoke of his collaborations with cinematographers from Conrad Hall to Roger Deakins, while also voicing support for Ukraine, during the opening ceremony of the 30th EnergaCamerimage international cinematography film festival.

Saturday in Toruń, Poland, the Academy Award-winning helmer accepted the Special Krzysztof Kieslowski Award for a Director while acknowledging that “it’s difficult to speak of celebration” after hearing from and seeing images of those in Ukraine that were presented during the ceremony. “I made a movie (1917) with Roger [Deakins] about two young men caught up in a senseless war. The question I got asked over and over again is, ‘Is this relevant?’ I’m afraid to say, it is and it will always be. We stand with everyone in Ukraine.”

He acknowledged the cinematographers with whom he has worked, starting with the late Hall, who won Oscars for Mendes’ first two movies, American Beauty and Road to Perdition (posthumously). “Conrad was my guide, and ever since Conrad, cinematographers always have been my guide,” he said to applause.

Mendes has worked with Deakins for the past 15 years and said that partnership “has given me more pleasure and more joy than any collaboration that I ever had in movies.”

Accepting his award, the director also cited his latest film, the Deakins-lensed, cinema-set Empire of Light. “On the wall of the cinema, right at the beginning of the film, is written, ‘Find Where Light in Darkness Lies.’ That is all of our jobs. It’s the work of the cinematographer, and it my great pleasure to have shed some tiny light in the dark.”

Filmmaker Alex Gibney was honored with the award for outstanding achievement in documentary filmmaking, and Ulrike Ottinger accepted the Award for Avant Garde Achievements in Film.

“What’s so important about Camerimage, is the notion that cinematographers and filmmakers are doing their best to try to bring light to this world,” Gibney said. “The world can be a devastating and dangerous place. A lot of my films I’ve spent looking at abuses of power, but also, I think in a more important way, looking at the everyday heroes who rise up and oppose those abuses of power. So it was particularly important for me to be here this year, in Poland, when we’re so close to Ukraine, when people are fighting for liberty and life for us all.”

This week, Camerimage is supporting two Ukraine-based film festivals that have been displaced by the war: The OKO International Ethnographic Film Festival and KINOKO Film Festival. “Please help Ukraine to win in every way possible,” urged a tearful Tetiana Stanieva, founder of the OKO Festival. “Our economy and way of life has stopped. We lose our dreams. … We lose beloved ones.” This portion of the program included a video featuring filmmakers who joined the Ukraine military.

The opening ceremony included reflection on Camerimage’s 30-year history. Said festival director Marek Żydowicz: “It’s important to remember when the sky over Poland was red, such meetings were not possible. … Things have not changed in some ways. We have to keep fighting.”

He also talked about how early involvement of influential cinematographers Vittorio Storaro and the late Sven Nykvist was instrumental in getting the event started. In doing so, they honored cinematographer and former Nykvist collaborator Lukasz Bielan as a “friend of the festival.”

To honor Camerimage, Toruń Mayor Michal Zaleski was on hand to present the Medal of the President of Toruń to Żydowicz and festival manager Kazik Suwala.

During the opening ceremony, the competition films and juries were featured. The main competition jury is chaired by multihyphenate Lech Majewski and includes producer Fred Berger, cinematographer Marcus Förderer, cinematographer Arthur Reinhart and production designer Jan Roelfs. Black Panther: Wakanda Forever cinematographer Autumn Durald Arkapaw is TV competition jury chair, and Elvis DP Mandy Walker chairs the jury for the student competition.

The opening-night film, Empire of Light, followed the ceremony.

The festival runs through Nov. 19.

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Sam Mendes spoke of his collaborations with

Keith Levene, the co-founding guitarist of both the Clash and Public Image Ltd, has died, his partner Kate Ransford and author Adam Hammond confirmed. “It is with great sadness I report that my close friend and legendary Public Image Limited guitarist Keith Levene passed away on Friday, 11th November,” tweeted Hammond. “Our thoughts and love go out to his partner Kate, sister Jill, and all of Keith’s family and friends. The world is a darker place without his genius. Mine will be darker without my mate.” Levene was 65 years old.

Born Julian Keith Levene on July 18, 1957 in London, England, he fell in love with music as a kid and gravitated towards ska, prog rock, and the Beatles. He started playing guitar as a preteen and became obsessed with Yes, hailing Steve Howe as “the greatest fucking guitarist in the world.” Levene hung around after attending Yes concerts and gradually started creeping onstage to break down gear, offering to help on tour. When he turned 15, Levene got a roadie job for Yes cleaning Alan White’s cymbals and changing the snare on the Close to the Edge tour. When Levene tried to join the crew for Rick Wakeman’s next solo tour, Wakeman—who noticed Levene constantly played the instruments but was slow to set them up—persuaded him to give up being a roadie and try playing music instead.

When he was 16, Levene visited West London and met Mick Jones for the first time. The two became instant friends and decided to form a band together. Famously, Levene and Bernard Rhodes, the manager of Jones’ band London SS, convinced Joe Strummer to leave his band the 101ers to join the Clash. “[We] talked Joe into coming over to my squat in Sheppard’s Bush,” explained Levene. “I was playing guitar with him and playing some 101ers tunes. He went, ‘Hey man, I just love you and I love the way you play guitar.’ So I said, ‘Will you do it?’ and we got him in the Clash.” After roping together bassist Paul Simonon and drummer Terry Chimes, they officially debuted the Clash in July 1976.

In September 1976, the Clash fired Levene for allegedly no longer being interested in the project. Before they parted ways, Levene co-wrote a few songs with the Clash, one of which (“What’s My Name”) would go on to appear on their debut self-titled album. 

In 1978, Levene and John Lydon formed Public Image Ltd, tapping Jah Wobble to play bass and Jim Walker for drums, and released their debut album, Public Image: First Issue. He quickly established his raucous playing style and what would define him as a guitarist. “What happened to me was once I got good enough to know the rules, I didn’t want to be like any other guitarist,” Levene said in an interview. “I didn’t go out of my way to be different. I just had an ear for what was wrong. So if I did something that was wrong, i.e. made a mistake or did something that wasn’t in key, I was open-minded enough to listen to it again.” 

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Keith Levene, the co-founding guitarist of both

Virtual production is fundamentally a way to create an illusion to tell a story. Innovation and progress within this field means developing methods to create these illusions more easily and effectively, helping make the story feel more convincing. 

The rise of virtual production  

At first glance, virtual production can seem like a complex tool requiring training and skill development. It can be considered too expensive, resource-intensive, and ultimately time-consuming. However, thanks to recent advancements in technology, this is no longer the case. 

Virtual production has never been more accessible or provided so many options to create engaging content and entertain a wide variety of audiences, achieving Hollywood-style results without the Hollywood-style price tag.

The focus of virtual production technology has shifted to bringing tools directly to the creators, rather than using a go-between. This is no longer restricted to the elite of the creative industry. Immersive content can be made from beginning to end from the comfort of your living room. 

Software that is continuously supported and developed is the most effective way to help content creators. It allows us to alter the way people perceive the versatility of the technology as well as the accessibility, rather than being restricted to expensive hardware, enabling it to enter the consumer market.

Making the most of virtual production with the bare minimum

The rise of virtual production software has enabled filmmakers to fully utilize virtual production technology with the bare minimum of everything–budget, resources, and time. 

Right now, the basic set-up should take less than an hour, and consist of:

  • A screen: a 4KTV or projector 
  • A recording device, smartphone(s) or GoPro(s) 
  • Virtual production software

For a complete beginner, software exists where there are no requirements in experience or skill level to use it efficiently, and to its fullest capability. Independent filmmakers can pick up and start shooting on first use. There is an ever-increasing selection of products, including the technology used by Hollywood production companies themselves, all available in the consumer market. 

For example, the software we use at ARwall is used in multiple large-scale productions, with companies such as Netflix and Disney. This technology is easily available on the consumer market, enabling the delivery of blockbuster results, without the blockbuster price tag. 

Accessibility, useability and the user experience

These technological advancements have not only raised the bar on the possibilities of content creation, they’ve lowered the industry entrance requirements, encouraging a more innovative and creative environment from a far wider pool of talent.  

As individuals with no 3D design experience are now able to use technology with real-time rendering and compositing, virtual production is swiftly becoming an essential part of a content creator’s toolkit, regardless of skill level. 

A lot of discussion goes into whether the illusion and effects are convincing and as a company we’re of course dedicated to  that, but the focus should also be on making virtual production an easier process to accomplish and control. Any creator’s ultimate goal should be to achieve an aesthetic that is both compelling and unattainable without this technology.

Most importantly, the software should be user intuitive, requiring little to no training. Easy means one person being able to set up, shoot and act by themselves. Some of the benefits of this type of software, compared to on-location or physical set shooting, is less downtime, less company moves and sometimes the complete elimination of a set construction team from the production.  

Virtual production is, in particular, critical to the success of independent filmmakers and studios due to the sheer number of obstacles it removes–budget, resources and time. It can be integrated in the whole production pipeline and the impact on the project can be tremendous, shaving days off the schedule.  

These capabilities can also attract celebrity talent to your production–a huge challenge faced by independent filmmakers and studios–due to the ease and limited time involved in shooting. If you’re set up and running within 40 minutes, close to the actor’s home, it’s far more convenient and an all-round better experience. 

The future for independent filmmakers

In my opinion, the future for independent filmmakers is, quite simply, unknown. The rapid adoption of real-time graphics, deepfakes, AI and more makes this an impossible scenario to predict, it’s going to be determined by those actually creating the content, now and in the immediate years to come,

Thanks to the rapid rise of digitalization, the new generation has been exposed to more obvious market competition, particularly online, such as ‘streaming wars’ than previous generations. This has produced a brand new type of filmmaker with more creative freedom, at an independent level, than ever before. 

These independent creators produce immense amounts of content in many formats, from short opinion based videos to product reviews, and live streams of gaming. This can come from anyone, anywhere, regardless of their experience level.

Established independent content creators and streamers have the ability to instantly reach millions of people online through activities such as live streaming, and this type of audience engagement is only set to grow with the increase of digital performances and animated content from well-known artists on popular online platforms.

There are many stories out there that have been considered unshootable for a variety of reasons, and I think we could begin to see filmmakers tackling these in new, popular ways. Independent filmmakers tend to have an almost uncanny ability to understand their audiences and relate their stories to the plights of the everyday person in a respectful way.

To find out more about ARwall, the XR technology company that builds award-winning solutions to shake entire industries, visit https://arwall.co/. 

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Virtual production is fundamentally a way to


Drew Seeley, Corbin Bleu, Lucas Grabeel, Kenny Ortega, Bart Johnson and Vanessa Hudgens.
Courtesy of Drew Seeley/Instagram

Wildcats forever! Nearly 16 years after High School Musical premiered on Disney Channel, it still feels like kindergarten between the stars.

“Like no time has passed. #HSM reunion in Paris ???,” Drew Seeley, who provided the singling vocals for Zac Efron’s Troy Bolton in the first film, captioned a Saturday, November 12, Instagram selfie with his former costars.

The Another Cinderella Story actor, 40, met up with Vanessa Hudgens, Corbin Bleu, Lucas Grabeel, Bart Johnson and director Kenny Ortega at the “Back to the Musical World 2” convention in Paris. The Dream It event reunited the choreographer, 72, with the casts of High School Musical, Descendants and Julie and the Phantoms, all of which he directed.

The HSM squad later thrilled convention attendees as they recalled memories filming the Disney Channel hit on the mainstage. Seeley and the Princess Switch star, 33, even sang an acoustic rendition of Troy and Gabriella’s ballad “Breaking Free,” per social media footage.

High School Musical premiered on Disney Channel in 2006, starring Hudgens as prodigy Gabriella Montez opposite Efron’s basketball-playing Troy Bolton. After the twosome sparked a karaoke connection over winter break, they were stunned to learn that Gabriella and her mom had just relocated to his native Albuquerque, New Mexico, and enrolled her at the same school of East High. The franchise — which sparked sequels in 2007 and 2009 — also starred Grabeel, 37, Bleu, 33, Monique Coleman and Ashley Tisdale. While the entire crew both acted and sang in the franchise, Seeley notably crooned all of Efron’s solos in the first movie. (The Canada native reprised the role of Troy during the  “High School Musical: The Concert” tour.)

“In the first movie, after everything was recorded, my voice was not on them,” Efron, 35, told the Orlando Sentinel in July 2007 of not singing in the first flick. “I was not really given an explanation. It just kind of happened that way. Unfortunately, it put me in an awkward position. It’s not something I expected to be addressed. Then, High School Musical blew up. I’m very fortunate that Drew has gotten proper credit and also that I’ve gotten the opportunity to come back [in the second and third films, respectively] and try it again with my own voice.”

