Emily Ratajkowski has stated that maintaining a healthy diet is the key to keeping her model-like shape. The author of My Body took to social media to post photos of her Halloween costume, in which she sported a sultry cowgirl suit that exposed her derriere.
When the singer Halsey complemented the model’s body in the comment area, further questioning her about her regimen, the model responded, “Just eating well!” skipping no meals! Happy girl.
Ratajkowski, now 31, uploaded a TikTok video of herself traversing the streets of New York City to the soundtrack of Lindsay Lohan’s Halloween monologue from the cult hit Mean Girls.
The actress from Gone Girl appeared in public wearing a black thong, fringe chaps with cutouts around her bottom, and a black crop top with long sleeves that revealed her toned midriff.
She finished off the look by carrying a shoulder bag, donning a hat with a broad brim, and putting on a pair of black boots. Even though she is dressed provocatively, this is not even close to being the most contentious thing she has ever worn.
In a recent Harper’s Bazaar video, Ratajkowski commented that a plunging cutout dress by Julien Macdonald was likely the most provocative piece [she] had ever worn.
In the clip, she reflected on the costume she wore to the 2016 Harper’s Bazaar Icons Party and stated, “I had no idea what a spectacle this would generate.” She was referring to the controversy that her choice of attire had caused.
Someone referred to it as “very obscene,” and as a result, it became the subject of a significant debate on the internet. And several of my representatives were upset with me because they believed it was inappropriately sexual.
Netflix will add five new executives to advertising team as the streamer prepares to launch its ad-supported subscription tier on Nov. 3, a company spokesperson confirmed to The Hollywood Reporter.
Beginning on Nov. 14, the ad team — led by Jeremi Gorman, Netflix’s president of worldwide advertising — will include executives coming from Amazon, YouTube and TikTok, as well as additional poaches from Snap. Julie DeTraglia, most recently the global head of sports strategy and research at Amazon, will serve as vp ads measurement strategy.
At the senior director level, GroupM’s Adam Gerber — who has previously held executive roles at Essence and Disney/ABC Television Group — will join Netflix as senior director for client development. Julie Green, TikTok’s director of global business solutions, will become senior director for vertical sales, while Nicole Sabatini, the director of product marketing for YouTube’s ads marketing division, has been tapped as a senior director for ad partner solutions.
Rounding out the new hires is Chris Smutny, who will join his former Snap colleagues Gorman and Peter Naylor — who previously served as Snap’s chief business officer and vp sales, respectively — at Netflix as a senior director for sales operations.
Netflix is set to debut its ad-supported subscription tier in the U.S. on Thursday priced at $6.99 a month. The ads on this tier, which will be displayed in 15- to 30-second commercial spots, will total between four to five minutes of ads per hour. The viewing experience is expected to vary based on the title — new movies will only have preroll ads, according to Netflix COO Greg Peters — and the streamer will work with Nielsen in the U.S. and the nonprofit BARB in the U.K. to measure viewership data for advertisers.
Editor’s note:Deadline presents the 38th episode of its video series Take Two, in which Pete Hammond and Todd McCarthy tackle the artistry of films. Each has reviewed and written about the craft for decades and built a remarkable breadth of knowledge of films past and present. What we hoped for when we asked them to do this was a concise, mature and thoughtful conversation comparable to what we saw from Roger Ebert and Gene Siskel.
A couple of weeks ago we surveyed the highly competitive Best Actress Oscar race, and now this week we take a look at the top contenders for Best Actor. While full of exceptional performances this category does not appear to be as crowded as usual, and that could mean some ripe opportunities for actors who might have had a tougher time getting noticed here in previous years. Currently topping the list are potential first time nominees like Colin Farrell in The Banshees Of Inisherin, Brendan Fraser as a 600 pound man trying to reconnect with his daughter in The Whale, and Austin Butler channeling Elvis Presley in the summer hit, Elvis. Veteran Bill Nighy is also angling for his first-ever recognition from the Academy, as is Adam Sandler who has been heavily seen on the awards circuit this Fall for his Netflix film Hustle.
Can Tom Cruise, a previous multiple nominee make a return in the year’s number one picture, Top Gun: Maverick in which he plays the title role 36 years after first trying it out in 1986? Will Hugh Jackman nab his second nomination for the highly dramatic The Son? Will the Academy find room for much needed diversity in the list with a group of exceptional performances from the likes of Jeremy Pope in The Inspection and Jonathan Majors in Devotion? And then there’s Will Smith as a runaway slave in Emancipation which Apple TV+ has suddenly dropped into the season. What will voters make of last year’s Best Actor winner, the notorious slap, and whether he is still deserving of a second shot despite being banned from any Oscar show for the next decade and being forced to resign from the Academy? There is much to talk about including a possible nomination for Gabriel LaBelle who plays the young Steven Spielberg (albeit with a different name) in the much acclaimed autobiographical film, The Fabelmans.
Click above to watch our conversation.
Hammond has been Deadline’s Awards Columnist for the past decade, covering what now seemingly is the year-round Oscar and Emmy seasons. He is also Deadline’s Chief Film Critic, having previously reviewed films for MovieLine, Boxoffice magazine, Backstage, Hollywood.com and Maxim, as well as Leonard Maltin’s Movie Guide, for which he was a contributing editor. In addition to writing, Hammond also hosts KCET Cinema Series and the station’s weekly series Must See Movies.
McCarthy is a veteran trade publication film critic, columnist and reporter who has also written several acclaimed books and documentary films. He served two stints on the staffs of Variety and The Hollywood Reporter and extensively covered film festivals internationally for both publications. His film Visions of Light: The Art of Cinematography won the best documentary prizes from the New York Film Critics and National Society of Film Critics associations, and he won an Emmy for writing the documentary Preston Sturges: The Rise and Fall of an American Dreamer. He also directed the documentaries Man of Cinema: Pierre Rissient and Forever Hollywood.
Thank you to Samantha Barry and the entire Glamour team for honoring me with a beautiful Women of the Year cover story and for recognizing me in this way. It means so much to me that you’ve chosen to include me as an honoree amongst such an esteemed group of women. Congratulations to my fellow honorees. But I never view these awards as being just about me. It’s so important to celebrate us all as women.
It’s been an interesting time to be a woman. Sometimes it feels as though no matter how far we’ve come, we’ve still not come far enough. But what gives me great comfort and faith that we will prevail is remembering that when women come together, when we put our minds and our hearts together, we are unstoppable. Our contributions have made history, given birth to movements, brought about peace and justice, and transformed our lives for generations.
We are courageous like Mamie Till, whose life was forever changed in 1955 when her son, Emmett, just 14 years old, was brutally murdered while visiting their family in Mississippi. Her decision to open the casket to show the world what was done to her only child by lawless men in a Jim Crow South, who tortured her boy because of his Blackness, put Mamie on an unexpected path of being one of history’s most game-changing freedom fighters whose pain united a nation.
We are underestimated like Rosa Parks, who was presumed to meek and mild, voiceless, voiceless, someone who wouldn’t stand up for herself, let alone for others. But on one December evening in 1955 in Montgomery, Alabama, Rosa Parks said that: “When that White driver stepped back toward us…I felt a determination cover my body like a quilt on a winter night.” Her refusal to give up her seat on the bus that day historically boosted the fight for civil rights for Black people in this country, and recognizing Rosa Parks as “the mother of the freedom movement.”
We are fearless like Bessie Coleman, a manicurist in a local Chicago barber shop who wanted to learn to fly but was turned down by flight schools in our country. She didn’t give up. She learned instead to speak French, attended a flight school in France, and in 1921, she went on to become the first Black and Native American woman pilot. Brave Bessie, as she became known, built a successful business doing aerial shows, in a plane she owned, around this country, a country that tried to deny her dream.
We are resilient like Tina Turner, who gave up everything she’d worked for, except her name, to gain freedom from abuse. She started over, reimagining her career as a Rock & Roll artist, a genre that no Black woman had successfully charted, Tina Turner went on to become one of the most admired and successful artists around the world, earning an induction into the Rock & Roll Hall of Fame on her own merit.
We are persistent like Ruth Bader Ginsberg, herself a Glamour Woman of the Year in 2012, who was once told by the dean at the Harvard Law School, that she was taking up space that belonged to a man. There in a class of 500 men. But she wasn’t deterred. She answered that dean’s assertion by earning her seat on the Supreme Court of these United States of America.
We are resourceful like my mother, Betty Jane, who was a single mom raising her daughters to be women of purpose and pride who could stand on their own. She often struggled to make ends meet, making a way out of no way, like we women do from time to time, but she always made sure we had exactly what we needed.
The legacies of these women and so many more are what keep me going when the deck seems stacked against me—against us. And as I stand here tonight, I challenge us all to think about what our contributions to pushing humanity forward will be. What will you do to make sure that future generations of girls and women exist in a world that is one of equality and equity? And when you’re told that you can’t, or you won’t, that it’s impossible, when doubt or fear begins to take hold of your spirit, let determination cover your body like a quilt on a winter night. And press forward. The world needs you, quite possibly more than ever before. The world has always needed us.
I accept this tremendous honor, Women of the Year, for my daughter, Bronwyn, who I remind every day that she is beautiful, worthy, strong and that she is enough. Together, we stand. We all stand courageous, and fearless, we stand determined, resilient, persistent, and especially in the face of anyone who dares to underestimate us. I encourage you, and in the words of my character Queen Ramonda, to always show them who you are. Thank you.
Aishwarya Rai Bachchan has penned a heartfelt note to her fans for sending their “warmest wishes” on her birthday. The actress took to Instagram to share an adorable picture with her daughter Aaradhya Bachchan alongside a thank you note for her well-wishers.
The actress shared the photo from her Siddhivinayak temple visit with Aaradhya. She wrote: “Gratitude! Thank you so much for all your immense love, warmest wishes, blessings and so much positivity… Much love always. God Bless.”
On the special occasion of her 49th birthday, the former Miss World visited the Siddhivinayak temple to seek blessings. The actress was accompanied by her daughter, Aaradhya Bachchan.
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Aishwarya’s husband, actor Abhishek Bachchan penned a lovely birthday wish for her. The actress married her Guru co-star Abhishek Bachchan in 2007. Junior Bachchan took to social media to share a still from Aishwarya’s debut film, Iruvar. The Mani Ratnam directorial marked her debut into the film industry in 1997 after winning the Miss World pageant in 1994.
Sharing the post, Abhishek wrote, “Happy Birthday, wifey! Love, light, peace and eternal success.”
On the work front, Aishwarya Rai Bachchan was last seen in Ponniyin Selvan: I, which marked her reunion with Mani Ratnam. The film received rave reviews and Aishwarya’s performance in it impressed fans and critics alike. The film also stars Vikram, Karthi, Prakash Raj, Jayam Ravi, Trisha Krishnan, and Mohan Babu. Next, the actress will be seen in the sequel of Ponniyin Selvan.
Anya Reiss created the historical drama about the Tudors.
Starz has canceled “Becoming Elizabeth,” a historical costume drama series about the Tudors, after one season, an individual with knowledge of the decision told IndieWire.
The show created by Anya Reiss and starring Alicia von Rittberg premiered August 12 but failed to capture much of an audience and posted low ratings that dipped throughout its 8-episode run.
“Becoming Elizabeth” continued Starz’s fascination with the 16th Century Tudor family after finding a hit with 2013’s “The White Queen” and two other spinoff series based on English history. “Becoming Elizabeth” specifically focused on a young Elizabeth I when she was still an orphaned teenager and the death of King Henry VIII set into motion a scramble for power and the throne.
The series also starred Romola Garai, Jessica Raine, Tom Cullen, and Bella Ramsey and was produced by The Forge for Starz. The show was also notable for boasting an all-women writing staff as led by Reiss.
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Reiss had even alluded to the impending cancelation of the show back in September when she discussed the Season 1 — now series — finale, responding to some fans with a few gifs that suggested there wouldn’t be a chance for a second season and that Starz let them know “you’re finished.”
“So to anyone who misinterpreted ‘Becoming Elizabeth’s’ end – it was not a cliffhanger – but an ironic wink to our audience – because of course, you know the rest of the story… so why would we continue,” Reiss wrote. “Or at least…that’s my story.”
Parent company Lionsgate has flirted with spinning off Starz for several months now, expressing interest in selling the premium cable network and its streaming service off after Lionsgate first acquired it for $4.4 billion back in 2016. But despite some steady subscriber growth to 37.3 million global subs, as well as finding some other hit series, the studio has been left with roughly $2 billion in debt and a value far below what it originally paid.
Netflix’s “The Ultimatum: Queer Love” will have a new host. When the franchise is extended, JoAnna Garcia Swisher will guide the couples, instead of Nick and Vanessa Lachey, who hosted the first season (and lead Netflix’s “Love Is Blind.)”
“She’s in the Netflix family, and I think she did a great job,” creator Chris Coelen tells Variety of Garcia Swisher, who stars in the streaming service’s “Sweet Magnolias.” “She really was passionate about doing it.”