The Hairspray actor was able to provide his own vocals in High School Musical 2 and High School Musical 3: Senior Year, while Seeley never regretted his own experience.

“Any actor would have loved that role, but Zac did a great job. He was the right man for the job,” the songwriter said in an August 2021 TikTok. “[I] did get to do the tours. Everybody wins, much love.”

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Drew Seeley, Corbin Bleu, Lucas Grabeel,

He’s worked in broadcast TV. Then cable TV. Then podcasts. Now, Conan O’Brien is trying his hand at satellite radio.

Beginning Nov. 15, the 59-year-old comedian and talk show host launches a new original channel, Team Coco Radio, on SiriusXM. The channel is 106 on the SiriusXM dial.

Team Coco Radio will air 24 hours a day of audio content from O’Brien’s deep vaults — interviews, comedy bits and more — as well as his hit podcast Conan O’Brien Needs a Friend.

“Conan’s wit and wisdom at a time when laughter is at a premium has never been more important. Conan 24/7 on Team Coco Radio is a 6-foot-4 boost to your day,” said Scott Greenstein, SiriusXM’s president and chief content officer.

“Finally, a use of satellite technology that in no way benefits mankind,” said O’Brien.

The channel teases “the biggest interviews and the funniest stand-up moments from Conan’s iconic TBS show, as well as select Team Coco podcasts, including Needs a Friend, plus Inside Conan and Conan O’Brien Needs a Fan,” according to a press release.

Team Coco Radio is also expected to roll out a slate of original programming and feature performances from musical guests.

The deal comes after SiriusXM’s acquisition of Team Coco last May. The deal ensured O’Brien would enter into a five-year talent agreement with SiriusXM and remain with the podcast in that period.

Courtesy of SiriusXM

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He’s worked in broadcast TV. Then cable

It’s only been two weeks since Elon Musk purchased Twitter for $44 billion and it’s not going well. A barrage of celebrities are leaving the platform, including Whoopi Goldberg, and the new owner suspended Kathy Griffin’s account after she changed her name to “Elon Musk.”

ABC and the Oscars announced that Jimmy Kimmel will be returning to host the 2023 ceremony. In a year where multiple blockbusters are likely to be in the conversation, such as “Black Panther: Wakanda Forever” and “Top Gun: Maverick,” the Academy hopes to recapture its ratings from the glory days.

Speaking of “Wakanda Forever,” director Ryan Coogler and stars Angela Bassett and Letitia Wright were on the cover of Variety this week, speaking about the difficulties of shooting after the death of Chadwick Boseman and what to expect from the latest Marvel entry.

Finally, a woman has filed a lawsuit against Warren Beatty, alleging that the actor coerced her into having sex with him in 1973 when she was 14 or 15 years old. Kristina Charlotte Hirsch filed the lawsuit in Los Angeles Superior Court on Monday. The suit does not cite Beatty by name but identifies the defendant as having been nominated for an Academy Award for his role as Clyde in “Bonnie and Clyde” — a clear reference to Beatty. He has yet to respond to the lawsuit.

Hosted by Variety chief correspondent Elizabeth Wagmeister and senior awards editor Clayton Davis, Variety’s “The Take,” presented by Apple TV+, is a weekly series that navigates the week’s top stories from entertainment, pop culture and media, while providing expert analysis and exclusive insight on what’s buzzing in Hollywood. Filmed in Variety’s state-of-the-art studio in Los Angeles, new episodes are released on Fridays on Variety.com, YouTube and social media.

Make sure to let us know… what’s your take?

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It’s only been two weeks since Elon

Nick Cannon and Jerry Springer on The Masked Singer

Nick Cannon and Jerry Springer on The Masked Singer
Photo: Michael Becker / FOX

Jerry Springer was back in the news lately, having finally taken his obligatory turn in a big ol’ bug costume on Fox’s The Masked Singer. (This, after a three-season run on his syndicated legal show Judge Jerry, which wrapped up its last episodes earlier this year.) Springer—a lawyer and former politician who slouched into reality TV stardom after serving as a local news anchor for several years—has always adopted a thoughtful, often-ambivalent tack while talking about his most famous product, The Jerry Springer Show. Now, in a recent episode of David Yontef’s Behind The Velvet Rope podcast, he’s offered a joking apology for the series, saying, “I’ve ruined the culture.”

Springer is obviously being tongue-in-cheek with the apology, noting that he hopes “hell isn’t too hot” when he gets there. (He cracked similar jokes with us in an interview 14 years ago, and also with plenty of other outlets across the decades.) In the conversation with Yontef, though—which also includes excerpts from an older interview timed to Judge Jerry—Springer does have a few interesting things to say about why his series took off, and how it pre-dated the modern era of social media.

“It’s just the democratization of the whole culture,” he notes at one point, pointing out that the idea of “the audience becomes entertainment,” which was pivotal to his show, now underpins huge swathes of both social media and reality TV. “I don’t think you can be a grown-up in today’s world and be shocked by anything anymore,” he adds, with the addendum that people regularly post online things that would have been shocking on The Jerry Springer Show 20 years earlier. Springer’s point, essentially, is that his show worked because it allowed guests to make themselves, if not famous, then at least publicly entertaining, through over-exposure of their various flaws or issues; now Twitter and Instagram allow everyone that, uh, “privilege” without having to get on a plane to Chicago with three of their least-favorite relatives.

Again, Springer doesn’t really seem to be doing much hand-wringing about the moral implications of this ruination of modern culture. (He’d probably argue that living the rest of his life having his name chanted at him every single time he goes to the airport is probably punishment enough.) Meanwhile, if you’d like further insight into what The Jerry Springer Show was actually like from the ground floor, we can’t help but direct you to a favorite piece of ours: Our former A.V. Club colleague Katie Rife’s break down of the two hellish-sounding months she spent P.A.-ing on the show.

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Nick Cannon and Jerry Springer on The

“Black Panther: Wakanda Forever” is here, and like any good Marvel Studios movie, it has a mid-credits scene that expands the story in new and exciting ways.

“Black Panther: Wakanda Forever” follows the secret African nation as it deals with the loss of its king and protector T’Challa (Chadwick Boseman), alongside the emergence of a brand new threat in the form of Namor (Tenoch Huerta), an ancient god from an undersea civilization. Namor wants to conquer the surface world and he wants Wakanda’s help. Otherwise, they’ll be the first on his list of places to wipe out. It’s up to T’Challa’s sister Shuri (Letitia Wright), partner Nakia (Lupita Nyong’o), mother Ramonda (Angela Bassett) and colleague Okoye (Danai Gurira) to figure out how to save their nation and deal with Namor, all while attempting to ordain a new Black Panther.

But what happens after the credits roll might be the most important and emotionally satisfying moment of the entire movie, and we are going to break it down for you.

Huge spoilers for “Black Panther: Wakanda Forever” follow. If you haven’t seen the movie, turn back now! Is this credits scene the perfect emotional button to an already very emotional film?

What happens during the credits sequence?

Things pick up immediately after the final shot: Shuri is sitting on the beach in Haiti, having just burned her funeral robes (signaling that she is ready to move on and begin the healing process, for real this time). Nakia comes up to her and says that there’s something she hasn’t been told. Something that nobody besides Ramonda knows – that she gave birth to a child conceived with T’Challa. While Shuri has assumed the title of Black Panther, the kid is the true heir to the throne. Her son’s Haitian name is Toussaint but his Wakandan name is T’Challa.

Wait, how old is T’Challa’s son?

He’s about five or six.

Explain.

Earlier in the movie Nakia said that she has been in Haiti for six years, away from Wakanda. That means the child was conceived (and was possibly born) before the events of “Avengers: Infinity War” and the blip that turned T’Challa into floaty dust particles. T’Challa and the rest of those that were wished away by Thanos (Josh Brolin) returned five years later. That means that T’Challa returned from the Blip and died almost immediately after. Nakia said that he at least met his son and that Ramonda knew of him. But that was it. For his own protection his identity was kept secret.

Does he already have the powers of the Black Panther?

Maybe! When going through Namor’s backstory, it’s revealed that his mother ingested a similar substance to the herb in Wakanda that gives the Black Panther his or her powers. When Namor was born, his powers were passed along to him genetically. This means that T’Challa’s child could already have the Black Panther abilities, even though he didn’t ingest the herb and go on a cosmic vision quest to meet his ancestral elders. Since the little kid T’Challa didn’t punch anybody through a wall or drop out of a spaceship, we just don’t know what he’s capable of … yet.

Namor describes himself as a mutant. Could young T’Challa be a mutant too?

Possibly. Since Disney acquired 20th Century Fox, mutants are fair game for the MCU now, and the Disney+ series “Ms. Marvel” already introduced us to the first mutant in the Marvel Cinematic Universe.

Wow.

Yeah, definitely.

Does young T’Challa show up anywhere else in the film?

Actually yes! When Shuri first visits Nakia in Haiti to ask for her help, there’s a young boy at the school where Nakia works. He asks Shuri if she wants to see the headmistress. THIS IS T’CHALLA. Some Marvel Easter eggs are more emotionally rewarding than others!

Is this credits scene the perfect emotional button to an already very emotional film?

It is.

But does it also negate the movie’s feminist underpinnings?

Yes, it does that too.

Go on.

So much of “Black Panther: Wakanda Forever” deals with the strength, intelligence and creativity of the women in T’Challa’s life – his mother, sister, love and best friend. To a point the movie suggests that it’s these qualities, along with loyalty, understanding and tenacity, that are the real superpower, not something that you can ingest or get from a magical ring (or whatever). They are absolutely awe-inspiring throughout the film and the performances are all genuinely amazing (Bassett, in particular, should be in the conversation for the Best Supporting Actress Oscar). So it’s kind of a bummer that, after all that goodwill and thoughtfulness, a male character is introduced who could take over for Shuri or challenge her power or whatever. It just feels like it undercuts everything that came before it in a really unhelpful way. And that’s a shame.

But it’s still great?

It is. It’s a movie of singular power and beauty. And it makes us ready for whatever comes next in the “Black Panther” corner of the Marvel Cinematic Universe.

“Black Panther: Wakanda Forever” is in theaters now.

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“Black Panther: Wakanda Forever” is here, and

Marvel have a cinematic universe problem. Wakanda Forever is a testament to that; they’re far interested in setting up what comes next that the sequel to the 2018 megahit barely exists on its own – yes the point of the franchise is its connectivity, but that comes with a cost of identity. It’s something that the franchise was able to manage better in the first few phrases; The First Avenger and Thor existed in their own right whilst setting up what came next; but ever since then it’s got trickier. Riri Williams – as great as Dominique Thorne is in the role of a future Ironheart – feels like little more than a plot device; built up so Marvel can advertise the next series coming to a Disney+ subscription service near you. There’s lots of Phase 5 stuff in here too that’s created purely at the expense of Phase 4, which means that as a result, the Phase ends in a whimper rather than a bang.

The heavy shadow of this movie is Chadwick Boseman’s tragic passing early into production and the film deals with such a loss in an effective, emotional way that’s a befitting tribute and something that I wish Carrie Fisher had in The Rise of Skywalker. The cast give it their all and the film acts as a sense of grief, healing and reconstruction – the grieving process is one of the main arcs of the film and the emotional tribute to one of the greatest talents in the Hollywood industry is felt, heavily. It’s helped that Coogler is a director who knows how to make consequences feel real and matter; a rarity in the franchise – and the stakes across the board, both personal and in the grand scheme of things, leave a mark – the emotion that Letitia Wright, Winston Duke, Lupita Nyong’o, Danai Gurira, Angela Bassett – a cast of stellar, grand actors at the top of their game – display on the screen – is front and centre. The funeral is beautifully shot and heartbreaking – you’ll be in tears before the film’s opening credits roll; mercifully free of Marvel’s usual worst tendencies. Everything from the coffin to the costumes is conducted with an extreme sense of awareness and identity – a vast team of costume designers pull off such a grand job creating a microcapsule event that may be one of the most powerfully shot sequences of any blockbuster this year.

The plot of the film sees the emergence of Tenoch Huerta’s Namor and his people that threatens Wakanda which is reeling from the loss of its leader; and its protector. Nations such as France are trying to capitalise on the perceived vulnerability of the vibranium; and Coogler uses that to make a good statement on the attitude of Wakanda to the rest of the world – explaining why they are the way the way they are. It’s easy to see how Marvel might struggle with real world politics on a global scale – but it’s actually pretty good at this here; at least on a surface level. However, that doesn’t wipe it clean – Wakanda Forever‘s issues are presented as more difficult in its dealing with an American worldview; the CIA is given a clean slate through the lense of the “good cop working in a corrupt organisation” that Martin Freeman’s Ross represents – and it feels like much more of an issue this time around than the first film – downright uncomfortable at the best of times.

The film is visually striking – the cinematography depicted during the opening funeral by Autumn Durald is a real work of art and the underwater set-pieces are captured expertly well. Unfortunately; like the first film – Wakanda Forever can’t keep up its consistency throughout the runtime – the CGI is spotty and inconsistent, and the big finale feels like it was shot entirely against a giant greenscreen wall. It’s a shame as what came before in the first act is stunning and the early Boston chase sequence, just as with the first film – is thrilling even if it feels as more like a corporate dictated nonsense than most of the rest of the film – but Wakanda Forever suffers in the end from the same problem as every other Marvel movie; the CGI is an inconsistent mess at the best of times. Whilst the 2018 film had the strength to overcome the trappings of the rest of the genre, Wakanda Forever falls short every time it remembers it’s a Marvel movie.

When the film remembers to be its own thing it’s clearly at its best. Namor is excellent; cut from the same cloth but not quite as good as Killmonger; as is Letitia Wright’s Shuri – her arc is fantastically well executed on a personal, intimate level displaying her performance as one of the better in the franchise. It just suffers from being overstuffed, about forty minutes too long – there’s no need for Wakanda Forever‘s 162 minute runtime. Yes, it’s better than Thor: Love and Thunder (what isn’t?), but the film is so much caught up in being a backdoor pilot for a television show (that will be its own backdoor pilot for something else) that it can’t help but bogged down in the franchise nonsense that Coogler is usually better than. The personal stakes are the film’s greatest accomplishment – it doesn’t feel like a straight off the production line when everyone is allowed to display their own views on what the passing of T’Challa meant for them on a human level – and how they effect Wakanda shapes the rest of the film as these dilemmas run high; yet the effect is there – and it never really goes away.

Riri Williams’ Ironheart deserved better than being tacked on here; unnecessarily spreading the Iron Man franchise into yet another corner of the Marvel Universe like Marvel can’t really let go. It would’ve been better for both had Disney kept her first appearance for her television series – yet they can’t resist the temptation to make a messy, convoluted universe devoid of its own freedom so much more so.

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Marvel have a cinematic universe problem. Wakanda

A number of awards-contending composers and songwriters were on hand Saturday in Los Angeles for Deadline’s Sound & Screen event, which showcased the music propelling nine buzzy film awards-season titles.

RELATED: Deadline’s Sound & Screen: Full Coverage

The panelists, their pics and the distributors were Alexandre Desplat (Guillermo del Toro’s Pinocchio, Netflix), Diane Warren (Tell It Like a Woman, Samuel Goldwyn Films), Fleet Foxes frontman Robin Pecknold (Wildcat, Amazon Studios), Pawel Mykietyn (EO, Sideshow and Janus Films), Emilie Levienaise-Farrouch (Living, Sony Pictures Classics), Ian Eisendrath (Spirited, Apple Original Films), Benjamin Wallfisch (Thirteen Lives, Amazon Studios) and Michael Abels (Nope, Universal Pictures). Guillermo del Toro’s Pinocchio singer Raewyn Davidson also was on hand.

Click through the gallery to see their panels and some performances.

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A number of awards-contending composers and songwriters

From career milestones and new music releases to major announcements and more, Billboard editors highlight the latest news buzz in Latin music every week. Here’s what happened in the Latin music world this week.

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See latest videos, charts and news

See latest videos, charts and news

Jenni Rivera’s Fashion Store

The Jenni Rivera Fashion store is re-opening in California, offering t-shirts, merch, memorabilia jackets, and more, running from size small to 2XL and ranging from $19.99 to $99.99. Located in Brea Mall in Orange County, the Rivera family hopes to expand to an online store for fans.

“She’s come a long way from the first store that was opened in 2013 and it is a very proud moment for us to be able to achieve this milestone to honor our mother’s legacy”,  Jacqie Rivera & Siblings said in a press statement. “I bet she is smiling down remembering the days she used to sell CDs at the swap meets and now she has a whole store in a prime location honoring her music career and legacy.  We welcome all her fans to come and celebrate and remember her here with us.”

Courtesy Photo

Chiquis’ Holiday Song

In other Rivera news, Chiquis unleashed her first-ever holiday song this week. Giving the Christmas classic “Jingle Bells” a cumbia and Spanglish twist, the Mexican-American artist released “Jingle Bells (Vamos All The Way)” along with a holiday-themed video. Presented by the Latin dating app Chispa and Cocina, minority-owned production and media company, Chiquis flirtatiously associates Jingle Bells with dating, friendship, family, and even perreo. “This track marks both the first Villancico for our Abeja Reina, to remind us that Navidad is all about felicidad y amor. La magia is in the air so vamos, all the way!” the artist expressed on her YouTube account.

Lupita Nyong’o Embraces her Roots

This week, Oscar-winning actress Lupita Nyong’o paid tribute to her Mexican roots by singing a song by the late Juan Gabriel. “Mexico, I’m here! Here’s a song for you,” she shared on TikTok ahead of the Black Panther: Wakanda Forever movie premiere. The Kenyan-Mexican actress is seen wearing her bathrobe and singing “Me Gusta Estar Contigo.”

In other Juanga news, his heirs and team released the last project the prolific Mexican singer-songwriter was working on: the third album of duets of hits, including the singles “Déjame Vivir” with Anahí, “Ya” with Banda El Recodo and La India, and “Mía un Año” with Eslabón Armado, as well as the focus track “De Mí Enamórate” with Danna Paola. Los Duos 3 comes six years after his death.

“Despacito” Makes History

More than five years after its release, Luis Fonsi and Daddy Yankee‘s “Despacito” extends its reign as the most-viewed music video on YouTube surpassing eight billion views this week. “Who would have thought that a melody over my guitar that morning in my house would be listened to in so many places, by so many people,” Fonsi wrote on social media celebrating the song’s new milestone. “It’s been almost six years and I still can’t believe it. The words THANK YOU don’t cover it. 8 billion views, sounds so nice.”

The Puerto Rican artist continued thanking those who made it all possible, including Daddy Yankee, Justin Bieber who jumped on the remix, his co-writer Erika Ender, producers Andrés Torres and Mauricio Rengifo and video director Carlos Pérez, to name a few, and his island of Puerto Rico, where they filmed the video, featuring former Miss Universe Zuleyka Rivera

Bad Bunny’s Ruling Streak

Apple Music has named Bad Bunny its 2022 artist of the year, marking the first time since the Apple Music Awards launched in 2019 that a Latin artist has been recognized as AOTY, and the first time only one artist is named for the award.

“When I started, I didn’t have a global fan base,” he told Apple Music in an exclusive film. “I’m grateful for everything I’ve accomplished and everything I’ve experienced. The Latin music movement has grown so much. I would never take full credit or say, ‘It’s because of me.’ No, it’s every one of us. A whole generation. Our energy and presence are always felt.” 

The Puerto Rican artist — whose Un Verano Sin Ti Album is also Apple Music’s most streamed album this year and the biggest Latin album of all time — is acknowledged for his excellence and influence on global culture in 2022.

Bad Bunny

Bad Bunny

Courtesy of Apple Music

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From career milestones and new music releases

AFI FILM FEST 2022 REVIEW! Filmmaker Mia Hansen-Løve boasts an incredible track record. She’s been examining humanity in stylish, perceptive, touching ways for two decades, yet she remains France’s best-kept secret. Perhaps her latest feature, the staggering in its simplicity, endlessly stirring One Fine Morning, will right this wrong and finally give her a boost to the echelons of your Dardennes and Assayas (she happens to share a daughter with the latter). So give Løve some love already.

Léa Seydoux plays Sandra, a widowed mother of a young daughter and the daughter of renowned philosophy professor Georg (Pascal Greggory), who’s slowly fading away, afflicted with a rare neurodegenerative disease called Benson’s Syndrome. Sandra does her best to take care of the man with the help of her mom and his ex-wife Françoise (Nicole Garcia). Yet, he barely recognizes them–literally, as the disorder causes blindness, along with mental deterioration. Georg is no longer capable of living on his own; the film traces Sandra’s heartbreaking journey of finding a care home for her dad.

In the meantime, she bumps into Clément (Melvil Poupaud), an old friend whom she hasn’t seen in years. A passionate affair begins with one major caveat: Clément is a married dad. He helps Sandra break out of the shell under which she’s been hiding since her husband’s death; she helps Clément rediscover himself. But will he leave his family in order to pursue his true love? Although it may sound soap-opera-ish, rest assured: Hansen-Løve sidesteps sentimentality and finds the truth in each seemingly inconsequential moment.

“…traces Sandra’s heartbreaking journey of finding a care home for her dad…”

Both of these storylines deal with the different facets of love–the warm love for a father, a child, family; the love of a lover, a husband; the love of life. Complex emotions boil underneath the lighthearted exterior, the filmmaker attaining the perfect balance of buoyancy, subtlety, and resonance. Løve’s approach is almost old-school in the way she refuses to employ any cinematic flourishes or propel the narrative with high stakes, overt philosophizing, or tear-jerking. Therein lies the magic of this film. To use the old adage: they simply don’t make ‘em like this anymore.

Beautifully shot in natural light by Løve’s go-to cinematographer Denis Lenoir, One Fine Morning immerses the viewer into its evocative milieu. Indeed, the imagery is bound to strike a chord: the blurred city lights seen from inside of a bus, Sandra’s cramped but cozy apartment, and the claustrophobic nursing homes. The small moments matter the most–a gesture, an expression, a whispered word. There’s the scene where a couple pretends to encounter Santa to amuse the children or the moment where the family can’t decide what to do with Georg’s numerous books or the remarkable, all-too-brief passage about the power of books and how they reflect our identities. I can go on and on about the multiple tiny lightning bolts Løve catches in her bottle.

Arguably the biggest lightning she caught was hiring Seydoux for the lead. The actor, who appears in almost every shot, displays levels of poignancy and understatement previously only hinted at. You’re right there with her, feeling all the guilt and resentment and, yes, boundless love. Melvil Poupaud convinces entirely as the hunky, slightly nerdy scientist Pascal Greggory breaks hearts, and Nicole Garcia projects world-weariness and acidic wit – but it’s Seydoux’s show all the way.

The final shot perhaps ties things together a bit too neatly, but the journey there is so nuanced, inspired, vivid, and stirring, it’s a minor misstep that’s easy to disregard. With One Fine Morning, Mia Hansen-Løve proves again that she can do no wrong. It’s the best film I’ve seen at the AFI Film Festival this year and the perfect one to conclude it.

One Fine Morning screened at the 2022 AFI Fest.

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AFI FILM FEST 2022 REVIEW! Filmmaker Mia

Vladimir Putin has been offered surrender terms by the West, a respected Russian policy expert revealed today, as Moscow’s troops were forced to withdraw from the city of Kherson in yet another humiliating defeat.

Professor Valery Solovey, formerly at Moscow’s prestigious Institute of International Relations and who claims to have connections in the Kremlin, said the surrender would see Russia give up all territory in Ukraine with the exception of Crimea, which would become a demilitarised zone and its status would not be discussed again until 2029.

In return, Putin and his cronies would avoid criminal charges over the war and be allowed to remain in power, Professor Solovey claimed.

He said the proposal had been discussed between Kyiv and its Western allies before being presented to Putin’s inner circle – who had reacted positively to the idea.

Russia has been calling for a return to the negotiating table in recent days while there have been suggestions that Washington is quietly leaning on Kyiv to do the same.

General Mark Milley, head of the US general staff, said this week that a winter lull in fighting presents an ‘opportunity’ for talks.

President Zelensky has previously vowed never to negotiate with Russia so long as Putin remains in power.

The news emerged as Ukraine today liberated Kherson after eight months of Russian occupation, with troops greeted as heroes after the last of Putin’s forces fled. Weeping locals sang, danced, hugged, kissed and chanted victory slogans as Kyiv’s soldiers arrived to take back the city – with parties going on into the night.

Russia claimed it had completed the retreat across the Dnipro River without losing a single soldier, but Ukrainians painted a picture of a chaotic retreat, with soldiers ditching their uniforms or drowning while trying to escape.