While the all queer series, which is completely finished filming, was initially set to be the second season of “The Ultimatum: Marry or Move On,” creative discussions led to the idea of making it a spinoff instead.
“We, along with Netflix, sort of made a decision to create a new franchise where there’s ‘Ultimatum: Marry or Move On’ and there’s ‘Ultimatum: Queer Love,’ and felt like it made sense to differentiate the two,” says the Kinetic Content CEO. “There are slight nuances to each of the shows. The shows are very similar in their DNA, but you know, having a different host or for the different versions made sense to us as we as we talked about going into it.”
“Queer Love,” executive produced by Coelen, Eric Detwiler, Sarah Dillistone and Stephanie Boyriven, will follow five new couples made up of women and non-binary people, each at a crossroads in their relationship.
Per Netflix, “One partner is ready for marriage, the other may have doubts. An ultimatum is issued. And in just over eight weeks, each couple will either get married, or get out, after they each choose new potential partners in a life-changing opportunity to get a glimpse of two different futures.”
The flagship show, produced by Kinetic Content, “The Ultimatum: Marry or Move On,” will return for a second season with the Lacheys as hosts; Season 1, which debuted in April, spent four weeks on Netflix’s Top 10 English TV list.
The awards season is officially upon us and it looks like Warner Bros Discovery is hitting the ground running. The studio has officially revealed their Oscars campaign for Matt Reeves’s The Batman ahead the awards upcoming season via here . With all the success of this film we are not surprised in the least. With it making $750 million worldwide it was an instant success for the studio, especially when you put in an all star cast in the mix.
Below you will find all 15 categories have been submitted for consideration, highlighting 31 members of the cast and crew:
The Batman is not only a comic movie, it is a detective noir that set itself apart from other typical comic book movies. When you watch it you don’t just get a sense you are just watching a comic movie. It feels like you are in a cinematic masterpiece interwoven with all of Reeves’ storytelling.
Michael Giacchino’s amazing score clearly stands out and will be a very strong contender. Greg Frasier’s stunning cinematography perfectly set the tone for the detective element of the movie and the production design showcased a gritty Gotham unlike anything we have ever seen.
Pattinson exceeded everyone’s expectations and transformed himself fully into the caped crusader. He gave it his all and made Bruce into a more human tortured version that we have not seen as of yet. Also them not going the playboy route which is boring at this point. He will eventually get there but this his beginning story which Pattinson showed off beautifully. This earns him an chance at being a strong contender in this race.
Reeves is the golden goose that Warner Bros Discovery needed. He is creating this beautiful gritty version of Gotham and all of it’s characters brought to life and we are loving every second depicted of it. He will definitely have a shot at getting Best Director and holding his own with all the possible contenders. Everyone on this list has done such a fantastic job at showcasing their talent and achievements while making this movie, but more than likely it will get all the main categories and not all 15. I am excited to see how this will all play out but it’s about time that these type of movies got considered in the Oscars race.
While all these categories have been submitted by Warner Bros Discovery it doesn’t necessarily mean they will all appear on the voting ballot with the academy. Here you will find the whole process as to how the voting works. We wish all the nominees the best of luck and may the best person and movie win!
We’re only a short time away from 2023, and the year is already taking shape to be an exciting one for Netflix subscribers. Throughout the remainder of 2022, and all the way through 2023 we’ll be keeping track of all of the anime coming to Netflix.
N = Netflix Original
Anime Coming to Netflix in 2023
Junji Ito Maniac: Japanese Tales of the Macabre (Season 1) N
Episodes: TBA | Seasons: 1 Studio: Studio Deen Netflix Release Date: January 19th, 2023
As one of Japan’s most famous horror artists and authors, an entire series based on the work of Junji Ito is incredibly exciting. In total, 20 stories will be adapted into anime.
While the animation of the show left a lot to be desired, the story still captured the warmhearted comedy from the manga.
Tatsu, a former legendary crime boss of the Yakuza retired from the criminal underworld to become a househusband and support his wife Miku. Becoming a househusband poses a new challenge for Tatsu as he Trades in gang warfare for warring over the best deals at the grocery store with housewives.
The fifth season will also be Aggretsuko’s last, so sadly, we’ll be saying goodbye to Retsuko for good. Will she get her happily ever after, or is she doomed to live a single life as the office doormat?
Another day and another dollar for 25-year-old red panda Retsuko. Her modesty and diminutiveness lead to her being exploited by her lazy colleagues, and whether it be sexist and misogynistic remarks by her boss and being annoyed by her condescending co-workers, Retusko has a unique way of relieving her stress… singing death metal at her local Karaoke bar.
Pokemon Ultimate Journeys (Part 2) N
Episodes: 24 | Parts: 2 Studio: OLM-Animation Studio Netflix Release Date: Early 2023
Ultraman (Season 3) N
Episodes: 19 | Seasons: 3 Studio: Sola Digital Arts and Production I.G Netflix Release Date: Early 2023
2023 we’ll also be saying goodbye to Ultraman. There was an extensive gap between the first and second seasons, but thankfully fans won’t have to wait that long for season 3.
Now a distant memory, the legendary “Giant of Light” was believed to have left earth and returned to his home planet. However, his son, Shinjiro Hayata, discovers his father’s secret and takes on the mantle of Ultraman for himself.
Despite the anime series not being available to stream on Netflix, that hasn’t stopped Netflix from acquiring the international rights to the upcoming Black Clover movie. Hopefully, the addition of the movie means we may have some seasons of the anime arrive on Netflix sometime in 2023.
For a while, it was touch and go whether or not Kengan Ashura was going to receive a second season. But with season 2 confirmed that means we can expect a further 2 parts on Netflix filled with some epic fights.
For hundreds of years, the rich and powerful of Japan have hired the most skilled fighters for organized gladiatorial combat where the winner takes all. Bursting onto the scene is Tokita Ohma, who can’t wait to compete and take on the strongest fighters possible.
Fans of the manga weren’t overly impressed by the animation of the first season, however, with Yumeta Company taking over the animation of the second season, hopefully, there will be a significant rise in quality.
With the gods deciding that the fate of humanity rests in their complete annihilation, they are given one last chance to prove their worth before the gods. Engaging in a battle of Ragnarok, 13 humans from history are brought before the gods to engage in duels to the death. Humanity requires seven wins to survive so to even the odds combatants are given a valkyrie, each tailored into a powerful weapon capable of allowing humans to fight the gods.
Make My Day (Season 1) N
Episodes: TBA | Seasons: 1 Studio: 5 Inc. Netflix Release Date: February 2023
The same studio behind Exception is producing another new anime series for Netflix.
On a cold planet of ice and snow, mysterious creatures suddenly appeared from the dark underground and have begun to attack the inhabitants. Can humanity survive the terror lurking beyond the horizon?
Akuma-Kun is one of the oldest fictional franchises from Japan. Its first manga run began in 1963, but it wasn’t until 1989 that the first anime adaptation was released in Japan. It’s taken a further 30 years for a brand new anime adaptation, which will be exclusive globally on Netflix.
Akuma-kun wants to create a world where all human beings can live happily, and he believes that harnessing the power of demons is necessary for him to achieve that goal.
Some of the best video-game to anime adaptations have come from Netflix including Studio Trigger’s Cyberpunk: Edgerunners and Powerhouse Animation’s Castlevania.
Powerhouse will also be the studio behind Tomb Raider, and fans of the video game will be delighted to learn that the story is set to unify the timeline of all of the Tomb Raider video games across the survivor, legend, and original games.
Hayley Atwell aka Peggy Carter of the MCU has already been cast as the iconic dual-wielding archeologist.
Hiromu Arakawa, the creator of Full Metal Alchemist is the character designer behind Netflix’s exciting upcoming sci-fi anime Moonrise.
Year TS 2XXX AD. Humanity has formed a “relaxed world government.” Everything was entrusted to the international AI network Sapientia, and people lived according to their rational judgment… However, Sapientia’s “moon reclamation project” created a schism between the Earth—which maintains peace by sending pollutants and criminals to the moon—and the moon, which is forced to live in poverty, becoming a source of fire for the War of Independence.
Thanks to a competition put on by Shueisha’s Weekly Shonen Jump, Naoki Fujita, the winner, has been rewarded for winning the competition with an anime adaptation of his manga Beat & Motion.
Captain Laserhawk: A Blood Dragon Remix (Season 1) N
When the Castlevania anime came to an end, the question was raised whether or not we would get a brand-new anime focused on the descendants of Trevor Belmont. Fans will be delighted to learn that the next series of Castlevania will follow the exploits of Richter Belmont, a descendant of Trevor from the late 18th century.
Capcom is once again trusting Netflix with the distribution of an anime series adapted from one its beloved video game franchises. Jam-packed full of action, a new adaptation of Devil May Cry should look absolutely incredible.
Shin Kibayashi of Bloody Manga is helming a brand new and original anime series for Netflix. The story for Lady Napoleon is as follows:
The story follows Sophie, a descendant of Napoleon who runs the Lady Napoleon organization, as she, along with Butler and Guy, fight for world domination as they travel the world in search of the three sacred weapons that Napoleon once possessed. Butler, as his name suggests, is a butler who can do it all, while Guy is a martial arts master.
In the near future, a nuclear explosion has caused the Earth to overlap with Hell. Thanks to the overlap, the dust from Hell has caused a devasting amount of pollution. Soon, an elementary student, Kento, finds a daemon named Anna in the forest and raises her. Together the pair go on an adventure to save Kento’s mother.
Yet another video game IP that Capcom has given to Netflix to adapt into an anime series. Onimusha is a hack-and-slash adventure series that takes place in the waning years of the Sengoku period in Japan where skilled warriors battle against demonic creatures.
Details are scarce, however, we do know that the series will be centered around a group of survivors who are shipwrecked on Skull Island, and are desperately trying to escape from its horrors.
As one of the most popular video game franchises of the 2000s, it’s quite a surprise there has never been an adaptation of Splinter Cell. Fans have been demanding a new game for years, but hopefully, they can whet their appetites with the anime adaptation.
Twilight of the Gods (Season 1) N
Episodes: TBA| Seasons: 1 Studio: The Stone Quarry Netflix Release Date: TBA
Zack Snyder has been extremely busy the past few years producing and directing new content for Netflix. While he’s not busy working on expanding the world of Army of the Dead or working on Rebel Moon, he’ll be working on his take on the world of Greek Mythology, and the ultimate battle between good and evil.
Untitled Anime Projects Announced
BRZRKR (Season 1) N
Created by Keanu Reeves, BRZRKR was a twelve-part limited comic book series from BOOM! Studios. The story is centered around the immortal warrior known as Berserker, who has spent centuries fighting across the world.
Far Cry (Season 1) N
Ubisoft has finally begun expanding the worlds of its own franchises by allowing companies like Netflix to produce anime adaptations. With many different colorful countries and characters to choose from, there’s no shortage of adaptations that could happen.
Grimms’ Fairy Tales (Season 1) N
Most of the known world will already be familiar with many of the Grimms Fairy Tales, but it’s thanks to Disney that many of these stories are believed to be child and family-friendly. This couldn’t be farther from the truth as the original fairy tales from Jacob and Wilhelm Grimm are far darker in nature, and often tales of warning to stop children from misbehaving.
Scott Pilgrim (Season 1) N
A cult classic the story of Scott Pilgrim is the perfect blend of action and comedy for an anime series.
Terminator (Season 1) N
Another huge franchise ripe for an anime adaptation, Terminator could explore the future of the world taken over by Sky Net as John Connor and the last remnants of humanity struggle to survive.
A criminal mediator from Chicago is forced to flee his life and everything he knows and hide out in a small Australian reef community in Far North Queensland posing as the new church Reverend. “Reverend Mackenzie Boyd” (not his real name) has made a mess so bad he can never go home, but he’s going to need all his considerable street smarts to pull off posing as clergy – something he doesn’t know the first thing about. If he slips up, he’s dead and, after a lifetime of crime, doing good works is not something that comes naturally.
Courtesy of Peacock
But “Mack” finds himself in a small beach town, with no phone or internet, amongst a community that is filled with people desperate for connection and crying out for leader.
What at first seems like a perfect hiding place from the Chicago mob quickly becomes Mack’s home. But as he reluctantly settles into his new life, Chicago commences the hunt.
The only way he will be able to stay off their radar will be to maintain the illusion that he is a Reverend. To do that though, Mack will have to appear to care. Trouble for Mack is, after all that pretending, it may just become a little bit real.