Ukrainian troops in Kherson

Ukrainian civilians cheer, chant, cry and kiss as they welcome troops to the centre of Kherson, with Kyiv’s military intelligence saying the city is now under their full control

Ukrainian troops in Kherson

Ukrainian troops in Kherson

Kherson was the first major city to fall to Russia’s troops and the only regional capital they have captured – spending eight months under occupation before being liberated today

The Ukrainian flag was flying over Kherson city centre today as locals began gathering to welcome Kyiv's troops after Russia said it had completed its withdrawal in the early hours

The Ukrainian flag was flying over Kherson city centre today as locals began gathering to welcome Kyiv’s troops after Russia said it had completed its withdrawal in the early hours 

A young girl carrying the national banner was pictured in the centre of Kherson, as Russia left the city eight months after capturing it during the early weeks of the war

A young girl carrying the national banner was pictured in the centre of Kherson, as Russia left the city eight months after capturing it during the early weeks of the war

Celebrations continued as night fell over the city, with footage emerging of Kherson locals chanting and singing in a town square. In another clip, a group of adults and children alike could be seen joined hand-in-hand, running in circles around a fire

Celebrations continued as night fell over the city, with footage emerging of Kherson locals chanting and singing in a town square. In another clip, a group of adults and children alike could be seen joined hand-in-hand, running in circles around a fire

Celebrations continued as night fell over the city, with footage emerging of Kherson locals chanting and singing in a town square. In another clip, a group of adults and children alike could be seen joined hand-in-hand, running in circles around a fire

Pictured: Footage from a rooftop in Kherson shows a crowd in a town square singing Ukrainian songs in celebration

Pictured: Footage from a rooftop in Kherson shows a crowd in a town square singing Ukrainian songs in celebration

Pictured: Footage from a rooftop in Kherson shows a crowd in a town square singing Ukrainian songs in celebration

Ukrainian troops were pictured in the outskirts of the city being greeted by jubilant locals, as officials said the entire city is almost under Kyiv's control

Ukrainian troops were pictured in the outskirts of the city being greeted by jubilant locals, as officials said the entire city is almost under Kyiv’s control

Ukrainians gather on the streets of Kherson to await Ukrainian troops who are now moving through the city after Russia completed its retreat in the early hours

Ukrainians gather on the streets of Kherson to await Ukrainian troops who are now moving through the city after Russia completed its retreat in the early hours

Solovey said the exact terms of the deal would mean Russia giving up any claim to the rest of the Kherson region, along with Zaporizhzhia, Donetsk and Luhansk – including areas occupied since 2014. Crimea would remain a part of Russia but would be forced to demilitarize, with the Black Sea Fleet relocated.

A 60mile-wide demilitarized zone would be created along the borders between Belarus, Russia and Ukraine with no heavy weapons allowed inside the zone. Russia would also have to give up its military presence in the Transnistria region of Moldova, while Ukraine would pledge not to join NATO for at least seven years.

Six countries have agreed to provide security guarantees underwriting the deal, Solovey claimed, though he did not name them. Guarantees would likely include a pact to come to Ukraine’s defence if it were attacked again, and guarantors would likely include Kyiv’s closest allies – the US and UK among them.

‘If the president declines these conditions which the Russian establishment is ready to accept… then military actions continue,’ said Solovey.

‘If massive rocket attacks on Ukraine’s critical infrastructure, first of all, power stations, resume, this means that the president does not accept these conditions,’ he said. 

‘If there is no bombing, it does not necessarily mean readiness to accept [the offer to surrender]. It means that the contemplation continues, and an attempt is being made to get some extra time to assess the situation.’

News of a potential Russian surrender comes as Putin’s army faces a dire situation on the battlefields of Ukraine.

Having been forced to retreat from Kyiv and Kharkiv, Russia’s troops today withdrew from Kherson in the south: The only regional capital gained since the start of the war and capital of a region Putin declared to be part of Russia just a few weeks ago.

Moscow’s troops are struggling to make any progress in Donbas despite heavy fighting in recent weeks, with the frontline having remained largely static since late July. Russia did attempt a major attack near a town called Pavlivka, in Donetsk, last week but it ended in disaster amid reports of more than 300 marines killed. 

Meanwhile Ukraine continues advancing in northern Luhansk where it is now bearing down on the cities of Svatove and Kreminna – strategic waypoints on the way to Severodonetsk and Lysychansk, two cities that Russia spent huge amount of time, effort and blood capturing over the summer.

Losing Kherson means any Russian assault on Odesa is now all-but impossible. It also means that Ukraine can now strike parts of Crimea – the crown jewel of his last invasion, in 2014 – with long-range artillery. Kyiv has already said it plans to take the peninsula back. 

Russia is now thought to have taken up defensive positions on the eastern bank of the Dnipro comprising three lines made up of trenches and canals, covered by artillery and backed by reinforcements from Crimea.

Video from Kherson today showed emotional celebrations breaking out across the city. Crying locals gathered around soldiers just to hug them, and the yellow and blue of the Ukrainian flag was displayed proudly on monuments and buildings which recently displayed the red, white and blue of the Russian tricolour.

Verified footage showed dozens of Ukrainians cheering and chanting victory slogans in Kherson’s central square, where the apparent first Ukrainian troops to arrive snapped selfies in the crowd.

Two men lifted a female soldier on their shoulders and tossed her into the air. Some residents wrapped themselves in Ukrainian flags. One man was weeping with joy.

The celebrations continued as night fell over the city, with more footage emerging of Kherson locals chanting and singing in a town square. In another clip, a group of adults and children alike could be seen joined hand-in-hand, running in circles around a fire.

Ukrainian National guard soldiers fire at Russian positions from an anti-aircraft gun in the Kharkiv region

Ukrainian National guard soldiers fire at Russian positions from an anti-aircraft gun in the Kharkiv region

Ukrainian National guard soldiers move their weapon after firing at Russians from an anti-aircraft gun in Kharkiv region

Ukrainian National guard soldiers move their weapon after firing at Russians from an anti-aircraft gun in Kharkiv region

Ukrainian rocket artillery unloads on Russian positions near the city of Kherson as Putin's commanders attempt to get their men out of the city using only pontoons and small boats

Ukrainian rocket artillery unloads on Russian positions near the city of Kherson as Putin’s commanders attempt to get their men out of the city using only pontoons and small boats

Ukraine artillery

Ukraine artillery

Russia is facing potentially ‘huge losses’ in Kherson, an expert has warned, with up to 20,000 men surrounded while Ukraine shells the city heavily (left and right) and advances along multiple routes

The Antonovskiy Bridge, which is the main route out of Kherson, appears to have been completely destroyed overnight

The Antonovskiy Bridge, which is the main route out of Kherson, appears to have been completely destroyed overnight

Ukraine had warned that Russia could be laying a trap for its forces in Kherson, but pressed ahead rapidly with an attack overnight and is now thought to have all-but surrounded the city

Ukraine had warned that Russia could be laying a trap for its forces in Kherson, but pressed ahead rapidly with an attack overnight and is now thought to have all-but surrounded the city

Western officials briefing journalists last week said they do not expect Ukraine to begin an offensive across the Dnipro any time soon. 

Kremlin spokesman Dmitry Peskov insisted today that Kherson remains part of Russia’s territory – despite Moscow’s troops fleeing from it.

‘This is a subject of the Russian Federation. There are no changes in this and there cannot be changes,’ Peskov said, insisting that Putin had ‘no regrets’ about annexing it.

However, Western military and diplomatic sources cautioned that the Russian military move did not mean all was said and done – even if it were a major victory for Ukraine.

‘It’s definitely a turning point, but it doesn’t mean that Russia has lost or that Ukraine has won,’ said Ben Barry, a senior fellow for land warfare at the International Institute for Strategic Studies in London. ‘Russia was still capable of a new offensive or counterattacks. It is far too soon to write them off,’ Barry said.

Ukrainian forces have liberated 41 settlements as they advanced through the south, President Volodymyr Zelenskiy said in his Thursday evening video address.

Sappers and pyrotechnicians were going into areas retaken from Russian forces to rid them of thousands of unexploded landmines and ordnance they left behind, he said.

About 170,000 square kilometres (66,000 square miles) remained to be de-mined, Zelenskiy said, including in places where there was still fighting and ‘where the enemy will add landmines before its withdrawal, as is the case now with Kherson.’

The region’s Ukrainian-appointed governor, Yaroslav Yanushevych, writing on the Telegram messaging app, said Russian troops had ‘taken away public equipment, damaged power lines and wanted to leave a trap behind them’.

Mykhailo Podolyak, an adviser to Zelenskiy, said Russia wanted to turn Kherson into a ‘city of death’, mining everything from apartments to sewers and planning to shell the city from the other side of the river.

A small group of Ukrainian soldiers was shown on Ukraine’s state TV being greeted by joyous residents in the centre of the village of Snihurivka, around 55 km (35 miles) north of Kherson city, with a Ukrainian flag fluttering above the square behind them. Reuters verified the location of the video.

Ukrainian advance

Ukrainian advance

Ukrainian troops have begun advancing into the area around Kherson city evacuated by Russia mid fears Moscow’s men may be laying a trap for them, uncovering destroyed vehicles along their way (left and right)

Ukrainian advance

Ukrainian advance

A Russian military vehicle painted with war symbols is seen (left) as Ukrainian troops advance into areas previously held by Moscow’s troops, as they appear to withdraw from the region

Kyiv's men are shown liberating the village of Snihurivka, around 30 miles north of Kherson, today after Russian forces began retreating from their positions back across the Dnipro River

Kyiv’s men are shown liberating the village of Snihurivka, around 30 miles north of Kherson, today after Russian forces began retreating from their positions back across the Dnipro River

A Ukrainian soldier based in Kherson takes part in a training exercise as Kyiv's men get ready to advance into the region that Russia has said it is evacuating, amid fears the 'retreat' is actually a trap

A Ukrainian soldier based in Kherson takes part in a training exercise as Kyiv’s men get ready to advance into the region that Russia has said it is evacuating, amid fears the ‘retreat’ is actually a trap

Ukrainian soldiers from the 63 brigade train for trench warfare in the northern Kherson region, as they prepare to advance towards the regional capital in the south after Russia said it was evacuating

Ukrainian soldiers from the 63 brigade train for trench warfare in the northern Kherson region, as they prepare to advance towards the regional capital in the south after Russia said it was evacuating

A Ukrainian tank advances towards the front line in Kherson after Russian commanders said they would be withdrawing, giving up the only regional capital they have taken since the February invasion

A Ukrainian tank advances towards the front line in Kherson after Russian commanders said they would be withdrawing, giving up the only regional capital they have taken since the February invasion

A Ukrainian gunner loads high-calibre rounds into the main gun mounted on top of his tank as he prepared to advance in the Kherson region after Russia said it was retreating

A Ukrainian gunner loads high-calibre rounds into the main gun mounted on top of his tank as he prepared to advance in the Kherson region after Russia said it was retreating

A few kilometres away, in a devastated frontline village reached by Reuters in an area already held by Ukrainian forces, the guns had fallen silent for what residents said was the first quiet night since the war began.

‘We hope the silence means the Russians are leaving,’ said Nadiia Nizarenko, 85. The Russians could be preparing a trap, said Nizarenko’s daughter, Svitlana Lischeniuk, 63.

Still, there was joy. Petro Lupan, a volunteer distributing bread to residents, said he could not find words to express his feelings after he learned of the recapture of Snihurivka.

If Russia implements its withdrawal from an area that President Vladimir Putin proclaimed annexed a month ago, it would be its biggest retreat since its forces were driven back from the outskirts of Kyiv in March and a clear shift in the momentum of the nine-month-old war.

In the southeastern city of Zaporizhzhia, 54-year-old Larysa, who had recently fled Kherson to reach Ukrainian-held territory, said she could not reach family in the area.

‘We tried contacting them … but there was no connection. We don’t even know … the fate of our relatives.’

‘We’ve lived in the occupied territories for eight months. The situation there is difficult, especially psychologically. Our village is full of armed Russian soldiers … It is a miracle that we got out … There were tears of happiness when I saw our Ukrainian flag and our soldiers.’

Russian state media and pro-Kremlin war hawks defended the withdrawal from Kherson as a necessary move while acknowledging a heavy blow.

The retreat would leave Moscow with only limited gains to show for a ‘special military operation’ that made it a pariah in the West and, according to a U.S. estimate, has killed or wounded some 100,000 Russian soldiers.

Facing losses on the battlefield, Moscow has opened up the possibility of peace negotiations with Kyiv – something the US is said to be quietly pressing for behind the scenes.

American diplomats were said to view the expected slow-down of fighting between the two sides over winter as an opportunity to open up discussions, NBC reported yesterday.

A woman is comforted by servicemen as she cries at the scene of night shelling in Mykolaiv, Ukraine

A woman is comforted by servicemen as she cries at the scene of night shelling in Mykolaiv, Ukraine

Ukrainian Emergency Service rescuers carry the body of a victim found under rubble at the scene of shelling in Mykolaiv

Ukrainian Emergency Service rescuers carry the body of a victim found under rubble at the scene of shelling in Mykolaiv

Police inspect a dead body at the scene of night shelling in Mykolaiv,

Police inspect a dead body at the scene of night shelling in Mykolaiv,

Ukrainian Emergency Service rescuers work at the scene of a building damaged by night shelling in Mykolaiv

Ukrainian Emergency Service rescuers work at the scene of a building damaged by night shelling in Mykolaiv

Rescuers work at a site of a residential building heavily damaged by a Russian missile attack in Mykolaiv

Rescuers work at a site of a residential building heavily damaged by a Russian missile attack in Mykolaiv

General Mark Milley, chief of the generals staff, backed the idea – saying winter will provide ‘a window of opportunity for negotiation’ provided both sides can agree that victory is not possible by military means.

However, a conflicting report in the New York Times said that European officials were briefing that serious negotiations between the two sides are ‘unlikely in the near future.’

President Zelensky, speaking last night, said the onus is on the Russian side to prove they are genuine about negotiations and he sees ‘no desire’ in Putin to end the fighting.

‘When Russia truly wants peace, we will definitely feel it and see it,’ he said.

‘But you can’t wish for peace with words alone – words are not enough. Stop the war, withdraw from our territory, stop killing people, start reimbursing the damages inflicted on our country. Criminals must be prosecuted. Words are not enough.’

Zelensky said after the annexation of four partially occupied regions of Ukraine to Russia that he will never negotiate with Putin, and will instead hold talks with ‘the next Russian leader’.

He reiterated that determination last night, saying that Putin has done nothing but issue ultimatums to Ukraine since the start of the war – and shows no sign of changing his stance.

Zelensky added: ‘It is only the Kremlin and only one person – the head of the Russian Federation – who is not tired of the war. [Putin] might be tired of life in principle, because of his age, but he is definitely not tired of the war.’

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Vladimir Putin has been offered surrender terms

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(Image credit: Getty Images)

Twitter Blues

While Twitter Blue signups are currently on pause, we might finally have some insight into how well (or not) the new program is proceeding.

According to a report in Mashable (opens in new tab), which got some Twitter Blue signup numbers from app-tracking firm Sensor Tower (opens in new tab), Twitter Blue signups generated $488,000, which is, at $8 a pop, 61,000 subscribers. 

Let’s just say that’s not quite a blue wave. It’s not terrible, but Twitter has hundreds of millions of daily active users and only a fraction of them are legacy verified. We should have seen millions of people signing up for Twitter Blue, right?

If 91% of Twitter’s revenue is generated from ads (roughly $5 billion in 2021), Twitter Blue has an incredibly long way to go before it can support 50% of Twitter’s overall revenue.

As of this moment, though, there is no Twitter Blue signup, and there probably won’t be until Musk and Twitter can figure out how to get people to sign up without causing significant verification and identity issues.

This system is a joke

Over at The Washington Post, tech journalist Geoffrey Fowler (opens in new tab), with the permission of a sitting Senator and a comedian, created two fake “verified” Blue Check Twitter accounts in minutes.

Massachusetts Senator Edward J. Markey and comedian Blaire Erskine both agree to let Fowler create the fake accounts in their names.

As Fowler writes:

“Twitter has said accounts that impersonate people are not allowed and face suspension when they’re discovered. It booted comedian Kathy Griffin after she changed her Twitter screen name to Elon Musk. But there’s very little about Twitter’s new paid service that stops you from verifying a fake account. As of the time I published this column, its systems hadn’t detected these were not authentic accounts and they remained online.”

What does this prove? That there is no verification in this “verification.” Elon Musk has created a broken system (one since hidden) and that has already been gamed by others to more devastating effect. 

Someone created a fake Ely Lilly And Co “verified” Twitter account and then tweeted that insulin was now free (opens in new tab). While it may have been coincidental. the real drug company’s stock did take a dive.

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Unchecking

Despite the controversy surrounding the new Blue Check process and the ability to become a Twitter Blue member suddenly disappearing from the platform, many people have already opted to pay $8 for their own Blue Check.

If, however, you’re not satisfied, you can, according to Twitter user @Dash, get a quick refund on your $8 subscription charge through Apple.

This isn’t surprising since it’s easy to unsubscribe to almost any service you’ve paid for through Apple’s App Store.

What @Dash claims, though, is that after your refund, you still get to keep the “tick” (Blue Check) for 30 days. That may or may not be so, though. While it might take some time for Apple to process the cancellation and hand it off to Twitter, it seems unlikely that the Blue Check would hang around for long.

If there’s anyone out there who did have Blue Check buyer’s remorse, canceled, and still has the tick, let us know.

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What’s a journalist?

Lance Ulanoff hopping in here:

For Chief Twit Elon Musk, so much of the Blue Check verification mess boils down to Citizen Journalism. 

Musk wants everyone on Twitter to deliver the news (nothing has stopped them up to now). However, the unlevel playing field of Blue Check haves and have-nots has created, as Musk sees it, an imbalance. With the meaning and value of Blue checks reduced to the price of an expensive cup of coffee (one per month), it means anyone can be verified and, if they report news on Twitter, have the same visibility.

Musk Tweeted Friday afternoon, “As Twitter pursues the goal of elevating citizen journalism, media elite will try everything to stop that from happening.”

In Musk’s eyes, professional journalists are the “media elite” and we’re blocking his everyone is a journalist dream.

As this tech reporter told Musk on Twitter, though, the issue is not citizen journalists, it’s that the entire Blue Check system is no longer tied to identity, quality, or any semblance of truth. Without that, no one, including his citizen journalists, can be trusted.

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Here’s a reply from Musk an hour ago, where he’s enthusiastic of how Twitter Blue is going so far.

Which makes us wonder – has he gotten the memo?

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I was thinking back to when I first used Twitter on my iPhone, and it was indeed Tweetie, which was bought by the company, and then turned into the app you use today.

The pull-to-refresh gesture is now a standard on many apps, such as Apple’s Safari and Mail apps.

Just to add to the chaos, Musk has now tweeted this from the Twitter HQ. While we don’t ever suggest reading too much into tweets, especially from someone as mercurial as Musk, it does perhaps give us a glimpse into the current mindset of the remaining Twitter employees…

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By tweeting and highlighting this, it seems that Musk is aware, though what he thinks of it is a mystery, as always.

Mastodon apps on iOS and Android

(Image credit: TechRadar)

If you’ve heard of Mastodon this week, you’re not alone. Luckily, I’ve been trying it out lately and it’s a great alternative. There are a couple of apps you can use right now on iOS and Android if you’ve already signed up to Mastodon as well.

Lance Ulanoff materializes

(Image credit: Future)

Our US Editor-In-Chief Lance Ulanoff sent us this which reads as though he’s saying farewell to Twitter:

“I’ve met some of the coolest people on Twitter. I’ve interacted with my idols and icons and made true friends. Twitter has always worked the way my brain works – in bite-sized pieces. Honestly not sure how I’ll maintain certain friendships and connections or where I’ll post random thoughts that make me happy without it. Please, Microsoft, buy Twitter.”

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Zoë Schiffer (opens in new tab), writer at Platformer, tweeted the above that a message was posted in the Twitter Slack, that confirmed the end of Twitter Blue and paid blue ticks in order to stop the impersonations, but any existing subscriptions to the service will carry on as usual.

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Another one that was sent to me from Muskaan, this tweet shows how broken the verification system under Twitter Blue was. One is the genuine Apple TV Plus account, another is a fake one.

Hopefully we’ll see a reversal of this, as it’s already confusing to tell which one is real or fake for many users.

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Our (fantastic) Computing writer Muskaan Saxena sent me this tweet, and it’s a great analogy for how users are feeling on Twitter.

A mad iceberg in the shape of the Twitter bird is quite the image.

So where do we stand so far?

Musk has yet to react to any development to Twitter today, which is surprising. The above is, at the time of posting this, his latest tweet.

However, we’ve noticed a small change with the ticks, where it’s also blue when you’re in dark mode on the site.

The top image shows what an Actually Verified account looks like, while the bottom shows you what a Paid for Verification account looks like

(Image credit: Wseagar / Eight-Dollars)

An interesting read by Hamish Hector here – there’s a Chrome extension where it will tell you if a user has been verified with a blue tick, or if they’ve gained one by signing up to Twitter Blue when it was live.

Worrying about Twitter

(Image credit: Shutterstock)

Let’s be clear – there’s not going to be a replacement for Twitter. Nothing really can be, but there are potential alternatives.

With this in mind, we’ve got three for you to consider.

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Here’s our US Editor-in-Chief Lance Ulanoff showing his very first tweet back in 2007.

As it includes a bagel, it’s already a great tweet in my book. The next question for me is, could his final tweet include a bagel to round it off?

Elon Musk at 2022 Met Gala

(Image credit: Getty Images)

Let’s recap:

On October 30, Elon Musk, CEO and Founder of Space X, CEO of Tesla, finally took charge of Twitter after a long-winded buyout of the platform.

In under a month, we’ve seen the verification process become irrelevant and confusing due to the subscription service, Twitter Blue being able to grant any user a blue tick, and there’s also been a huge firing of staff.

On November 11, Twitter Blue was removed entirely, and there’s been silence from Musk since.

So, almost inevitably, it seems the Blue Tick verification process has been canned.

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As the tweet above states, the chaos continues – hence why we’ve started this live blog. What is going on?

Here’s an example of how hard some of these fake accounts are to spot:

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Musk himself fell victim to this, with countless fake accounts popping up claiming to be him – and with a Blue Tick to prove it. This seemed to be the final straw, as Musk then backtracked on some of the more lax elements of the new verification process.

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However, as people predicted, verified accounts started popping up on Twitter, and while many of them were obviously parodies, because they had the ‘Blue Tick’, it became difficult to tell, especially with the more subtle accounts.

Unsurprisingly, the individuals and companies that were being parodied weren’t too happy about this. 

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Worryingly for Twitter, many brands started to announce that they would no longer advertise on the platform.

Despite the concerns and complaints, Musk was initially dismissive.

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By posting memes about people’s complaints, it left many people feeling that he wasn’t exactly taking the issue seriously.

Perhaps the most controversial thing to come from Musk’s Twitter takeover has been the changes to how accounts are verified. 

Previously, if the verified account of a media outlet (such as TechRadar (opens in new tab)) or other organization published something, you would at least know that it came from an official source. The Blue Check also enabled Twitter users to tell the difference between the many celebrities on Twitter and users who were imitating them.

However, Musk implemented a change that would allow anyone to get verified for $8 a month.

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This led to some people worrying that users could pretend to be official accounts and get easily verified, making it hard for people to tell which accounts were real – and which weren’t. And that’s exactly what happened.

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Refresh 2022-11-12T13:35:04.265Z (Image credit: Getty Images)Twitter BluesWhile Twitter

Seth Rogen recalled that he and writing partner Evan Goldberg would spoof famous movies growing up, including Tarantino’s “Pulp Fiction.”

Seth Rogen may be pitching a “Pulp Fiction” reboot, with a twist.

During the MoMA Contenders series panel for Steven Spielberg’s autobiographical film “The Fabelmans,” Rogen revealed that he used to make home videos with current writing and producing partner Evan Goldberg. A particularly “quite disgusting” comedy the duo filmed together involved a spoof remake of Quentin Tarantino’s Oscar-winning “Pulp Fiction” with one key update.

“I was a big ‘Pulp Fiction’ fan, and I’m Jewish as well, that plays into the story,” Rogen said. “I was recently watching a scene, me and my friend Evan [Goldberg] who is still my writing partner to this day, it was us doing the Christopher Walken scene from ‘Pulp Fiction’ about the watch, but except it was a giant Hanukkah menorah.”

Rogen joked, “He was like, ‘I smuggled this in my ass out of the old country.’”

The scene in question involves Walken telling his son, later played by Bruce Willis, about carrying a pocket watch in his anus out of the Vietnam War.