Check out the trailer below:
ABOUT THE SERIES: Peacock Premiere Date: All episodes premiere on Peacock on November 30, 2022. Logline: In order to stay alive, an American criminal is forced to hide out in a small Australian reef town in Far North Queensland, posing as the new church Reverend. Cast: Colin Donnell, PJ Byrne, Kylie Bracknell, Briallen Clarke, Tegan Stimson, Ed Oxenbould, Wayne Blair, Russell Dykstra, Calen Tassone, Jason Wilder Showrunner / Creator / Writer: Paddy Macrae Executive Producer / Writer: Andrew Knight Executive Producer: Debbie Lee, Alastair McKinnon Additional Writers: Andrew Anastasios, Angela McDonald, Darlene Johnson and Dan Knight Directors: Jonathan Teplitzky and Lucy Gaffy Producer: Tom Hoffie Produced By: Matchbox Pictures, which is part of Universal International Studios, a division of Universal Studio Group. The series is a co-production between Peacock and Netflix Australia. It will be distributed by NBCUniversal Global Distribution. Format: 10 x 60” drama series Filming Location: Queensland, Australia
Oh, that crafty Barry Keoghan. Lately he’s been working with all your favorite directors (most recently: The Banshees Of Inisherin with Martin McDonagh) and racking up credits in all your favorite franchises (like a buzzy teaser role in The Batman). So it’s no wonder that fans thought he was a likely candidate to join the star-studded cast of Dune. And of course, Keoghan himself fueled the fire with some vague but telling public statements.
In a new New York Times interview, Keoghan says he likes to be in communication with his audience via Twitter, because “sometimes it’s nice to put out the positive tweets and positive comments.” He also clearly likes to be a little sneaky with it, dropping a few eyebrow-raising emojis when around the announcement of Dune: Part Two. “Ah, yeah, I really enjoyed that process,” he admits of riling up the fanbase with that tweet. “Look, I’m a big fan of Dune, and it would have been nice to be part of it. I’m a big fan of Timothée [Chalamet, the star of the franchise] as well. But it wasn’t for me. You have to accept that sometimes. Sometimes it’s not for you.”
It’s unclear if Keoghan was in talks for the film, or if that tweet was just a form of manifestation. In any case, the actor is looking towards the future and hoping to transition into being a leading man, anyway. “Well, the aim is to go from being a scene-stealer to being the star of a movie. Am I able to do that? We’re going to see that with Saltburn,” he explains. “It’s my first lead role, and the first time I had to really step up in terms of stamina and just being fully committed. I always want to test myself. I don’t ever want to get to a stage where I think I have it figured out.”
“So the scene-stealing thing—it’s nice, but I don’t want to be known as that,” says Keoghan, who has received acclaim for his supporting roles. “I want people to see me and think, ‘That boy can hold a movie.’” (Just not Dune.)
Disney+ has released a delightful new trailer for “Disenchanted,” the all-new musical comedy and sequel to “Enchanted.” The film, which reunites original cast members Amy Adams, Patrick Dempsey, Idina Menzel, and James Marsden and also stars Maya Rudolph, Gabriella Baldacchino, Yvette Nicole Brown, and Jayma Mays, is directed by Adam Shankman and features new songs from Alan Menken and Stephen Schwartz. “Disenchanted” debuts November 18, exclusively on Disney+.
Check out the teaser trailer below:
It has been more than ten years since Giselle (Adams) and Robert (Dempsey) wed, but Giselle has grown disillusioned with life in the city, so they move their growing family to the sleepy suburban community of Monroeville in search of a more fairy tale life. Unfortunately, it isn’t the quick fix she had hoped for. Suburbia has a whole new set of rules and a local queen bee, Malvina Monroe (Rudolph), who makes Giselle feel more out of place than ever.
Frustrated that her happily ever after hasn’t been so easy to find, she turns to the magic of Andalasia for help, accidentally transforming the entire town into a real-life fairy tale and placing her family’s future happiness in jeopardy.Now, Giselle is in a race against time to reverse the spell and determine what happily ever after truly means to her and her family.
Courtesy of Disney+
“Disenchanted stars Amy Adams, Patrick Dempsey, Maya Rudolph, Yvette Nicole Brown, Jayma Mays, Gabriella Baldacchino, with Idina Menzel and James Marsden. Directed by Adam Shankman from a screenplay by Brigitte Hales and a story by J. David Stem & David N. Weiss, and Richard LaGravenese, “Disenchanted” is produced by Barry Josephson, Barry Sonnenfeld, and Amy Adams, with Jo Burn, Sunil Perkash, and Adam Shankman serving as executive producers.
The movie features songs with music by 8-time Oscar®-winning composer Alan Menken and lyrics by three-time Oscar-winning lyricist Stephen Schwartz, whose work on “Enchanted” garnered three Academy Award® nominations and a score by Alan Menken.
The digital soundtrack from Walt Disney Records will be available on Nov. 18 and is available for Pre-Save/Pre-Add here.
About Disney+:
Disney+ is the dedicated streaming home for movies and shows from Disney, Pixar, Marvel, Star Wars, and National Geographic, along with The Simpsons and much more. In select international markets, it also includes the general entertainment content brand, Star. The flagship direct-to-consumer streaming service from The Walt Disney Company, Disney+ is part of the Disney Media & Entertainment Distribution segment. The service offers an ever-growing collection of exclusive originals, including feature-length films, documentaries, live-action and animated series, and short-form content. With unprecedented access to Disney’s long history of incredible film and television entertainment, Disney+ is also the exclusive streaming home for the newest releases from The Walt Disney Studios. Disney+ is available as a standalone streaming service, as part of the Disney Bundle in the U.S. that gives subscribers access to Disney+, Hulu, and ESPN+, or as part of Combo+ in Latin America with Star+, the standalone general entertainment and sports streaming service in the region. For more, visit disneyplus.com, or find the Disney+ app on most mobile and connected TV devices.
Paramount+ today announced that the second season of its original drama series Mayor of Kingstown will debut Sunday, Jan. 15, exclusively on the service in the U.S. and Canada, and the following day in the U.K. and Australia. Premiere dates for other Paramount+ international markets will be announced at a later date.
Courtesy of Paramount+
From co-creator and Academy Award nominee Taylor Sheridan and Hugh Dillon, Mayor of Kingstown follows the McLusky family, power brokers in Kingstown, Mich., where the business of incarceration is the only thriving industry. Tackling themes of systemic racism, corruption and inequality, the series provides a stark look at their attempt to bring order and justice to a town that has neither. The series also stars Hugh Dillon, Taylor Handley, Emma Laird, Tobi Bamtefa, Derek Webster, Nishi Munshi, Hamish Allan-Headley and Aidan Gillen.
An accompanying teaser was also released, featuring series stars Academy Award® nominee Jeremy Renner and Academy Award winner Dianne Wiest, previewing the aftermath of the prison riot from the first season’s finale. Check out the teaser below:
Produced by MTV Entertainment Studios, 101 Studios and Bosque Ranch Productions, Mayor of Kingstown is executive produced by Sheridan, Dillon, Renner, Antoine Fuqua, David C. Glasser, Ron Burkle, Bob Yari, Michael Friedman, Dave Erickson, Regina Corrado and Stephen Kay.
The second season of Mayor of Kingstown is the latest addition to Sheridan’s growing slate on Paramount+, which includes 1883 and the upcoming series Tulsa King, 1923, Bass Reeves, Lioness, and Land Man.
The first season of Mayor of Kingstown is available to binge exclusively on Paramount+.
#MayorOfKingstown #ParamountPlus
Instagram: @MayorOfKingstown, @ParamountPlus
Twitter: @Kingstown, @Paramountplus
Facebook: @MayorOfKingstown, @ParamountPlus
About Paramount+
Paramount+, a direct-to-consumer digital subscription video on-demand and live streaming service, combines live sports, breaking news and a mountain of entertainment. The premium streaming service features an expansive library of original series, hit shows and popular movies across every genre from world-renowned brands and production studios, including BET, CBS, Comedy Central, MTV, Nickelodeon, Paramount Pictures and the Smithsonian Channel. The service is also the streaming home to unmatched sports programming, including every CBS Sports event, from golf to football to basketball and more, plus exclusive streaming rights for major sports properties, including some of the world’s biggest and most popular soccer leagues. Paramount+ also enables subscribers to stream local CBS stations live across the U.S. in addition to the ability to stream CBS News Network for 24/7 news and CBS Sports HQ for sports news and analysis. For more information about Paramount+, please visit www.paramountplus.com and follow @ParamountPlus on social platforms.
About Paramount Media Networks & MTV Entertainment Studios
Paramount Media Networks & MTV Entertainment Studios is one of the preeminent media entities in the world that connects with global audiences through its nine iconic brands – MTV, Comedy Central, VH1, CMT, Pop, Logo, The Smithsonian Channel, Paramount Network and TV Land – and its Studios arm which produces acclaimed series and movies as well as award-winning documentaries through MTV Documentary Films.
About 101 Studios
101 Studios is a global entertainment company dedicated to the acquisition, financing, development, production and distribution of high-caliber, creator-driven storytelling. 101 empowers content creators through first-class collaboration and innovation. On the television side, 101 produces Taylor Sheridan’s Emmy nominated series “Yellowstone,” “Mayor of Kingstown,” “1883” and the upcoming “George & Tammy,” “Tulsa King,” “Lioness” and “Bass Reeves.” 101 Studios oversees and manages the newly formed Sports Illustrated Studios, a content platform based on the most compelling stories, characters and moments in sports past, present and future. Upcoming projects include “Paradise Found” based on the true story of high school football coach Rick Prinz; a docuseries about the sexual abuse and cover-up at Ohio State University, co-produced by George Clooney and Grant Heslov’s Smokehouse Pictures; and the docuseries “Covers,” a behind-the-scenes look at Sports Illustrated’s top cover stories of all time. SI Studios has also exclusively partnered with iHeartMedia to create and distribute original podcasts through the iHeartPodcast network. On the film side, past releases include “The Current War: Director’s Cut,” the Sundance Audience award winner “Burden” as well as the family comedy “The War with Grandpa.”
Special Forces: World’s Toughest Test is coming soon to FOX. The network has announced a premiere date and the celebrity contestants who will take part in the endurance competition series.
The series will arrive on January 4th on FOX, and viewers will see Jamie Lynn Spears, Mel B, Hannah Brown, Beverley Mitchell, Anthony Scaramucci, Kate Gosselin, Danny Amendola, Tyler Florence, Dwight Howard, Montell Jordan, Gus Kenworthy, Nastia Liukin, Carli Lloyd, Kenya Moore, Mike Piazza, and Dr. Drew Pinsky.
FOX reality chief Rob Wade said the following about the series, per TV Line:
Special Forces: World’s Toughest Test puts ‘celebrities you know and love through the most pure and authentic test of endurance that I have ever seen.’ In many ways, it is more about mental strength than physical strength. It’s an eye-opening glimpse into the most intense training in the world and gives a taste of the grit and bravery our armed forces show on a daily basis, which was a life-changing experience for these celebrities.
Check out a preview of the new series below.
What do you think? Are you planning to check out Special Forces: World’s Toughest Test on FOX this January?
Check out our FOX status sheet to track the network’s new series pickups, renewals, and cancellations. You can find lists of cancelled shows here.
Pink, Carrie Underwood, Imagine Dragons, JID, Tems, Wizkid and Yola are set to take the stage at the 2022 American Music Awards, which will air live from the Microsoft Theater at L.A. Live in Los Angeles on Sunday, Nov. 20. Additional performers will be announced.
Hosted by Wayne Brady, the 2022 American Music Awards will air at 8:00 p.m. ET/PT on ABC and will stream the next day on Hulu.
The show will unveil a new award, song of soul, which spotlights an emerging, mission-driven artist who has inspired change and invoked social justice through their lyrics. The first recipient is Yola’s “Break the Bough.” Yola will perform the song, which marks her first AMAs performance. Yola portrayed Sister Rosetta Tharpe in the hit film, Elvis.
Pink will perform her new single “Never Gonna Not Dance Again,” which is set for release on Nov. 4. Pink is an eight-time AMA nominee.
Underwood will perform “Crazy Angels” off her ninth studio album Denim & Rhinestones. Underwood, a 17-time AMA winner, is nominated for two awards this year — favorite female country artist and favorite country album.
Imagine Dragons will perform alongside Atlanta rapper JID. Their single “Enemy,” which reached the top five on the Billboard Hot 100, is nominated for favorite rock song, one of the four new AMA award categories this year. Imagine Dragons have three other nominations this year — favorite pop duo or group, favorite rock artist and favorite rock album.
Wizkid and first-time AMA nominee Tems will take the stage together, marking both artists’ first time performing on the AMAs. Their AMA-nominated hit single, “Essence,” which reached the top 10 on the Hot 100, is up for favorite R&B song. Tems is nominated for three other awards – collaboration of the year, favorite hip-hop song and favorite Afrobeats artist. Wizkid is also vying for favorite Afrobeats artist.
DJ/producer/rapper D-Nice will serve as the house DJ.
The 2022 American Music Awards winners are voted entirely by fans. Nominees are based on key fan interactions, as reflected on the Billboard charts, including streaming, sales, radio airplay and tour grosses. These measurements are tracked by Billboard and its data partner Luminate and cover the eligibility period of Sept. 24, 2021, through Sept. 22, 2022.