Rogen participated in a 2014 live reading of “Pulp Fiction” for the Film Independent at LACMA alongside Joseph Gordon-Levitt, Jordan Peele, and Michael Chiklis. He even tweeted for the film’s anniversary in 2020 that he had been bothered since he was “12 years old” that Samuel L. Jackson looks different in the “Pulp Fiction” marketing materials than he does in the film.

While Rogen has a slew of other projects on his agenda, including the star-studded “Dumb Money” drama about the GameStop short squeeze helmed by “Pam & Tommy” director Craig Gillespie, the actor mused on working with legendary filmmaker Spielberg for “The Fabelmans.”

“He’s hyper-focused,” Rogen shared. “No one was talking about anything other than the movie at all times, basically. There was almost never conversation about what we were doing. That’s not how movies are often. Sometimes it feels like making the movie is one of the many things happening, weirdly.”

Rogen continued, “I remember turning to Michelle [Williams] and being like, ‘You’ve worked with [Martin] Scorsese, amazing filmmakers, did this feel special to you?’ And [she] was like, ‘Yeah, this feels cool.’ I turned to Paul [Dano] and was like, ‘Paul Thomas Anderson, amazing people,’ and he was like, ‘No, this feels different.’ I almost just needed to make sure people felt the same way I felt.”

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Seth Rogen recalled that he and writing

Paris Hilton had all eyes on her as she arrived hand-in-hand with husband Carter Reum at the launch party for her virtual realm ‘Paris World’ on Friday night in Santa Monica.

The star-studded event was attended by the likes of actress Rebel Wilson and Hilton’s mother Kathy Hilton.

The 41-year-old socialite flaunted her runway-worthy figure in a flashy neon floral mini dress by Oscar de la Renta.

Star-studded: The star-studded event was attended by the likes of actress Rebel Wilson and Hilton's mother Kathy Hilton

Paris World: Paris Hilton had all eyes on her as she arrived hand-in-hand with husband Carter Reum at the launch party for her virtual realm ‘Paris World’ on Friday night in Santa Monica

Boasting shades of pink, yellow, blue and orange, the eye-catching number was decked out in floral appliques adhered to nude mesh fabric. 

It clung tightly to Paris’ statuesque frame and stopped mid-thigh.

The Simple Life star styled her designer dress with coordinating neon yellow stiletto heels.

Her signature blonde tresses were swept up in a curly ponytail that cascaded down her back as she posed for snaps in a psychedelic photo booth on Santa Monica Pier.

Designer darling: The 41-year-old socialite flaunted her runway-worthy figure in a flashy neon floral mini dress by Oscar de la Renta

Designer darling: The 41-year-old socialite flaunted her runway-worthy figure in a flashy neon floral mini dress by Oscar de la Renta

Barbie girl: Her signature blonde tresses were swept up in a curly ponytail that cascaded down her back as she posed for snaps in a psychedelic photo booth on Santa Monica Pier

If the shoe fits! The Simple Life star styled her designer dress with coordinating neon yellow stiletto heels

Barbie girl: Her signature blonde tresses were swept up in a curly ponytail that cascaded down her back as she posed for snaps in a psychedelic photo booth on Santa Monica Pier

She threw on some neon shades and sparkly diamond stud earrings to complete her launch day look.

Ever the supportive husband, Carter styled his plain black suit with a vibrant pink dress shirt that matched the pink in Paris’ dress.

His short brunette hair was gelled in place and he strolled the pier with his wife in black lace-up sneakers.

Along with launching Paris World, the businesswoman also celebrated her first wedding anniversary with Carter on Friday.

Coordinating: Ever the supportive husband, Carter styled his plain black suit with a vibrant pink dress shirt that matched the pink in Paris' dress

Lovebirds: The pair put on a loved-up display upon their arrival Friday night

Coordinating: Ever the supportive husband, Carter styled his plain black suit with a vibrant pink dress shirt that matched the pink in Paris’ dress

The duo tied the knot last November during a lavish ceremony at her late grandfather’s Bel-Air estate.

Paris’ mother Kathy, who looked stylish in a vibrant patterned blazer, was captured arriving to the launch with her husband and Paris’ father, Richard Hilton, 67.

The 63-year-old RHOBH star layered her unique outerwear over a plain black top and dark denim jeans.

Her blonde hair fell onto her chest in spiral curls and she toted her belongings in a ‘Be Kind’ tote bag. 

Nicky put on an ultra leggy display in a dazzling blue rhinestone mini dress that hugged her fit figure.

Proud parents: Paris' mother Kathy Hilton, who looked stylish in a vibrant patterned blazer, was captured arriving to the launch with her husband and Paris' father, Richard Hilton, 67

Proud parents: Paris’ mother Kathy Hilton, who looked stylish in a vibrant patterned blazer, was captured arriving to the launch with her husband and Paris’ father, Richard Hilton, 67

Supportive sis! Paris' younger sister Nicky Hilton put on an ultra leggy display in dazzling blue rhinestone mini dress that hugged her fit figure

Snapping back: The 39-year-old gave birth to her and her husband James Rothschild's third child, a son, back in July

Supportive sis! Paris’ younger sister Nicky Hilton put on an ultra leggy display in dazzling blue rhinestone mini dress that hugged her fit figure

Prizes: Attendees could play games during the launch where they'd have the change to win pillows featuring Paris' likeness

Prizes: Attendees could play games during the launch where they’d have the change to win pillows featuring Paris’ likeness

The ruched number was worn with glitzy open-toed flats and a sparkly silver purse. 

The 39-year-old gave birth to her and her husband James Rothschild’s third child, a son, back in July.

New mom Rebel Wilson, who revealed earlier this week that she’d welcomed her first child via surrogate, rolled up to the event with her girlfriend Ramona Agruma.

The Pitch Perfect actress bundled up in a bubblegum pink Gucci hoodie and a funky green knit cardigan.

Plus one: New mom Rebel Wilson, who revealed earlier this week that she'd welcomed her first child via surrogate, rolled up to the event with her girlfriend Ramona Agruma

Plus one: New mom Rebel Wilson, who revealed earlier this week that she’d welcomed her first child via surrogate, rolled up to the event with her girlfriend Ramona Agruma

Bundled up: The Pitch Perfect actress bundled up in a bubblegum pink Gucci hoodie and a funky green knit cardigan

Winner! While playing one of the many carnival games on the world famous Santa Monica Pier, the Australian star won a pillow of Paris' face

Bundled up: The Pitch Perfect actress bundled up in a bubblegum pink Gucci hoodie and a funky green knit cardigan

She completed the look with black vinyl leggings, colorful sneakers and a pair of fuzzy black earmuffs.

Rebel and Ramona confirmed their relationship earlier this year and recently declined engagement rumors.

While playing one of the many carnival games on the world famous Santa Monica Pier, the Australian star won a pillow of Paris’ face.

She showed off her prize proudly in a snap captured during the Friday night festivities. 

Casey Affleck kept comfy in a gray hooded sweatshirt as he wrapped an arm around his much younger girlfriend Caley Cowan.

Loved-up: Casey Affleck kept comfy in a gray hooded sweatshirt as he wrapped an arm around his much younger girlfriend Caley Cowan

Loved-up: Casey Affleck kept comfy in a gray hooded sweatshirt as he wrapped an arm around his much younger girlfriend Caley Cowan

Goth glam: Tattoo artist Kat Von D showed off her goth glam style in a striking black coat and black leather knee-high boots

Goth glam: Tattoo artist Kat Von D showed off her goth glam style in a striking black coat and black leather knee-high boots

The actor, 47, and the rising starlet, 24, were captured strolling the pier before heading into the event to mingle with fellow celebrities.

Tattoo artist Kat Von D showed off her goth glam style in a striking black coat and black leather knee-high boots.

Paris has been teasing the launch of ‘Slivingland’ aka Paris World all week on the official Instagram page for her media company, 11:11 Media.

Paris World, similar to Facebook’s metaverse, is a virtual reality platform where users create an avatar and explore an online universe.

Exciting: Paris has been teasing the launch of 'Slivingland' aka Paris World all week on the official Instagram page for her media company, 11:11 Media

Exciting: Paris has been teasing the launch of ‘Slivingland’ aka Paris World all week on the official Instagram page for her media company, 11:11 Media

Virtual: Paris World, similar to Facebook's metaverse, is a virtual reality platform where users create an avatar and explore an online universe; Paris and Carter seen wearing VR headsets on Friday at Crypto Summit in LA

Virtual: Paris World, similar to Facebook’s metaverse, is a virtual reality platform where users create an avatar and explore an online universe; Paris and Carter seen wearing VR headsets on Friday at Crypto Summit in LA

The fantastical world, that features ‘unicorns, dazzling rainbow rivers and forests made of cotton candy,’ allows fans of the star to interact with one another.

‘Chill with other fans, explore the world to unlock hidden treasure chests,’ the opening page of the website reads, before prompting visitors to give their email address.

Paris World was first tested out last year as a featured area in the popular Roblox online game.  

11:11 Media, which Paris founded with business partner Bruce Gersh, is a ‘global media company that exists at the intersection of innovation, entertainment, ideas and possibilities, as per the official Instagram page.

Anniversary: Along with launching Paris World, the businesswoman also celebrated her first wedding anniversary with Carter on Friday; the couple seen on November 5

Anniversary: Along with launching Paris World, the businesswoman also celebrated her first wedding anniversary with Carter on Friday; the couple seen on November 5

Hilton previously spoke about her ever-expanding business portfolio with CNN Business, where she expressed that she had been paying close attention to virtual entrepreneurial efforts.

‘I’ve always been an undercover nerd, so I’ve been obsessed with anything to do with technology and the future,’ she said.

The socialite also remarked that she had been paying close attention to the NFT market in recent years.

‘I became obsessed with it and started collaborating with artists. … It’s something I really believe in,’ she stated.

'I do!': The duo tied the knot last November during a lavish ceremony at her late grandfather's Bel-Air estate

‘I do!’: The duo tied the knot last November during a lavish ceremony at her late grandfather’s Bel-Air estate

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Paris Hilton had all eyes on her

Uunchai, Review: Plateau

Rajshri Productions have a tradition of making family oriented subjects and shaping them into very lengthy films. By comparison, Uunchai, at 169 minutes, is a short film. Even at that length, it fails to reach the heights that the cast and the director promise. With no less an actor than Amitabh Bachchan himself heading the cast, Uunchai (height; spelt unconventionally this was instead of the phonetic Oonchai) was expected to reach some dizzy heights, with a subject based on friendship and a senior citizens’ expedition to the Everest Base Camp thrown in. What we find here is that there are some emotions that keep recurring and a narrative that has very few twists or plot points. If you plot the emotions and twists, you are more likely to draw a plateau rather than peaks.

 

Four aging friends are truly devoted to each other. They are Amit Shrivastav, an author, Om Sharma, a bookseller, Javed Siddiqui, a hosiery dealer and Bhupen, whose profession is unspecified. They celebrate Bhupen’s birthday, after which Bhupen suffers cardiac arrest. Before dying, he leaves tickets for an Everest Base Camp Expedition and expresses a last wish that he wants to go there with his buddies once before he dies. Bhupen was a Nepali and had grown-up on the mountains around Mount Everest. Although the three surviving friends are on the wrong side of 60, they decide to honour Bhupen’s wishes and begin making preparations to leave for the base camp, with the expedition still two months away.

 

Amit takes the lead in the matter and convinces a reluctant Om to agree to the journey. Convincing Javed is a tough task, because he cannot stay away from his wife Sabina even for a single day. But they spin a yarn and take her along. The men decide to go as far as possible by road, with Amit at the wheels. Starting from native Delhi, they go via Agra, Kanpur and Gorakhpur. They stop over at the home of Heeba and Vali, the daughter and son-in-law of Javed and Sabina, because it is Heeba’s birthday. However, the parents are shocked to find that the couple have their own plans and a number of guests are invited to stay over, leaving no room for the ‘surprise’ guests. Heeba’s parents and the other travellers have to stay in a hotel for the night. Along the way, a mysterious woman called Mala Trivedi joins the fellow travellers, with a ticket for the same Everest Base Camp Expedition, to be led by Shraddha Gupta.

 

An extremely thin storyline by Sunil Gandhi unfolds at a leisurely pace, courtesy screenplay writer Abhishek Dixit. Considering the beginning of the narrative is the death of Bhupen, it cannot be called a twist. But yes, there are a few genuine twists, like the identity of Mala and Amit’s illness. Too bad. Too little, too late. We know nothing of the background of Bhupen, and only skeletal flashes about Amit. However, there is a detailed look into the family and past of Om. This becomes a lop-sided picture. Details about Shraddha’s family predicament are revealed only through conversations she has with Amit, during the trek. In the trek itself, you are ready for a natural phenomenon that will threaten the lives of these old men as well as the certainty that one of them will fall very ill, but not die. Two deaths would be too much to mourn, in a saga of four friends. You are also sure that Javed will not opt out, come what may.

 

You also get a detailed peep into the work and family life of Javed, all the more because Sabina is part of the expedition till the real ‘expedition’ begins. And although you might not expect Mala and her story, you surely expect a blast from the past of Bhupen’s life, since he was a bachelor. With turns and twists being predictable, the going does become laborious. Dialogue is faulty at many places. Attempts at inserting comedy via Javed and Sabina are only mildly funny, and sometimes not even that. We see only short snatches of the preparations the trio make for the trip. One of these, the medical tests and its results, is interesting. However, I don’t think it is the norm to discuss the results of such tests before all candidates openly and simultaneously. Yet, the fact that the doctor withholds one reading of one member and reveals the ramifications to the candidate separately was the correct prodedure.

 

Not a prolific director by any stretch of the imagination, Sooraj R. Barjatya (Maine Pyar Kiya, Hum Aapke Hain Koun, Hum Saath Hain, Prem Ratan Dhan Payo; 8 films in 23 years) specializes, self admittedly and for all to see, in family subjects, propounding traditional values and extended households. This is the first time he has stepped outside his comfort zone, and that too, not quite, for everyone in the escapade has a back-story and all the main characters are dealing with demons from their past. But the real demon that he tackles through only phone calls, that too from one side, is dogging Shraddha Gupta. That is the one that is most subtly handled. Although Om’s back-story is the most elaborate and convincing, that of Amit is clichéd, and that of Javed a bit over-the-top.

 

Amit, who writes apparently ‘autobiographical self-help books based on his own life experiences’, is given to sleuthing and trying to find out more about Mala, a trait that is not in his character. Why no real back-story about Bhupen, expect him and a girls prancing around the hills when they were apparently in their early teens or even younger? All those stopovers, en route, seem contrived and deliberate, ending up as side-tracks, not really adding much to the main track. Sooraj gets to the real action, of the climb up to the base camp, rather late in the day. Shraddha says that helicopters cannot fly at that height, that is why the trek, but sure enough, there is a helicopter that does arrive and fly at that height. Every time there is an argument and there seems to be an impasse, the other two ask Amit to intervene. He uses either of two techniques to quell the dispute: emotional blackmail or diversionary tactics. Emotional blackmail is fine, but how is he ever-ready with some convoluted logic to convince an adamant party-member? That takes some believing.

 

 

Though he has been there and done that dozens of times, here Amitabh as Amit (what else) seems to be putting in an effort. For company, he has two actors who are in different age brackets in real-life – Anupam Kher as Om is 67, while Boman Irani as Javed is just 62. Amitabh is 80. Of course, with make-up, you can’t really tell their ages, yet why choose actors who differ up to 13 years in age? And how did they become such thick friends, a need of the story, is not depicted. Amitabh walks with a swagger, arms in a curve as if he is ready to pull out a gun. But even then, Amitabh is Amitabh, and though his talent if not fully tapped in this outing, he leaves a lasting impression. Anupam is restricted by one expression of tearful sorrow. There is very little variety in his performance. Boman Irani is hopelessly miscast as Javed, who, by virtue of being a North Indian Muslim, made to speak Urdu. For a man who has problems with his Hindi, Urdu is a pitfall. Also, his romantic angle with his spouse does not ring true as there is lack of chemistry between him and Sabina (Neena Gupta). Neena has a meaty role, albeit not well-written, yet she manages to impress. Danny Denzongpa as Bhupen has a Special Appearance, looks his age (now 74) and speaks with a hint of a slur. The scene stealer is Parineeti Chopra, who exudes supreme confidence in the presence of stalwarts. It is time her abilities were noticed. Raju Kher is good as Guddu, Om’s estranged brother, while Nafisa Ali Sodhi puts in the other Special Appearance as Abhilasha, not having much to do. Adequate support comes from Sheen Dass as Heeba, Abhishek Singh Pathania as Vali, Ajay Dutta as a doctor (better than most stereotypes who are made play this part), Umesh Kaushik, Sharik Khan and Shalin Thakur.

 

A location like the foothills of Mount Everest, in Nepal, and a rope-wood bridge across difficult terrain for some tense action, is a sure-fire treat for any cinematographer, Manoj Kumar Khatoi makes the most of it. Music by George Joseph takes a life of its own and attacks almost every scene with dizzy decibels. On its own, it might sound musical, though. The five songs (one has three versions) are a relief by comparison, well-written by Irshad Kamil and tunes by Amit Trivedi (another Amit!). For a film of this length, five songs are okay. But that is the point. Uunchai takes ages to cut to the chase, and the chase itself is either predictable or tame, in turns. I remember the length on the Censor Certificate at 169 minutes while on a website, it is mentioned as 173 minutes. At least 53 minutes of the film need to be excised to keep viewers engrossed. Maybe editor Shweta Venkat Mathew is listening, but what can be done now? One aspect of the cutting is odd, which often happens in the middle of a word, especially when Boman is speaking. VFX used to transpose dangerous action from a set to the location are okay, without being great. Credits go to Biraja Kinkar Barik, Anup Kumar and Vishal Padewal.

 

Like any trek involving high altitudes and 60+ climbers, the film moves very slowly in the first half, which, incidentally, involves no climbing at all. Such an assembly of actors could have been put to much better use. Some might even wonder whether the breaking out of the mould by Sooraj R. Barjatya, known for indoor family dramas involving pet hero Salman Khan, into an outdoor adventure drama about aged male bonding, was an unwise move. You stick to what you know best. However, such a predicament is severely constraining and restraining for a director who might want to test his own mettle. He might want to rise to greater heights…a noble thought indeed. For the time being, though, with Uunchai, released on an interesting date, 11-11-22, he has a few emotional highs and then he hits a plateau.

 

Rating: ** ½ 

 

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Uunchai, Review: Plateau Rajshri Productions have a

“I was like, ‘Oh, no, no, you can’t touch “Mean Girls”!'” Lohan said of the 2004 high school comedy’s legacy. “Sorry, you can’t do that.”

Lindsay Lohan’s “Falling for Christmas” almost fetched a “Mean Girls” callback.

While lead star and executive producer Lohan belts a few bars of “Jingle Bell Rock” in the Netflix Christmas romantic comedy (and simultaneously released a holiday single), the “Mean Girls” alum said that fully recreating the iconic talent show dance sequence would cross a line for its legacy.

“It was my brilliant idea to bring it up in a conversation with the directors and the producers. I was like, ‘Oh, wouldn’t it be fun if we did a blooper reel at the end and we all kind of did the Christmas scene from the talent show in “Mean Girls”?”” Lohan said during the “Live With Kelly and Ryan” talk show. “That was the first idea. Then I was like, ‘Let’s not actually do that,’ and then they said, ‘Oh, what about the song?’”

Lohan added that she “didn’t want to ruin” the legacy of “Mean Girls,” which also starred Rachel McAdams, Lacey Chabert, and Amanda Seyfried as Lohan’s fellow Plastics.

“I shouldn’t have said it because it went straight to, ‘Oh, let’s recreate the “Mean Girls” talent show scene,’” Lohan added. “I was like, ‘Oh, no, no, you can’t touch “Mean Girls”! Sorry, you can’t do that.”

Lohan’s former “Mean Girls” co-star Jonathan Bennett, who carved out a Christmas niche of his own on the Hallmark Channel, told E! Online that he was “bursting at the seams” to watch “Falling for Christmas.”

“[Lindsay is] one of the best actresses of our generation, and to see her not only do what she does in comedy, but to do it at Christmas, it’s like my three favorite things: Christmas and comedy and Lindsay Lohan,” Bennett said. “I’m going to be rooting and I can’t wait to do a Christmas movie with her at Hallmark hopefully!”

Lohan recalled the pressure to perfect “Jingle Bell Rock” in “Falling for Christmas,” telling Entertainment Tonight she was “nervous because I haven’t recorded in a long time and felt the pressure of doing it in a way that people who had seen ‘Mean Girls’ would like it the same.”

“I mean, with ‘Mean Girls,’ we had the dance behind it and I had all the other girls with me,” Lohan said, where “Falling for Christmas” was “just my voice. So, it was nerve-racking.”

Lohan continued, “I haven’t been on set in such a long time that I was so excited to be there. Like, nothing could bother me. I was just in the happiest spirits and then put Christmas on top of that and especially working with Chord [Overstreet], we had a lot of fun. It was so incredible to see just how excited people were to have me in a movie again.”

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"I was like, 'Oh, no, no, you


At the age of 75, Sylvester Stallone makes his TV series debut in Tulsa King as Dwight Manfredi, a mafia capo who spent 25 years in prison for murder rather than rolling on his mafia family.


What makes this Taylor Sheridan-created and Terence Winter-run series different is that it embraces the Stallone we’ve rarely seen, a funny and well-spoken intelligent man.


Even Stallone finds it refreshing that he’s been given this challenge to play someone much like himself, which he says is far more difficult than clamming up and using his machismo for movies he’s been known for, such as Rambo.


Tulsa King is a fish-out-of-water story. You either love them, or you hate them.


Lucky for me, I find seeing situations through fresh eyes to be utterly delightful, and Stallone is game for pretty much everything, at points playing for genuine laughs, introspective, philosophical dialogue, and ultimately tapping into genuine emotions.




Not everyone who spends 25 years in prison likely comes out as behind the times as Dwight, but instead of wasting time watching TV or reading about current events, he was reading the classics and learning about life and business principles, which help him understand people and drive business negotiations with the best.


The family he chose turned on him in the end, essentially banishing him to Tulsa under the guise of paving the way for new mafia territory. In reality, his old-school mafia ways no longer fit his chosen family. It certainly gives him pause that he chose them at the expense of his actual family, whom he hasn’t seen in 18 years.


Dwight wastes no time planting his flag in Tulsa, and before he arrives at his motel from the airport, he’s already got a driver, Tyson (Jay Will), who will show him the 2022 ropes.




Dwight is easygoing and makes friends everywhere he goes, some more willingly than others. He meets a lady his first night in town (Andrea Savage’s Stacy) and befriends the owner of the Bred2Buck Saloon (Garrett Hedlund).


In real life, people in the midwest might be put off by a man like Dwight, but in this fictional take, people gravitate toward him, even those he meets with a punch in the nose first and a handshake later.


Tulsa King Season 1 Episode 1 goes for genuine, gut-busting laughs, and it succeeds. It sets the tone that anything goes in this world and upends expectations of normal mob-related content.




The fun continues through the second episode, but we also get a feel for what Dwight isn’t showing everyone, the pain of being lost to civilization for a quarter of a century and regret for giving up on the people who once loved him.


Winter is known for The Sopranos and Boardwalk Empire, which leaned heavily on violence and didn’t flinch the bloodier it got. It’s still early in this show, but Stallone isn’t a young man, and he seems content playing a heavy who doesn’t have to get too bloody to make his point.


Dwight has learned enough about the human condition that he doesn’t need violence to reach people, although, in a pinch, a pop here and there is easy and effective.




After the success of Yellowstone, Sheridan-affiliated projects land impressive talent before and behind the camera.


Tulsa King appears to be a labor of love. Just watch the videos peppered throughout this review to get a feel for what has gone into the production.


Like Sheridan’s other productions, Tulsa King fully utilizes its setting, too. The series visits a variety of locations, even making good use of one of the local interests, the Center of the Universe, which is actually the title of Tulsa King Season 1 Episode 2.




After two episodes, Dwight has merely dipped his toes into what Tulsa has to offer. If the series continues on the trajectory paved during the first two hours, we’re going to be watching Tulsa King for a long time.


Stallone is comfortable in Dwight’s shoes. Playing a version of himself suits him, and it’s sure to hit home with viewers, as well.


Tulsa King premieres with two episodes on Sunday, November 11, on Paramount+.

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

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At the age of 75, Sylvester Stallone

The Israeli-Palestinian drama “Roll,” from Italian-American first-time director Loris Lai and producer Lawrence Bender, has wrapped production in Tunisia and in Tarak Ben Ammar Studios in Tunis.

The film, which is inspired by the Italian novel “Sulle Onde della Libertà” by Nicoletta Bortolotti, is written by Lai and Dahlia Heyman. The story is set in the midst of war-torn Gaza, where two 12-year-old boys, one Palestinian and the other Israeli, along with an ex-surfing champion, form an unlikely friendship over their mutual love for the water. The lessons they learn from one another go beyond the waves, helping influence their decision-making and show their community that peace can exist.