The AMAs have adopted the slogan “Music’s Hottest Night,” a play on the Grammy Awards’ long-time slogan, “Music’s Biggest Night.”
Fan voting is now open via VoteAMAs.com and Twitter in all award categories, except favorite K-Pop artist. Voting for favorite K-Pop artist will open on Tuesday, Nov. 1.
As the world’s largest fan-voted awards show, the AMAs will air globally in more than 120 countries and territories. Last year’s show stands as the most social telecast of 2021 with 46.5 million interactions, according to the show.
The 2022 American Music Awards are produced by dick clark productions and Jesse Collins Entertainment. Jesse Collins is showrunner and executive producer. Dionne Harmon, Jeannae Rouzan-Clay, two of the top executives at Jesse Collins Entertainment, and Larry Klein, a mainstay at dick clark productions, are also executive producers.
While the majority of the royal family are understandably iffy about being portrayed on Netflix’s, let’s say, historical-ish semi-fiction series The Crown, Queen Consort Camilla Parker Bowles has demonstrated a few times that she seems to like—or at least, not mind—seeing herself and her loved ones on the screen.
Dominic West, the English actor who will play Prince-now-King Charles III in the fifth and sixth (and final) seasons of the series, recently revealed that when he talked to Parker Bowles last (at a party in 2021), she called him “Your Majesty,” a subdued wink-and-a-nod typical of Brits. Speaking to the Radio Times, West also recounted that he offered to resign his post as ambassador for The Prince’s Trust, one of Charles’ charities, in case the role was seen as a conflict of interest.
LONDON, ENGLAND – MARCH 12: (L-R) Tess Daly looks on as Dominic West meets Prince Charles, Prince of Wales at the Prince’s Trust & Samsung Celebrate Success awards at Odeon Leicester Square on March 12, 2014 in London, England. (Photo by Geoff Pugh – WPA Pool/Getty Images)WPA Pool/Getty Images
“You do what you like, you’re an actor. It’s nothing to do with us,” West said, summarizing a letter from the King’s personal secretary. “I think that’s probably how [Charles] regards it. I’ve been in a line to shake his hand a few times and it’s fascinating. It’s very useful to meet the character you’re playing, obviously.”
This isn’t the first time Camilla Parker Bowles has joked about the series. In March, she attended an event with Emerald Fennell, who played her in previous seasons. Addressing the other guests at the event, Parker Bowles quipped, “It is reassuring to know that, if I should fall off my perch at any moment, my fictional alter ego is here to take over.”
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Alright, on the penultimate day of #FiForum22, we were still going strong with plenty of panels on the fortitude that it takes to forge a career in filmed entertainment, like how Pachinko creator Soo Hugh amassed an army of historians to bring meaningful authenticity to the hit show. Check out the highlights du jour below and visit our blog for full coverage of the 16th Annual Film Independent Forum.
Forging Your Path: Film Independent Fellows in the Spotlight
(L-R) Dea Vazquez, Chester Algernal Gordon, Linda Yvette Chavez, Billy Luther, Ally Pankiw, April Shih and Angel Kristi Williams at the livestreamed panel ‘Forging Your Path: Film Independent Follows in the Spotlight’ on October 26, 2022.
For the October 26 livestreamed discussion, ‘Forging Your Path: Film Independent Fellows in the Spotlight’ event, we were treated to an abundance of talented Film Independent Alums who have returned for a scintillating and frank conversation about the joys and vicissitudes of trying to eke out a career in filmmaking. The discussion was moderated by our very own Dea Vazquez, Associate Director of Fiction Programs within Film Independent’s Artist Development umbrella, which celebrates its 30th anniversary next year!
One of Vazquez’s questions to the panel: “What was harder – getting started or keeping going?” 2018 Directing Lab alum and writer-director Ally Pankiw (Hulu’s period dramedy The Great) thinks it is much harder to keep going because you have to get used to constant rejection in order to survive in this business.
On one hand, producer Chester Algernal Gordon – of this year’s Opening Night Film, The Inspection – thinks it takes more to get started because “no matter where you are, you keep having to prove yourself over and over again, from the $1 million movie to the $3 million film, then the $10 million film, and so on.” He also shared his genuine appreciation for the opportunities that Film Independent has been able to provide that have helped open many doors over the years.
Making a movie takes stamina and determination, and the long days on set away from friends and families certainly makes challenging days even more so. Which is why 2014 Project Involve Fellow Angel Kristi Williams (Really Love) tries to have fun doing what she loves and be kind to her beloved crew – these are the most important qualities to her as one of the leaders on a production. “I like to have fun on set! It’s a gift to be able to tell stories.”
When it comes to pitching projects and “selling it in the room,” 2020 Directing Lab Fellow and 2006 Fast Track alum Billy Luther thinks that making a genuine personal connection with the target audience is the most important thing, because filmmaking is such an emotional process. He is currently on post-production on his first narrative feature Frybread Face and Me, which is Executive Produced by Taika Waititi and slated to premiere in 2023. To hear what Gentefied creator, 2010 Project Involve and 2015 Screenwriting Lab Fellow Linda Yvette Chavez and 2017 Episodic Lab Fellow April Shih had to say, purchase the virtual pass for full access to every panel hosted throughout the 2022 Fi Forum.
Episodic Case Study: How Creator Soo Hugh Achieved Unrivaled Authenticity with ‘Pachinko’
Moderator, Los Angeles Times television critic Lorraine Ali and ‘Pachinko’ creator Soo Hugh.
Moderated by Los Angeles Times television critic and award-winning journalist Lorraine Ali, this year’s Episodic case study centers around the critically-acclaimed Apple TV+ hit period drama Pachinko. Before becoming the creator, showrunner and EP of the multigenerational saga of a Korean immigrant family living in Japan – TV writer Soo Hugh’s credits include AMC’s The Terror, Netflix’s The Killing and CBS’ Under the Dome.
Ali jumped right into how and why Hugh decided to adapt Min Jin Lee’s bestselling novel in particular. While she (Hugh) doesn’t believe in the need to adapt every compelling novel into the cinematic form, she just couldn’t stop thinking about this one. At first, she was torn between telling the story in a nonlinear vs. linear fashion: “…. especially when you’re telling a new story that people don’t know much about, I always want to say something more thematic.” But then her lightbulb moment came when it dawned on her: “What if you didn’t make it linearly? What if you made it about a conversation between generations? Does the story change?”
When it comes to maintaining historical accuracy and authenticity, Ali was also curios to know if Hugh had brought in historians to bolster the adaptation. With the decades-long tensions between Japan and South Korea still smoldering today, she knew the authenticity factor on this project would have to be amped up. “The one thing I knew would sink the show was if people from either side [of the tensions] felt like it was a fantasy. If one thing felt really, really wrong, then the whole show loses its creditability.”
To really make sure that the show got the historical aspect nailed down, her team worked with a huge army of historians – food historians, war historians, and experts on costumes and ceramics, you name it! They also had historians in the writers’ room and on set and watching cuts to provide notes. “We had historians from all sides – the Zainichi, Japanese, Korean and the U.S.”
Documentary Case Study: ‘Stray’ – A Canine POV
Moderator Paul Cowling, producer Shane Boris and ‘Stray’ director Elizabeth Lo.
For director, producer and cinematographer Elizabeth Lo’s first feature-length documentary, the seed of the idea for Stray came to her when she was attending the premiere documentary film festival – the Camden International Film Festival in Maine’s MidCoast region. “I had the idea of making a film about stray dogs around the world as a way to examine how a single species, their status can change depending on the cultural context, which would reveal how arbitrary it is the value that we assign to various species.”
Lo just so happened to be sitting around the fireplace that very day next to producer Shane Boris (NatGeo’s Fire of Love), who was impressed with her deeply personal story of when she had lost her beloved dog. “I remember Elizabeth telling me the impossible contradiction in society where she could feel such a connection to another living being but society wouldn’t allow the space to mourn that being or to be connected to that being.” When that conversation eventually led to her idea of making a movie about stray dogs, he was struck by the importance and value of non-human animals and by how our society doesn’t allow the space for that. In that instant, he totally got the originality and depth of her perspective.
Film Independent’s moderator Paul Cowling (Associate Director of Film Education) was also curious about the process of filming all over Turkey. Once Boris connected Lo to local producer Zeynep Köprülü and Ceylan Carhoglu in Istanbul – both Co-Producers on the film – they were able to reach out to local animal communities and took scouting trips, eventually getting a blanket permit to film all around the city. To find out how the producing team chose the dogs to focus on and why Zeytin became one of their lead characters, check out the archived session on our virtual platform.
An Inclusive Set: How the Diversity of Voices Makes the Story Better and Makes Business Sense
(L-R) Moderator Shari Page and panelists Shaz Bennett, Valerie Stadler, Nkechi Okoro Carroll, and Aitch Alberto.
Aitch Alberto, writer-director, Aristotle and Dante Discover the Secrets of the Universe
Moderated by Half Initiative’s Program Director Shari Page, the panel shared tips and insights on how to encourage more intentional hiring standards that can really bring parity to the forefront and give equal opportunities to talent that come from traditionally underrepresented communities.
It’s not just because “it’s a story about brown people, so we should have brown people working on it. It’s not just about the story you’re telling, the range of voices will always make the story better regardless of what it is,” remarked Valerie Stadler, producer of this year’s Aristotle and Dante Discover the Secrets of the Universe. And showrunner/EP Nkechi Okoro Carroll (Found, All-American, All American Homecoming) agrees wholeheartedly: “The diversity of voices above and below the line, it all makes better business sense. So, even if you don’t want to do it for all the other reasons, everyone understands money.”
Showrunner/EP of Queen Sugar, Shaz Bennett is delighted by how much things have changed when it comes to female directors in television. Happily, these days, it is considered unusual if there isn’t at least one female director on a show. “There’s a certain quality that has changed in the last six years and I think a lot of that comes from Queen Sugar [which is on its seventh season on OWN].”
Page also brought up the question of when producers should initiate the conversation surrounding hiring goals for the core team on a project with the studios and production companies. Because of who they are as artists and what the story is about, writer-director of Aristotle – about two ‘brown kids in 1987 El Paso’ – and fellow producer Stadler were very intentional about what they wanted the film to be from the very beginning. “If I’m not leading with intent, then I’m not doing my job. There were many women who were heads of departments [on this project] and I’m really proud of that.”
If you’ve missed part or all of this week’s Forum, not to worry! On-demand content covering the entire 2022 Forum is accessible through December 1, and virtual passes are still available. Be sure to keep up with Film Independent’s blog and YouTube channel for more illuminating coverage of the 16th Annual Film Independent Forum.
The 2022 Film Independent Forum is sponsored by the Directors Guild of America, SAGindie and the Mississippi Film Office.
The Ford government is willing to return to the bargaining table on Tuesday amid an unprecedented showdown with an education labour union resulting in historic legislation to impose a contract and override provisions of the Canadian Charter of Rights and Freedoms.
Government sources told Global News the province is waiting for a potential counter-offer from the Canadian Union of Public Employees (CUPE), representing thousands of education support workers, which would draw the government back to mediated talks.
The third-party mediator originally asked the parties to hold three days of consecutive talks before the original Nov. 3 strike deadline, before a dramatic weekend escalation upended the entire process.
On Monday, Education Minister Stephen Lecce tabled legislation that would impose a four-year contract on CUPE members, remove their right to strike during the term, and limit the union’s ability to take the government to court.
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CUPE responded by announcing a province-wide strike on Friday, Nov. 4.
On Tuesday, Premier Doug Ford said his priority is to keep students in class and called his offer to CUPE “generous.”
“We’ve been at the table and put forward a very fair offer and the union continues to charge ahead with strike action, ” Ford said, highlighting the impact on two million Ontario students and their families.
Even if the parties return to the bargaining table on Tuesday, however, the government says it won’t pause the legislation which is being pushed through Queen’s Park.
“We are willing to hear what they have to say but we are continuing to move forward in the legislature,” a government source told Global News.
On October 26/22, Big Sky’s episode 6 “The Bag and the Box” aired on ABC, and before we recap the details, just let me say… Buck, Buck, Buck! What have you done? Cassie is getting too close to the Barnes family. Buck and Sunny’s lies are swirling. Sunny doesn’t like it. That puts Cassie in a dangerous spot. Walt’s back story is coming to light and his dedication to Paige could prove to be her salvation, but at a cost. Walt will not be okay with her discarding him when she’s done getting what she wants. And Avery! I still don’t trust him. He told Carla and Emily when he finally admitted to snooping in Paige’s tent that he didn’t find anything. We know he found her bag, her journal, and her gun. And what about Beau and Jenny? Are things heating up there? I’m thinking cop or no cop, something is going to happen.
Episode Recap
ABC Big Sky Burned Out Suburban
At the opening scene of this episode, we see a woman who is frightened by a noise and wakes her husband. He goes downstairs to investigate and is murdered. His wife finds him dead in the garage, while his assailant speeds off in his car. When Beau gets the call about the homicide, he is in a field examining the burned-out remains of the blue-and-while Suburban with Jenny and Cassie. Jenny helps Cassie lift the VIN # from the motor block by taking a picture of it with her phone.
When Beau and Jenny arrive at the murder scene, they discover the car that was stolen is a 1979 Trans Am. At first, they assume this is a straight up theft, gone wrong. Beau thinks perhaps the car has a tracking device on it. Meanwhile, after Beau, Jenny and Cassie separate, Cassie shows up at Sunny Day camp. Denise ran the VIN and discovered that the Suburban belonged to Buck Barnes. Cassie wants to question him about it, so after a brief visit with Cormac, he takes her to Buck and Sunny’s tent.
Buck’s claims he sold the truck over 10 years ago to a logger, but he can’t remember the man’s name. Sunny said they will see if they have any information about it in their attic. They will check it when they get home and let Cassie know.
Local law enforcement was alerted about the stolen Trans Am in case the thief decided to go for a joy ride, and the car is found. Beau and Jenny investigate and while the uniformed officer does his best to sweet-talk Jenny into a coffee date, Beau does an inspection of the car and discovers the damage done in the trunk. He teases Jenny about getting hit on, but she claims it makes no difference, she no longer dates cops. Beau pulls the LoJack off the car and puts it in his pocket. One thing they know now, is that the thief was looking for something. Something important enough to kill for.
ABC Big Sky Oh You Wish
At the office of Dewell and Hoyt, Cassie shares with Denise, the details about Buck’s claim that he sold the old Suburban. In order to find the man who was driving it, Cassie decides to get a composite sketch done. As they talk more about the case, Denise mentally links up the red hearts carved in trees, the red heart on the foot of the figurine found in Mark Woodman’s shirt pocket, along with the old Bleeding-Heart murder case that happened 20 years ago. She wants to surf some of the message boards of wannabe detectives who thrive on trying to solve old murder cases. Cassie tells her to go for it.
With the crime-of-the-week all wrapped up, Beau and Jenny are at the bar having a drink with Cassie. She shows them the composite sketch she has of the Suburban driver and Jenny suggests Poppernak compare the picture with any outstanding warrants in the area. Cormac walks into the bar and Cassie excuses herself. Alone for a few minutes, Beau asks Jenny if she really would never date a cop again. She asks if that would break his heart. “You wish” is all he has to say.
Cormac seems a little rattled that Cassie is questioning his parents. She says she has to go where the leads take her. She is just doing her job. She wants to believe that Buck and Sunny are good people the same way Cormac does. His only request is that she be straight with him.
Case of the Week
ABC Big Sky Case-of-the-Week
Now that Beau and Jenny know they aren’t just investigating a stolen car, they discover from Poppernak that there are three 1979 Trans Am cars registered in the state. One they already know about, another one from Billings was abandoned by the side of the road, also torn up, and a third one resides in town. Pop also discovered that it used to belong to Mickey Prescott, who just got out of prison after being incarcerated for theft. Beau and Jenny split up. He goes to see the current owner of the Trans Am, while Jenny goes to see the ex-con.
Jenny questions Prescott. He nicknamed his Trans Am Delilah when he had her but claims that was 20 years ago. When Jenny asks where he was between midnight and 2 am, he said he was at home and the manager of the building has all the camera footage to prove it. Jenny said she would check his alibi when she gets a call from Beau.
ABC Big Sky The Trans Am Won
Beau’s investigation of the current owner was a little more exciting. The man who offered him coffee and agreed to answer his questions, turned out to be an imposter. Beau found the actual owner tied up and gagged. Beau tries to chase the thief as he flees, by jumping on the hood of the Trans Am. The thief doesn’t stop, but Beau manages to attach the LoJack to the side of the car before he is thrown off and rolls to a stop on the asphalt.
When he returns to the station, a little worse for wear, he tells Jenny they can find out where the Trans Am is going. They see the tracking drop off and assume the car has pulled into something that blocks the signal. They end up at a parking garage and when they both come up beside the car on either side, they discover that the driver has been shot and killed. They find the driver’s wallet and ID. His name is Cecil Ezterhaus. Poppernak digs a little
ABC Big Sky Mickey Jenny Beau
more and discovers that Cecil was in prison at the same time as Mickey Prescott.
This time when they visit Prescott, he is sitting at this desk, with a gun inches away from his hand. Beau and Jenny warn him not to reach for it or he will be dead. Beau and Jenny discover that the dead Cecil was Prescott’s old cell mate. Cecil was supposed to find the car with the treasure in it, but he made a mess of things, so Mickey had to get rid of him. When they ask him about the treasure, they discover it is a Mickey Mantle rookie card worth millions. With the promise to look upon his treasure one more time, Mickey Prescott relinquishes his gun and is arrested.
Deadly Trails Saga
Almost immediately in this episode, Walt’s back story begins to emerg. As Paige is desperate to retrieve the leopard bag that contains her journal, Walt has obviously searched Luke’s tent and can’t find it. You can see Walt’s devotion to Paige is deepening. He tells her that if she finds it important, then it’s important to him also. He has made it clear that he sees himself as her protector. I
ABC Big Sky We’re a Team
think it’s obvious that Paige is just using Walt to get what she needs. Once she does, she will have a whole new problem; what is she going to do about Walt?
We learn that Emily is still watching Luke very closely and has noticed that he’s spending a lot of time “with that freaky new couple, Tonya and Donno.” Emily let it slip to Carla, that Avery went tent snooping when Luke and Paige went missing. He finally comes clean and admits that he was snooping. His reason for doing so was because he was a lot more worried then he was letting on and didn’t want to scare Emily. He was afraid that if Emily knew how worried he was, she would be calling her dad Beau into the picture, and he didn’t want to appear weak. He’s still hiding. He told Emily and Carla that he didn’t find anything when he went snooping but we know he did. He saw Paige’s bag, her journal, and her gun. He also recognized that the words in Paige’s journal were a seed phrase.
Tonya and Donno take Luke out into the woods, presumably to jog his memory about the night that Paige went missing. Donno doesn’t miss any opportunity to threaten him. Luke tells them about the seed phrase that is written down in Paige’s journal that opens an account, but he still doesn’t know how Paige went missing. All he knows is that once he woke up in the forest, she was gone, and her bag was no longer in the tent when he got back to camp. He thinks she made her way back to camp and took her bag, but we know different. It was Sunny who took her bag and buried it in the forest, but not before taking her gun.
ABC Big Sky Walt and Donno
Donno has seen the red heart carvings in the forest trees and suspects that Paige didn’t leave, but in fact was taken by someone. His hunch isn’t far off when he comes across a man in the woods, who is watching the camp. They both size each other up as being dangerous men but seem to have an affinity with one another as off-beat characters. Donno asks Walt if he has seen the woman Paige and he says he has not.
Cassie’s work on the missing backpacker and the crazy things that are happening at the camp, are definitely starting to overlap. Cassie believes that the backpacker and the burnt-out Suburban are linked. Cormac heard the conversation that Cassie had with his parents regarding the truck, and it’s obvious that he feels a little suspicious about the fact that his dad owned it. They tell him that’s its nothing to worry over.
Walt tells Paige that he has encountered someone in the forest who is looking for her. Someone who is dangerous. She becomes frantic and tells Walter about the stolen money. He swears to protect her. His back story continues to unfold as he explains to Paige that she need not worry. That he will fix things. When she doubts him, he confides in her about how he killed his adoptive parents. They sound like evil people. They hurt Walt’s friend Meredith and made him watch. He fixed that problem, by burning their house down while they slept, and he will fix Paige’s problem too.
While some of the campers enjoy archery target shooting, we discover that Avery is an accomplished marksman in archery. I wonder how that skill will feature in the story later on down the road?
ABC Big Sky Buck stabs Mary
Mary jogs along one of the forest trails. It may be her way of dealing with Luke’s rejection, but she soon discovers she has bigger problems. She sees Paige’s bag in the woods and when she goes for help, she finds Sunny and Buck on the trail walking two of the horses. Sunny goes to investigate with her. As they go in search of the bag, Mary begins to ask questions. It was Sunny who claimed that Paige’s bag was not in her tent. It was also Sunny who said that she heard from Paige after she made it safely back to New York.
Mary begins to see the holes in Sunny’s story, and it dawns on her that Sunny is involved in Paige’s disappearance. She is immediately frightened and feels threatened enough to begin screaming for help. Sunny tries to calm her down, and then Buck steps in. He comes up behind Mary and stabs her in the back to silence her. She slumps into Sunny’s arms.
Both Sunny and Buck are visibly shaken. What are they going to do now?
Cast
Character
Actor
Character
Actor
Character
Actor
Jenny Hoyt
Katheryn Winnick
Buck Barnes
Rex Linn
Paige
Madalyn Horcher
Cassie Dewell
Kylie Bunbury
Avery
Henry Ian Cusick
Mary
Sofia Embid
Denise Brisbane
Dedee Pfeiffer
Cormac Barnes
Luke Mitchell
Greg Thorne
Jason Wilburn
Tonya Walsh
Jamie-Lynn Sigler
Carla
Angelique Cabral
Jon Bartender
Mat Mahboub
Dep. Mo Poppernak
J. Anthony Pena
Donno
Ryan O’Nan
Cecil Ezterhaus
Chad Brummett
Sheriff Beau Arlen
Jensen Ackles
Emily Arlen
Cree Cicchino
Officer Know Lister
Jonathan Flanders
Sunny Barnes
Reba McEntire
Mickey Prescott
Brad Leland
Vicki Mendoza
Lissette Nichols
Walter
Seth Gabel
Luke
Anirudh Pisharody
Diego Mendoza
Rodrigo Rojas
Questions
Heart shaped carvings in forest trees. Heart shape on Walt’s carving found with Mark Woodman. The old Bleeding-heart murder case from 20 years ago. What will Denise dig up now that she’s linking all these together.
Walt’s back-story paints him more of a victim of abuse, but his actions haunt him still. What will happen with this?
Who is the crime boss who has hired Tonya and Donno to capture and deliver Paige and Luke?
What does Avery want with Luke? Why the secrecy if he knows about the seed phrase?
Emily keeps pushing the foul-play agenda regarding Luke and Paige. Will her suspicion of Luke land her between him, Tonya, Donno and the crime-boss hunting for them?
What will Sunny do when she finds out that Walt has Paige?
What are they going to do with Mary?
We still don’t know who sent the old selfie pic from Mark’s phone to his parents?
Still no word on Gigi or the 30K she stole. Where is this story arc going?
Cormac and Cassie?
Beau and Jenny?
Each week look for the following:
This week’s episode recap.
The case of the week.
The Deadly Trails saga.
Cast Grid
Questions
Watch ABC for the next episode of Big Sky Deadly Trails, this Wednesday November 2nd at 10 pm.
Pure purr-fection! Leni Klum was the cat’s meow as she prowled down the red carpet ahead of mom Heidi Klum’s 21st annual Halloween party, which took place on Oct. 31, 2022 in New York.
Leni Klum looked fierce as Catwoman during her mom’s 2022 Halloween party in New York. (Stephen Lovekin/Shutterstock)
The second-generation stunner, 18, looked wickedly good while dressed as Batman baddie Catwoman for her supermodel mom’s soiree. Leni showed off her figure wearing a skintight latex catsuit. She popped on a mask decorated with white stitches and deep red lipstick as Michelle Pfieffer’s 90s version of Catwoman, who is the alter ego of comic character Selina Kyle.
Leni was super playful on the red carpet, where she put her claws up while posing for photos. There, she made sure to get her best angles, striking several chic poses before sharing a snap with her superstar mom Heidi.
Leni wrapped mom Heidi in a hug on the red carpet. The model was totally unreconizable in her elaborate worm costume. (Stephen Lovekin/Shutterstock)
While Leni looked totally sexy, her mom took a different approach. Looking more monstrous than model, the former Victoria’s Secret Angel jumped into a giant worm costume and wiggled down the red carpet. It was almost impossible to tell it was Heidi in the curvy, segmented suit, which hid everything except her eyes.
Getting a bit cheeky, her husband Tom Kaulitz got into costume as a fisherman. Appearing mid-struggle, the musician sported a bloody, black eye while trying to reel in his worm-love on the red carpet.
Heidi revealed her look would be heavy on prosthetics during The Daily Front Row Fashion Media Awards in September. There, she also admitted that her 2022 costume was less-than-comfortable, telling People, “I don’t think I’ve ever felt as claustrophobic as I will feel that night. I have a thing about feeling claustrophobic. Especially if I have too much stuck on me and can’t take it off.”
But Heidi was optimistic. “I’ll have to really breeze through it,” she added. “When you have it on, you can’t be like, ‘Oh, it’s a wig and take it off.’ Can’t take anything off. It’s glued on.”
Google has announced that it would be making it easier for users to set expiry dates when sharing files on its cloud storage platform Drive that uses basic automation to save users from having to go back into the sharing menu and revoke access.