The Palestinian and Israeli boys are played by newcomers Marwin Hemdan and Mikael Fridel, while Tom Rhys Harries (“The Gentleman; White Lines”) will play the ex-surfing champion. Lyna Khoudri (“The French Dispatch”) also stars.

“Roll” is co-produced by Jean Vigo Italia, Lawrence Bender Productions, Eagle Pictures, Potemkino and Rai Cinema, with the support of Eurimages, the Italian Ministry of Culture and Lazio Cinema International Fund. It is produced by Elda Ferri, Lawrence Bender, Frédéric Ollier, Peter De Maegd and Lai, and its executive producers are Patric Palm, Cindy Cederlund and Dahlia Heyman.

Bender is a three-time Oscar nominee for best picture for his work on Gus Van Sant’s “Good Will Hunting” (1997) and Quentin Tarantino’s “Pulp Fiction” (1994) and “Inglourious Basterds” (2009). Coincidentally, all three won the Oscar for best original screenplay.

“Roll” is expected to be completed in Spring 2023.

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The Israeli-Palestinian drama “Roll,” from Italian-American first-time

Between the myriad of awards bait finally being released as awards season campaigning heats up and the frenetic pace of Film Independent Presents screenings lately, we have an abundance of recommendations for you this month! So, sit back and enjoy this month’s cinematic offerings.

 

CAUSEWAY

 

When You Can Watch: November 4

Where You Can Watch: Theaters (Limited) & Apple TV+

Director: Lila Neugebauer

Cast: Jennifer Lawrence, Brian Tyree Henry, and Linda Emond

Why We’re Excited: Part of the Film Independent Presents series, theater director Neugebauer’s psychological drama was screened at the NeueHouse Hollywood last month, followed by an in-person Q&A with Neugebauer (Netflix series Maid) and producer Justine Ciarrocchi. Recently premiering at TIFF to critical praise for Lawrence and Henry’s respective performances, the director’s feature debut takes a deep dive into traumatic brain injury (“TBI”) suffered by many soldiers returning from tours in combat zones. An engineer in the Army deployed in Afghanistan, Lynsey – played by 2013 Spirit Awards winner for Silver Linings Playbook, Lawrence – returns home to New Orleans after suffering TBI resulting from an IED explosion in the field. As she works hard to regain her physical and mental abilities – relearning to walk, bathe, use her hands, etc. – she comes across mechanic James (Henty), with whom she bonds over their traumatic pasts, as he had lost a leg in a car accident. Executive Producer Sophia Lin is a member of Film Independent.

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BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS (Orig. title: Bardo, falsa crónica de unas cuantas verdades)

When You Can Watch: November 4

Where You Can Watch: Theaters (Limited) & Netflix (December 16)

Director: Alejandro G. Iñárritu

Cast: Daniel Giménez Cacho, Griselda Siciliani, Ximena Lamadrid

Why We’re Excited: Two-time Spirit Awards winner – for Birdman and 21 Grams – writer-director Alejandro G. Iñárritu’s latest offering is Mexico’s official submission for Best International Feature for the upcoming 2023 Academy Awards. Co-written with Birdman scribe Nicolás Giacobone (Biutiful, The Last Elvis), the black dramedy competed for the Golden Lion award at the 79th Venice International Film Festival. Spanish-born Mexican actor Cacho – who won a Goya Award for his work in the Spanish B&W silent drama Blancanieves – plays renowned Mexican journalist and doc filmmaker Silverio in the film. After winning a prestigious journalism award, he has to return to his native Mexico, a visit that would become a transformational emotional and spiritual journey as he is forced to face his past and reconcile with his culture and identity. The project is very personal to Iñárritu, as it mirrors his own journey having emigrated from Mexico to Los Angeles some 20 years ago.

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SALVATORE: SHOEMAKER OF DREAMS

When You Can Watch: November 4

Where You Can Watch: Theaters (Limited)

Director: Luca Guadagnino

Why We’re Excited: Another Film Independent Presents event, the film was screened last week at The Grove’s AMC in Los Angeles, followed by an in-person conversation with director Luca Guadagnino and writer Dana Thomas. [As previously covered in August’s Don’t-Miss Indies.] Best known to American audiences for his mesmerizing, gorgeously shot 2017 romantic drama Call Me by Your Name, Spirit Award winner Luca Guadagnino’s English-language documentary centers on Italian fashion icon Salvatora Ferragamo. Narrated by Michael Stuhlbarg–who played Elio’s father in Call Me by Your Name – the film incorporates parts of Ferragamo’s 1955 memoir as well as 100-year-old archival footage, tracing the artist’s humble beginnings as a poor cobbler in Bonito, Italy. Ferragamo immigrated to the United States in 1915 and settled in Southern California, soon becoming Hollywood’s go-to shoemaker during the silent film era. Clients of the shoemaker-to-the-stars included greats ranging from Douglas Fairbanks to Audrey Hepburn and Rita Hayworth. The love letter to Ferragamo premiered at the 2020 Venice Film Festival.

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WEIRD: THE AL YANKOVIC STORY

When You Can Watch: November 4

Where You Can Watch: Roku

Director: Eric Appel

Cast: Daniel Radcliffe, Evan Rachel Wood, Rainn Wilson, Diedrich Bader (voice), Toby Huss, and Arturo Castro

Why We’re Excited: A filmmaker really couldn’t get any better publicity for a project than having Vanity Fair’s review declaring the film as “weirding people out in a good way”! TV director Appel’s (Brooklyn Nine-Nine, Silicon Valley) feature directing debut is a biographical parody about the famous parody singer, which began its life as a fake trailer for Funny or Die in 2010. After the real Yankovic showed the trailer at some of his concerts, interest on a feature-length film based on his life began gaining momentum, leading to his collaboration with Appel on the original screenplay. The hilarious satire of biopics follows Yankovic’s (Radcliffe) – who first became a household name with “Eat It,” his parody of Michael Jackson’s smash hit “Beat It” in the early 1980s – and has since gone on to birth hilarious parodies such as “Like a Surgeon” (Madonna’s “Like a Virgin”), “Fat” (Michael Jackson’s “Bad”), “Lasagna” (Los Lobos’ “La Bamba”), and countless others. The priceless casting choices in the film include Evan Rachel Wood as Madonna and late-night talk show host Conan O’Brien as Andy Warhol. For more insights on the film, check out the in-person Q&A after the Film Independent Presents screening of the film last month. Film Independent member Tim Headington serves as one of the Producers on the film.

 

 

 

NOCEBO

When You Can Watch: November 4

Where You Can Watch: Theaters (Limited) & VOD (Nov 22)

Directors: Lorcan Finnegan

Cast: Eva Green, Mark Strong and Chai Fonacier, and Billie Gadson

Why We’re Excited: This psychological supernatural thriller from Lorcan Finnegan (2019 sci-fi thriller Vivarium) is also the first-ever co-production between Ireland and the Philippines. Fashion designer Christine (Green of Casino Royale fame) appears to be going through some trauma-induced short-term memory loss, on top of a long list of ailments including rashes and headaches, bewildering her doctors and baffling her husband Felix (Strong).  She simply has no time for this mess: not only is she busy premiering a new line of children’s clothing, the couple is also busy with their 8-year-old daughter Roberta “Bobs” (Gadson). Eight months later, an apparent godsend arrives in the form of Filipina housekeeper, Diana (Fonacier), but neither Christine nor Felix recalls ever hiring anyone ….

 

MY POLICEMAN

When You Can Watch: November 4

Where You Can Watch: Amazon Prime

Director: Michael Grandage

Cast: Harry Styles, Emma Corrin, David Dawson, Linus Roache, and Rupert Everett

Why We’re Excited: In 1950s Brighton, England, when it was not easy to deviate from any type of social convention – and when homosexuality was still illegal – three young people embark on a path that would forever entwine their lives. Gay policeman Tom (Styles) is married to school teacher Marion (The Crown’s Princess Diana, Corrin), but he remains in a relationship with museum curator, Patrick (Dawson). Some 40 years later, Patrick’s sudden reappearance threatens to unearth the secrets they have worked so hard to keep for decades. Film Independent member Sarah Schecter is amongst the producing team on this period drama.

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THE FABELMANS

When You Can Watch: November 11

Where You Can Watch: Theaters

Director: Steven Spielberg

Cast: Gabriel LaBelle, Michelle Williams, Paul Dano, Seth Rogen, and Judd Hirsch

Why We’re Excited: A semi-autobiographical drama loosely based on Spielberg’s early life, the coming-of-age drama is told through the lens of fictional 16-year-old aspiring filmmaker, Sammy Fabelman (LaBelle). Set in post-WWII Arizona (where Spielberg grew up IRL), the ambitious Sammy immerses himself in his passion in filmmaking despite familial objections, and in the process, discovers a shocking family secret. Already shaping up to be a frontrunner in the Oscars race, the film has received much praise for its ensemble cast, in particular for LaBelle, two-time Spirit Awards winner Williams, Spirit Awards alum Dano, and Hirsch. Once he landed the coveted role, LaBelle was granted exclusive access to 8mm features shot by the illustrious director when he was young in order to prepare for the role.

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SHE SAID

When You Can Watch: November 18

Where You Can Watch: Theaters

Director: Maria Schrader

Cast: Carey Mulligan, Zoe Kazan, Patricia Clarkson, Andre Braugher, and Jennifer Ehle

Why We’re Excited: A year after she enthralled us with the lighthearted yet poignant sci-fi romantic fantasy – German film I’m Your Man – director Schrader is back with a dramatization of how two New York Times investigative journalists would take down one of the most powerful producers in Hollywood in the fall of 2017. The drama takes us through Megan Twohey (last year’s Spirit Awards winner for Promising Young Woman, Mulligan) and Jodi Kantor’s (2012 Spirit Awards nominee for Ruby Sparks, Kazan) months-long investigation into Harvey Weinstein’s systemic sexual abuse of countless women over decades, culminating in the October 5, 2017 story published in the New York Times. In the months that followed, the story sparked a much-delayed reckoning that convulsed through not only Hollywood, but across all industries and levels of society throughout the world. Based on Kantor and Twohey’s 2019 book by the same title, the film’s producing team includes Film Independent members Dede Gardner and Jeremy Kleiner.

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LADY CHATTERLEY’S LOVER

When You Can Watch: November 23

Where You Can Watch: Theaters (Limited) & Netflix (December 2)

Directors: Laure de Clermont-Tonnerre

Cast: Emma Corrin, Faye Marsay, Jack O’Connell

Why We’re Excited: Yet another film featured in last month’s Film Independent Presents series, the latest film adaptation of D.H. Lawrence’s explicit and controversial novel premiered in Toronto back in September. Married to a Baronet with whom she is no longer in love, Lady Chatterley (Corrin) engages in a sultry affair with gamekeeper Mellors (O’Connell), who works on her husband’s estate. Does she do what’s proper for a woman in her station at that time? Or follow her heart, come what may? Spirit Awards nominee two years ago for The Mustang, director de Clermont-Tonnerre’s reimagining is adapted by screenwriter David Magee (the upcoming A Man Called Otto and Life of Pi). To learn more about the film, tune into the in-person Q&A with de Clermont-Tonnerre after last month’s members-only screening at the Linwood Dunn Theater.

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THE SON

When You Can Watch: November 25

Where You Can Watch: Theaters

Director: Florian Zeller

Cast: Hugh Jackman, Laura Dern, Vanessa Kirby, Zen McGrath, and Anthony Hopkins

Why We’re Excited: French director Florian Zeller’s sophomore outing – since 2020’s Oscar-winning psychological drama about dementia, The Father – is a family drama that is also based on his play by the same title. As Peter (Jackman) settles into a new life in Brooklyn with partner Beth (Mission Impossible: Fallout and The Crown’s Kirby) with their infant son, his ex-wife Kate (two-time Spirit Award winner, Dern) drops by with an unwelcome surprise. Their clinically depressed teenage son, Nicholas (McGrath), has been skipping school for months and at this point, the only way forward is to have the boy move in with Peter. Taking care of Nicholas stirs up emotional turmoil from his tattered relationship with his own father, Anthony (Hopkins).

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KEY

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Film Independent Fellow or Member

Film Independent Presents Screening, Q&A

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Filmmaker or Lead Characters of Color

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Film Independent Spirit Award Winner or Nominee

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Female Filmmaker

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LGBT Filmmaker or Lead LGBT Characters

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First-time Filmmaker

(Header: ‘She Said’)

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