Previously, adding expiry dates to shared files for viewers and commenters was done after having first shared the file or folder, by going back into the menu and amending permissions. With the introduction of this update, certain Google Drive users will now be able to set an expiry date at the point of sharing.
Additionally, Google has also added the ability to control the access period for editors, which was previously unavailable.
(Image credit: Google)
Google Drive sharing with expiry
In an update on its Workspace blog, Google says that this should benefit workers who know that collaboration on a task is time-bound, meaning that they won’t “have to clean up a file’s access control list after collaboration has ended.”
Rollout of the new features started on October 31, 2022, though the company says that it may take around two weeks for some users to see it. And that’s if they have a Business Standard/Plus, Enterprise Essentials/Standard/Plus, Education Plus/Standard, or Nonprofit account.
Lower-tier business accounts, including Workspace Essentials, Business Starter, Education Fundamentals, the Teaching and Learning Upgrade, and Frontline customers, will not be able to use the new sharing tools, at least for now. Nor will personal customers.
As the company continues to develop its collaboration tools, it may extend the availability of the new sharing options, having already expressed a commitment to bring it to Android devices by the end of November 2022.
Domee Shi, the writer and director of “Turning Red” had the SCAD Savannah Film Festival crowd in stitches after answering the question about what was the first film that inspired her to get into animation. She named the Disney classic “Aladdin” (1992), which was the first movie her parents purchased on VHS when her family immigrated to Canada. “We popped it in, and I was just like, whoa, Aladdin’s so hot,” she shared as the crowd erupted in laughter. “I pause, and then I draw him and tried to understand how Glenn Keane can make this 2-D guy be my dream boyfriend.”
Shi was joined by five other animators as part of the Sketch to Screen panel at SCAD to discuss their films and the evolving medium. The panelists included Kyle Balda (“Minions: The Rise of Gru”), Joel Crawford (“Puss in Boots; The Last Wish”), Dean Fleischer-Camp (“Marcel the Shell With Shoes On”), Henry Selick (“Wendell and Wild”), Domee Shi (“Turning Red”) and Masaaki Yuasa (“Inu-oh”). The six-film selection showcased a broad array of artistic avenues and animation styles, as their compelling stories contend for Oscar acclaim. As the senior awards editor at Variety, I had the honor of moderating and programming the discussion.
Selick was the recipient of SCAD’s outstanding achievement in animation award for his Netflix feature, which he co-produced and co-wrote with Oscar-winner Jordan Peele. An Oscar-nominee for “Coraline” (2009), and helmer of the classic “The Nightmare Before Christmas” (1993), Selick stressed to any aspiring artists not to compare their success to others, using his friends Tim Burton and David Fincher as examples. “Tim Burton was a fully formed genius at 19,” he said to the crowd. “In fact, I don’t think he’s done anything better than what he was able to do at age 28. And that’s a very rare person.”
Shi, an Oscar-winner for the animated short film “Bao,” (2018) spoke about the difficulty adding or re-working scenes after receiving “a mountain of notes.” As the sole woman on the panel for her PIxar film, she is hopeful for the future of animation and its inclusiveness. “I look out in the crowd and see such a bright future for animation,” she said. “I feel so honored to be one of those people that are there to open the door, but I want to be able to hold the door open. You’re seeing directors really experiment and try different things.”
Referring back to Shi’s statement about notes, Selick said, “I’d liked to see what your film would have been with less notes,” as he discussed where the medium currently stands at this point. “I think more auteur-authorship is a really good thing for animation, and I think we can get more interesting films, even the biggest budget ones, that will be less expensive.”
Fleischer-Camp, who also produced, co-wrote and edited the A24 animated and live-action hybrid, which he also stars in, spoke about the need to be humble when creating. “As a director, you have to sell people on this great idea, and then you have to kill your ego,” he said. Talking about how personal the story became to him, especially after losing both of his grandparents during production he said, “while we were shooting it, it became even more personal. It’s about grief and processing loss.”
The multi-hyphenate director also emphasized how animation is changing and how the industry must embrace it. He adds: “Technologically we are empowered as filmmakers, now more than ever, not be regimented by a certain craft or lane we have to stay in. All my favorite films break some kind of barrier.”
Crawford’s film, which is part of the successful “Shrek” franchise and crafted to look like a fairytale painting, highlighted that animation isn’t only for kids — contrary to what Disney’s Bob Chapek recently implied. “It’s for everybody because everybody can be dropped into this fantasy world, and be carried on a journey.”
Earlier in the festival, Crawford showed the first 30 minutes of the anticipated DreamWorks Animation sequel to the SCAD community. He discussed how keeping the familiarity of the beloved character, voiced by Antonio Banderas, needed an upgrade as audiences evolve. “Audiences have gotten more sophisticated as animation techniques, as storytelling techniques have gotten more sophisticated.”
Balda, who helmed two previous films in the franchise, “Minions” (2015) and “Despicable Me 3,” (2017) expressed how Hollywood is moving towards edgier takes in animation. “It has a lot to do with the audience’s appetite for those new styles and those new stories to be told.,” he says. “That helps the studios feel more comfortable to take those risks.”
The movie trended on TikTok and Twitter with the hashtag #Gentleminions, and accrued more than 10 million views on social platforms with young moviegoers dressing in formal attire to attend the screening. Yuasa, who spoke through his interpreter Saki McCarthy, talked about how the GKIDS movie is a reflection of bringing a story that takes place 600 years ago to life. In addition, he spoke about being inspired by 2-D animation. “When I was growing manga and anime were starting to become popular,” he shared. “When I was 13, there was a big anime boom in Japan, I knew this is what I want to do.” He added jokingly, “I thought for anime I didn’t have to really think about the story.”
At SCAD, one of the beautiful elements is witnessing that animators are looked at as celebrities at the Savannah, Ga. festival. When the panel ended, dozens of community members and students rushed the stage in hopes having a conversation with the filmmakers. It’s a hopeful sign to see so many young people fired up about the medium.
How should the coveted bands of indie rock best reunite? Play the hits and relearn some curios, like Pavement? Pick up where they left off and barrel ahead, like Dinosaur Jr. when they reconvened their classic trio and slashed back to basics? Or should they, like Dylan Carlson’s renovated Earth, acknowledge that both they and the times have changed, that past sounds no longer suit them even if the mood remains much the same? Another possibility: sort through the successes and strikes of their bygone days, choose what still feels right, and see if it makes sense now, scrapping anything that feels like a mere simulacrum of then. That is the smart choice that Archers of Loaf made for the mighty Reason in Decline, not only their first studio album in 24 years but also a compelling testament to the way the old you and the new you can make one helluva tandem.
In the ’90s, North Carolina’s Archers of Loaf were the quintessential Southern indie rock band: powerful to the point of seeming brutish, but with an understated streak of sophistication; unflinchingly honest and critical, but with a grace note of wit. Releasing four albums (and a full-length B-sides set) in only six years, they careened wildly among gnarled jangle pop, urgent noise-rock, and snappy hardcore like Hüsker Dü’s younger country cousins, sometimes trying out samplers or sequencers in the madcap way of their moment. The tunefully churlish baritone of Eric Bachmann—a towering, glowering singer mad at love, the music industry, the olds, and pretty much everything else—strung it together, his voice frayed like an old piece of rope forever ready to snap.
And then it did. Despite dalliances with the mainstream and Robert Christgau’s unequivocal endorsement (“other indie bands should just retire”), Archers couldn’t sustain their post-adolescent ire into the new millennium. They broke up right before it began, just as Bachmann softened his stentorian roar into a curious croon in the great chamber-folk act Crooked Fingers. The live Archers reunions began a little more than a decade later, but talk of something more always seemed like a non-starter. The angry young men were husbands, fathers, and even lawyers now, pals getting together to cosplay their past at the occasional festival without pretending they were really the same people. Whenever interviewers optimistically asked Bachmann about another Archers album, he demurred: Why pose about old problems with new songs?
Reason in Decline doesn’t pose. Instead, these 10 tightly coiled songs rightfully treat those former concerns—bitter character studies of lovers and townies, jilted analyses of the overcrowded underground—like Clinton-era trifles, conflicts of no consequence in a time of autocrats and prospective apocalypse. Bachmann, now 52, funnels his vintage bile into new ducts here. “In the Surface Noise,” for instance, is a righteous elder’s anthem for the inspirational kids demanding systemic change. “Coming up from under/Myth, deception, subterfuge,” he barks, offering both a nod of approval and a wish that his own generation had gotten more things right. He turns backward and inward for “Mama Was a War Profiteer,” a beautiful tune where romantic sounds smartly cloak disdain for those apathetic souls who vacation their way through someone else’s injustice.
After touching the stars with Brad Pitt, filmmaker James Gray has come back to earth to explore his own childhood in “ Armageddon Time. ” Set in the fall of 1980, in Queens, it is a patient and mature work about a very specific time and place when he was anything but — age 11 and starting sixth grade.
American society is shifting in a grand way in this moment. Televisions in the background have then-presidential candidate Ronald Reagan talking about a coming Armageddon, while Trump relatives affiliated with the local private school give motivational speeches to the pre-teens privileged enough to go there about their responsibility to become masters of the universe while not taking any handouts. It is sowing the seeds for an even greedier society to come, and leaders who will look down on those who need help or a “free lunch” to even have a chance of an equal playing ground.
This wave of change has hit the micro level too, in the home of the Graff family, with mom Esther (Anne Hathaway), dad Irving (Jeremy Strong) and their boys Ted (Ryan Sell) and Paul (Banks Repeta), Gray’s stand-in. They are middle class and Jewish, though they changed their name along the way to sound less so, and the first generation raised entirely in America. A very 80s version of success — college, growth industries, wealth — is the goal line they’ve set for their children.
It’s all a bit above Paul’s purview at the moment. He is a slight, artistically-minded kid with a small, sometimes quivering voice and an anarchic itch that he can’t help but scratch every once in a while. He’s mainly worried about making friends, his drawings and not accidentally saying something weird. But those expectations from above are starting to enter his consciousness in confusing and contradictory ways.
At Paul’s public school, a class trip to the Guggenheim and a viewing of some Kandinskys leave him brimming with inspiration. Back in the classroom, however, his teacher (Andrew Polk) tells the class to follow up that experience by writing down a noun and drawing that. When Paul draws something more abstract, more Kandinsky, he’s scolded for not doing the assignment. It is both funny and tragic: You can see how talented Paul is and how ill-equipped this school is at nurturing that. We know that Gray went on to be a great filmmaker, but how many other budding artists were stifled?
It’s not just the future artists getting left behind with a staid, traditional public-school curriculum circa 1980. There are other societal boundaries at work too that are illuminated by Paul’s friend Johnny (Jaylin Webb), who is Black and barely surviving, living with a grandmother in rapid mental decline. Johnny has been left back a grade and is a thorn in the side of their teacher, who can only see him for his troublemaking and not for his dream of working at NASA. Your heart will not stop breaking for Johnny, especially after Paul is put in private school and the divisions become even more pointed.
Gray does a wonderful job painting a portrait of a moment of cultural upheaval through these two boys, their opportunities, their support systems (or lack thereof) and how it was an origin of sorts for the rot that festers today.
Anthony Hopkins, as Paul’s grandfather Aaron Rabinowitz, is the boy’s guardian angel and moral compass. They have a pure, sweet, supportive relationship that he can’t quite find with his mother, who has placed too many of her hopes on the success of her children, or his father, who still favors corporal punishment. Aaron is the one telling Paul the story of why his mother had to flee Europe, why we can’t forget the persecution of Jewish people and why he needs to always “be a mensch” and stand up to things that he might think are small offenses, like hearing classmates make racist remarks.
In this and other many ways, “Armageddon Time,” though a finely tuned picture of the past, is also strikingly modern and a painful reminder of how little we have progressed and how quickly people forget. In other words, it’s essential.
“Armageddon Time,” a Focus Features release in limited release Friday and wide Nov. 4, is rated R by the Motion Picture Association for “some drug use involving minors, language.” Running time: 114 minutes. Three and a half stars out of four.
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MPA Definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.
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For those who are tired of seeing Shakespeare’s Romeo and Juliet play out precisely the same in numerous re-tellings, Rosaline is not that story. In the original play, Rosaline is a footnote at best. She is not known for much other than being the woman Romeo claimed to love just before meeting Juliet.
In Hulu’s original movie, Rosaline takes center stage. Her love affair with Romeo comes to an unsurprising but abrupt end when Romeo meets Juliet, and their affair starts with love at first sight. However, Romeo disregards his relationship with Rosaline, not even bothering to tell her their romance has ended.
One of the biggest things the film discusses is whether Rosaline even considers Romeo as someone she is in love with. Their visions of the future are different. Romeo sees himself as a poet in the mountains while Rosaline takes care of the children. It is not the same as Rosaline’s hopes for her future, which include passions and desires of her own outside of being a mother, wife, and caretaker.
Although Rosaline spends the film claiming her feelings for Romeo are true, she has a much more exciting dynamic with Dario, a man she has no interest in marrying, given her wish to marry for love, not due to duty or an arranged affair.
While Rosaline eventually falling in love with Dario is not necessarily a shock, it is a far more intriguing dynamic than any other romantic couple the movie provides, including the likes of Romeo and Juliet themselves.
The film plays against the backdrop of the classic love story, as Juliet and Romeo’s affair happens in the background of Rosaline’s perspective of events. The movie does not have the protagonist fall for Dario at first sight and then turn the film into an uncomfortable love square.
Instead, the film takes the time to show Rosaline and Dario bonding and getting to know each other throughout the story. Their dynamic is integral to the story because it also turns into a movie discussing what a genuine connection feels like, something Rosaline struggled to define when talking about Romeo.
However, Hulu’s original film also succeeds in poking holes in Romeo and Juliet’s story as well. Juliet and Romeo’s romance begins with love at first sight in the original play. They know nothing of significance about each other except that Romeo is a Montague and Juliet is a Capulet, which means they come from rival families.
Their central conflict surrounds that they want to be together, but their families will not allow it. Their desperation to be together, given how little they have known each other and know about each other, suggests they are more swept away in physical attraction and adrenaline than legitimate love.
Shakespeare’s classic ending results in the tragic deaths of both central characters, with the two families realizing the extent of their rivalry. The conclusion in Rosaline addresses the issues with this.
Rosaline portrays a different conclusion: Romeo knows that Juliet is alive and never commits suicide, ensuring that Juliet survives the night. When the two families arrive, Rosaline and Dario, work together with Romeo and Juliet to trick the Montagues and Capulets into believing that Juliet and Romeo are dead. In the end, they pull it off.
Now that everyone thinks they are dead, Romeo and Juliet sneak off with Rosaline and Dario to Dario’s boat, where Juliet and Romeo can escape Verona and live together peacefully. It is a grand escape that Rosaline and Dario consider themselves proud of as they walk away, with Rosaline having made up with Juliet and Romeo, respectively.
But that is not where it ends. Romeo and Juliet’s trip on the boat is a several-hour journey, and a brief glimpse into that ride proves how much the starcrossed lovers honestly did not know about each other.
They know nothing about what makes the other person tick, whether it be the smallest or biggest details about them. For all they claim to be in love and know each other so well, they genuinely do not know anything of each other, which calls into question whether their love is genuine. While it is likely mostly done for comedy, it also brings up several good points about the relationship between Shakespeare’s original characters.
As a movie in its own right, Rosaline is a comical and updated portrayal of Romeo and Juliet from a new perspective and tone that is not afraid to have some fun with the original material to make itself unique compared to other re-tellings of Shakespeare’s original story.
Been waiting since last month to interview this incredible woman, and boy was I not disappointed. You saw Taylor win Big Brother this summer, and we go over all the obstacles she had to overcome on her season, the miscommunications, the Kyle situation, her relationship with Monte in game, and her relationship with Joseph post game, and so much more. However, the last 15 minutes of the interview or so are spent on talking about her time in the pageant world, in particular being crowned Miss Michigan USA 2021 and what happened to her the next day. This is something that Taylor talks about for the first time publicly today with her name attached to it. TRIGGER WARNING: She describes an incident involving sexual harassment in the podcast. The whole thing is quite disturbing, but I applaud her bravery for speaking up. As always, if you’d like to respond to the interview, please include Taylor’s Twitter handle (@TheTayMack) in your replies. Thanks again to Taylor for coming on and opening up about something that couldn’t be easy to discuss publicly for the first time.
You can listen to today’s podcast on a number of platforms, but you can also tune in by clicking the player below:
(SPOILERS) I begin by discussing a little of what’s going on in Bachelor world and give a heads up in regards to a story that Taylor tells later in the podcast for the first time publicly. Then Taylor joins me (9:02) to discuss her win on Big Brother this summer, was she ever close to quitting, that unbelievable finale speech that swayed the jury, the issues in the house, who’s she’s close with and who she’s not, and then Taylor speaks for the first time publicly regarding what happened to her the day after she won Miss Michigan USA (TRIGGER WARNING: Story of sexual harassment is told).
Today’s Daily Roundup covers today’s Thursday podcast and the implications behind it, Victoria and Greg Grippo, the BIP reunion taping will be messy, Zach filming in Hungary, Survivor, & the Challenge from last night.
You can listen to that podcast on a number of platforms, but you can also tune in here:
One of the top contenders for Best Documentary at the Oscars this year ranges from the skies above Delhi, India to a basement below the city’s north end.
In All That Breathes, brothers Nadeem and Saud operate a subterranean workshop-cum-makeshift animal hospital where they aid injured and ailing black kites, a bird of prey increasingly vulnerable to Delhi’s intense air pollution.
“I was really gripped by this figure of the black dot in the sky, which is the black kite,” recalls filmmaker Shaunak Sen, “the lazy gliding dots that you see — one of the them starts falling down. And I remember seeing this vaguely while driving my car one day and I was truly gripped with this figure. So, I started researching what happens to birds when they fall down. And that’s when I came upon the work of the brothers. The minute that you walked into that tiny, damp, air-lit basement, and you see the metal cutting machines on one side and these incredible regal birds on the other, it’s cinematically dense and riveting.”
‘All That Breathes’ director Shaunak Sen
Courtesy of Salim Khan
All That Breathes, from Sideshow and Submarine Deluxe in association with HBO Documentary Films, opened in theaters in Los Angeles on Friday, a week after debuting in New York. The film has been embraced since its world premiere last January at Sundance, where it won the Grand Jury Prize for World Cinema Documentary. It went on to win the “Golden Eye” (L’Oeil d’or) award at Cannes as the festival’s best documentary, and was nominated this past week for a Gotham Award for Best Documentary Feature and shortlisted for the IDA Awards.
The recognition has come as something of a surprise to Sen, for only his second documentary.
“Just to get into the likes of Sundance and Cannes, let alone winning them, is already at the top of my desire matrix,” he tells Deadline. “It’s really something that feels not entirely processed. Now to have the film open theatrically in the U.K. and U.S. — my brain is still wrapping itself around it.”
Raptor rescuer Mohammad Saud inspects an injured black kite at his clinic in Delhi, India, May 13, 2022
Photo by Javed Dar/Xinhua via Getty Images
Over the years, Nadeem and Saud, along with their trusty assistant Salik, have rehabilitated more than 20,000 birds, most of them kites. More and more of them are suffering not only from injuries but metabolic bone damage and neural deformities as a result of air laden with harmful particulates. The birds patiently allow the brothers to tend to them, sensing, it would seem, their healing intent. Not everyone on the film team felt comfortable being in tight quarters with what Sen describes as “ferocious raptors.”
“Ourproducer and my close friend Aman [Mann] is petrified of kites and wouldn’t work close to them,” Sen explains. “I am also not super comfortable, but I can be at arm’s length. And some of us are very comfortable with it.” Comfortable or not, the director felt compelled to film the birds “as wondrous, otherworldly, awe-inspiring creatures.”
The film has impressed not only for its exceptional cinematography (by DOP Ben Bernhard), but for an elegant voiceover culled from stray observations the brothers made over the course of shooting the documentary.
A black kite aloft
Photo by Patrick Pleul/picture alliance via Getty Images
“When other birds fly, their effort shows. But the kite swims,” they note early in the film. Towards the end they observe, “Life itself is kinship. We’re all a community of air. That’s why we can’t abandon the birds.”
Nadeem and Saud are not necessarily men of many words, yet what they do articulate carries force.
“The brothers themselves have… rich inner lives, and they’re philosophers of the urban,” Sen comments. “So, we decided to put in these kind of voiceover bits… cut to either the images that invoke their childhood or the magic of the black kite or the ecological absurdity of the city of Delhi. They’re really obviously lyrical set pieces.”
There are humorous touches in the film, which come from the endearing young Salik, who is sort of like a baby bird to the brothers’ older, wiser birds.
Salik Rehman in ‘All That Breathes’
Sideshow/Submarine Deluxe/HBO Documentary Films
“Salik brings a kind of unguarded innocence to the film, which is helpful because it contrasts with the seriousness of the brothers,” Sen says. “He gets the laughs and things happen to him — his glasses get taken away [by a bird]. He says absurd things, like, ‘What happens if there is a nuclear war — will the birds survive?’ …You really fall in love with him.”
Hanging over Delhi is not only smog but, as in the rest of India, rising political tensions as a result of strident Hindu nationalism. The brothers, as Muslims, are potential targets of violence. There is an obvious junction between the toxic skies and the toxic political atmosphere. While the director gestures toward that, he doesn’t make it an overt topic of All That Breathes.
“The sectarian stuff is very obvious in what’s happening. And you can sense the political as a kind of oblique tangential presence in the film, the fact that the city is on the boil and there’s a lot of turbulence developing in the city of Delhi the last two years,” Sen notes. “I was interested in how the real world leaks in, and that’s the way resonances or tremors of the world are sensed. The film is ultimately ecological and does not have a fractal political ambition.”
But he adds, “I feel it’s firmly political in the sense that the brothers are concerned about the relationship between humans and birds, which is its own kind of politics. But that’s what they’re interested in and we had to respect the integrity of their lives and their concerns.”
Sen doesn’t see his film as a nature or wildlife film. Rather, it’s a holistic meditation on the interdependence of living things – of all that breathe. The fate of birds connects with the fate of humans.
A black kite flies past the 16th century Mughal monument Humayun’s Tomb in Delhi on February 8, 2019
Photo by ALEX OGLE/AFP via Getty Images
As airborne predators, kites scan the world below, looking for food. We asked Sen if he saw any similarity between the acute perception of birds and observational skills necessary for a documentary filmmaker.
“Not inasmuch as direct parallels between the kite and our visual jobs as filmmakers,” he responds. “But the act of birdwatching and filmmaking are very, very similar, because what happens is that birdwatching requires you to decelerate, to slow down, no quick movements, sit still patiently and become a part of the wallpaper of the world. There’s a kind of intense, radical looking that birdwatching requires, which is very similar to the kind of fly on the wall approach that a lot of documentary filmmakers have.”
He adds, “It’s just embracing the radical un-scriptedness of the world and just waiting, and eventually life rewards you with surprises. So, I suppose filmmaking is fundamentally ornithological in some ways.”
Over the past half-decade, Yongin, South Korea-based singer-rapper baehyuni has made chill, familiar-sounding music at the intersection of indie-pop, R&B, and hip-hop. Her new single “제 ceremony,” from her recent 자유주제 ZYZZ EP, takes a more experimental tack. At times it sounds like two songs collapsed onto each other: It’s at first deceptively cozy, guided by woozy lo-fi guitar, but soon becomes haywire as a tumbling breakbeat collides with a slippery bassline that could’ve been plucked from a no-wave track. Nimbly maneuvering between talk-rapping and childlike coos, baehyuni honors those who’ve passed away, including her late grandmother, and calls on friends to memorialize their own loved ones too. In the song’s latter half, fluttering, bird-like squeals create the sense that nature is joining in on the festivities. The song’s cluttered mix conjures the warm, homey atmosphere of a lively party; for three minutes, it feels like everyone you care about is right beside you.
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I now find myself saying on a regular basis, “What would Buffy do?” My name is Madison Thomas. I’m a filmmaker based out of Treaty 1 territory in Winnipeg, Manitoba.
Being raised in the city, Buffy Sainte-Marie’s songs were some of the things that connected my mom and I to our prairie Indigenous roots in an artistic way. As I grew up and spoke with others, it was obvious that many non-Indigenous Canadian’s either didn’t know Buffy, or had only heard her name in passing. When I was younger, I didn’t understand how someone whose name was a staple in my household could be so overlooked by others.
About the Master
Buffy Sainte-Marie • Singer-songwriter • Born: Feb 20, 1941
Reading Andrea Warner’s biography on Buffy opened my eyes to the active suppression of not only Buffy’s music and artwork, but more importantly, her messaging to the world. I was also blown away at how ahead of her time Buffy was in multiple facets of her life. How could someone share the truth and present a solution to the issues not only Indigenous people face, but the world at large, and not grow frustrated when the world isn’t ready for the conversation? How could someone be actively blacklisted by two U.S. government administrations and the music industry at large and still want to share and create amazing art?
As a documentary filmmaker, I try to let my own curiosity drive my approach in the search for story and truth, and then get out of the way for said truth to express itself as the subject sees fit. Working with Buffy closely on the film, it’s become more apparent to me and everyone working on it, that Buffy’s truth and message is what the world needs more than ever right now.
As usual, Buffy says it best: “Sometimes you have to carry the medicine awhile, before people are ready for it.”
S36 Ep6
Buffy Sainte-Marie brought Indigenous representation to TV
About Madison Thomas
Madison Thomas, photo by Rae Jeanne.
One of the most compelling and versatile filmmakers working in Canada today, Madison Thomas was named one of Playback Magazine’s “Five Filmmakers to Watch” in 2019. A storyteller of mixed ancestry (Ojibwe/Saulteaux & Russian/Ukrainian settler), Thomas is based out of Winnipeg, Manitoba in Treaty 1 territory. She has a rapidly growing number of credits as a writer, director and editor across several genres, formats and platforms. Her nuanced and unique work has played festivals and won awards worldwide.
Thomas’s artistic voice first emerged from within Winnipeg’s independent film scene, with her short narrative and documentary work quickly garnering her national attention. She was selected as a finalist in the 2014 CBC Short Film Face-off with her short drama, “Out of Reach.”
Thomas is an alumni of The Prague Film School, the 2016 Women in the Director’s Chair Program and the 2019 Canadian Academy Program for Female Directors. She is a member of the Director’s Guild of Canada.
Thomas was a key director, editor and researcher for the award-winning APTN/CBC Docu-Drama series “Taken,” which shared the stories of Canada’s Missing and Murdered Indigenous Women and Girls for four seasons. Thomas and the “Taken” research team were honored with a Canadian Screen Award nomination for their work on the series.
In addition to her vast short film filmography, Thomas has led two Telefilm supported feature films. Her first feature “Ruthless Souls” created with producer Darcy Waite, was part of the inaugural “Talent to Watch” program in 2018. “Ruthless Souls” premiered at the 20th Imaginative Film Festival, was selected for the 2020 Mill Valley Film Festival, and was chosen to be part of the “Perspective Canada” program at the 2019 Berlinale film festival. The film also played the 2020 Gimli Film Festival and Thomas won that year’s “Best Manitoba Director Award.”
Thomas went to camera with her second feature film, the post-apocalyptic drama “Finality of Dusk” in the spring of 2021. She co-wrote the film with deaf filmmaker Katarina Ziervogel with Eagle Vision Inc. producing. The film is currently in post-production with plans for a festival release in 2022. Recent TV credits include writing and directing on season 4 of the CBC/CW hit legal drama “Burden of Truth,” writing and voice-directing for the TVO animated pre-school series “Wolf Joe,” directing on season 2 and 3 of CBC/IMDBTV comedy “Pretty Hard Cases.” Thomas’ latest project is the feature length documentary “Buffy Sainte-Marie: Carry It On,” which received a special mention at the Toronto International Film Festival 2022 for “Best Feature from an Emerging BIPOC Filmmaker.”
Thomas is also a committed youth mentor. She’s taught filmmaking and leadership skills to youth with various organizations and programs both in Winnipeg and internationally since 2013. In 2016 Thomas gave a TEDx talk called “Arts in the Hood” on her journey as an artist and the importance of art programming for inner city and low-income youth.
Heard opened up to Italian magazine IO Donna in 2019 about why she chose to publicly address her sexual orientation despite warnings from industry execs and her publicists. “To be silent about something means to admit underneath that that thing is wrong. But I knew it was not like that,” she explained at the time, per Cosmopolitan.
“So I told myself to describe reality in a truthful way and to offer young people someone to look up to since those of my generation had grown up without any model of reference,” the Pineapple Express actress continued. “Who knows, thanks to me, maybe someone has felt less inadequate.”
Billie Joe Armstrong publicized his bisexuality in the early 1990s. He later spoke to Out magazine in 2010 about how his sexual orientation shouldn’t be a concern for his fans.
“The fact that it is an issue is kind of phobic within itself. At some point … this should be something that’s just accepted,” the Green Day rocker said at the time. “I don’t really classify myself as anything. And when it comes to sex, there are parts of me that are very shy and conservative. I want to respect my wife.”
The “American Idiot” crooner has been married to Adrienne Armstrong since 1994. They share sons Joey, Joseph and Jakob.
Michelle Rodriguez, meanwhile, has been linked to Zac Efron and Cara Delevingne in the past. After coming out in 2013, the Fast & Furious actress opened up about her decision to publicize her interest in both sexes.
“I’m not big on people’s opinions, you know? Unless it’s somebody I really respect,” she told Gay Star News in 2014. “I don’t care what people out there have to say. But I do realize the importance of having the bravery to live as who you are and I feel like a lot of people don’t have that bravery.”
Rodriguez added: “Maybe, by me opening my big fat mouth like I usually do and stepping up and owning who I am, maybe it might inspire somebody else to do the same.”
Scroll down to see more stars opening up about identifying as bisexual.
California Gov. Gavin Newsom has laid the blame for the Paul Pelosi attack at the feet of Fox News, saying the network’s mocking coverage of the Speaker of the House’s husband created “a culture and a climate” that partly led to the assault.
Nancy Pelosi’s 82-year-old husband was attacked by an intruder with a hammer last week at their San Francisco home.
“I’ve seen the dehumanization of Nancy Pelosi,” Newsom told CBS News in an exclusive interview. “I don’t think anyone’s been dehumanized like she has consistently. Now I watched this one guy, Jesse Watters or something on Fox News. What he’s been saying about Paul Pelosi the last five, six months, mocking him consistently. Don’t tell me that’s not aiding and abetting all this. Of course it is.”
David DePape, 42, faces federal charges connected to the attack of attempted kidnapping and assault. The Canadian and California resident reportedly told investigators he had sought to take Nancy Pelosi hostage and potentially “break her kneecaps.”
“They’re sowing the seeds, creating a culture and a climate like this,” Newsom added of Fox News. “I mean, look online. Look at the sewage that is online that they amplify on these networks and in social media to dehumanize people like Nancy Pelosi and other political leaders.”
Watters responded in his show, “Jesse Watters Primetime,” on Monday night, acknowledging he did mock Paul Pelosi while covering his May DUI-related crash, for which he later got five days in jail and three years of probation.
“But Gavin Newsom thinks if you mock a Democrat it puts him on a target list,” Watters said, before then mocking Newsom. “So Gavin is saying that, by saying, ‘He uses more hair gel than John Travolta in “Grease,”‘ it’s going to make people show up to his house with hammers. We’ve always said, Gavin’s biggest flaw — he’s not very smart.”
Newsom’s comments were part of a wider-ranging interview that, according to CBS News, included his thoughts on the prospects for Democrats in the midterms, President Biden in 2024, and his own political future. It will air on the “CBS Evening News with Norah O’Donnell” Tuesday night.
You can watch the excerpt of Newsom’s “CBS Evening News” interview at the top of this post.
The ground is changing for post-theatrical strategies as “Barbarian,” the sleeper horror mid-level hit, finds success on streaming and VOD.
With all the (justified) media notice of the surprise success of micro-budget horror film “Terrifier 2” (Iconic), studio-made but still low-budget “Barbarian” (Disney/$3.99) is adding to its much bigger take with an amazing response on multiple home platforms.
The $4.5 million budget release from their Fox unit isn’t remotely aligned with what Disney ownership sees as a priority in their productions. It already has an over $40 million domestic theatrical gross (it is going straight to streaming in many countries, with only about $2 million amassed overseas).
It popped up on both HBO Max and Hulu 45 days after theatrical release (HBO Max still has claims on Fox films, so both streamers are playing). The availability came with no PVOD first, which is somewhat different than is typically seen from many studios taking the direct revenue from rentals and purchases ahead of subscriber-based streaming appeal.
Related
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The most amazing note on “Barbarian” is that it is #1 at Vudu, which ranks by revenue and usually favors higher-priced titles. An explanation could be that its $14.99 download sales boosted its figures. At iTunes and Google Play, it ranks #5 and #4, respectively (both rank by transactions).
“Barbarian” is one of three different films to take a #1 slot; “Bullet Train” (Sony/$5.99) at iTunes and “Top Gun: Maverick” (Paramount/$3.49-$5.99) at Google Play are both still thriving with lower prices.
“Don’t Worry Darling” (Warner Bros. Discovery/$19.99), out after 30 days in theaters and before its HBO Max play, didn’t exactly take home viewing by storm even after its high-profile interest earlier. Despite little competition among new titles, it ranks no better than #3 at any site (at Vudu, where it is the top PVOD listing). Its performance during the week parallels “Bros” (Universal/$19.99), which grossed only 25 percent as much. Meantime, the gay rom-com quickly fell in its second week, with only a #10 placement at iTunes (and only by excluding “Room on a Broom,” a 25-minute decade-old cartoon).
Halloween of course plays into this, with six of the 17 total films relating to the holiday. Universal chose the week to reduce the price for “Nope” ($5.99), completing the list of five that made all lists. A24 released “Pearl” ($19.99), which placed only at Vudu. “Jeepers Creepers Reborn” (Screen Media/$6.99) made the lower end of two charts, while “The Black Phone” (Universal/$5.99) and Henry Selick’s animated 2009 “Coraline” (Focus) on iTunes are also Halloween friendly.
“Wendell & Wild”
Courtesy of Netflix
Selick also is the creator of Netflix’s new “Wendell & Wild” at #8, surprisingly only the fifth highest among multiple new originals this week. The strong showing for new releases is led by “The Good Nurse,” a hospital-set murder mystery starring Jessica Chastain and Eddie Redmayne. The German “All Quiet on the Western Front” is a surprising #2, with the latest version of Erich Maria Remarque’s World War I novel proving again that there is an audience for films with military themes. (The film is Germany’s Oscar International Film entry).
Also new originals this week are the South African crime drama “Wild Is the Wind” and the Spanish thriller “The Chalk Murder.” Also notable is “Blade of the 47 Ronin,” a Universal production that, instead of theatrical play or going to its own streamer, is on Netflix and, atypically, on VOD at $5.99. Once again, companies are increasingly testing the multi-platform model.
iTunes and Google Play rank films daily by number of transactions. These are the listings for October 31. Distributors listed are current rights owners. Prices for all titles are for rental.
iTunes
1. Bullet Train (Sony) – $5.99
2. Nope (Universal) – $5.99
3. Top Gun: Maverick (Paramount) – $5.99
4. Don’t Worry Darling (WBD) – $19.99
5. Barbarian (Disney) – $3.99
6. Fall (Lionsgate) – $5.99
7. Where the Crawdads Sing (Sony) – $5.99
8. Confess, Fletch (Paramount) – $4.99
9. Coraline (Focus) – $2.99
10. Bros (Universal) – $19.99
Google Play
1. Top Gun: Maverick (Paramount) – $3.49
2. Bullet Train (Sony) – $5.99
3. Nope (Universal) – $5.99
4. Barbarian (Disney) – $3.99
5. Don’t Worry Darling (WBD) – $19.99
6. Where the Crawdads Sing (Sony) – $5.99
7. Minions: The Rise of Gru (Universal) – $4.99
8. Jurassic World: Dominion (Universal) – $5.99
9. Jeepers Creepers Reborn (Screen Media) – $6.99
10. The Black Phone (Universal) – $5.99
Vudu
Vudu ranks by revenue, not transactions, which elevates Premium VOD titles. This list covers October 24-30.
Most viewed, current ranking on Netflix’s daily chart on Monday, October 31. Originals include both Netflix-produced and acquired titles it initially presents in the U.S. Netflix publishes its own weekly top 10 on Tuesdays based on time viewed.
1. The Good Nurse (2022 Netflix original)
2. All Quiet on the Western Front (2022 German Netflix original)
3. The School for Good and Evil (2022 Netflix original)
4. Hotel Transylvania 2 (2015 theatrical release)
5. Wild Is the Wind (2022 South African Netflix original)
Peacock announced today the Friday the 13th expanded prequel series Crystal Lake. Series comes from A24 and writer, showrunner and executive producer Bryan Fuller. A24, Marc Toberoff, Victor Miller and Rob Barsamian will also executive produce. Series details are being kept under wraps.
Courtesy of Peacock
“Friday the 13th is one of the most iconic horror franchises in movie history and we were dying to revisit this story with our upcoming drama series Crystal Lake,” said Susan Rovner, Chairman, Entertainment Content, NBCUniversal Television and Streaming. “We can’t wait to get to work with Bryan Fuller, a gifted, visionary creator who I’ve had the pleasure of being a longtime friend and collaborator, along with our incredible partners at A24, in this updated version for Peacock that will thrill long-standing fans of the franchise.”
Bryan Fuller: “I discovered Friday the 13th in the pages of Famous Monsters magazine when I was 10 years old and I have been thinking about this story ever since. When it comes to horror, A24 raises the bar and pushes the envelope and I’m thrilled to be exploring the camp grounds of Crystal Lake under their banner. And Susan Rovner is simply the best at what she does. It’s a pleasure and an honor to be working with her again.”
ABOUT THE SERIES: Writer / Showrunner / Executive Producer: Bryan Fuller Executive Producers: A24, Bryan Fuller, Marc Toberoff, Victor Miller and Rob Barsamian Studio: A24 Format: Drama series
New Line Cinema & Warner Bros. Pictures’ DON’T WORRY DARLING will make its streaming debut on HBO Max on MONDAY, NOVEMBER 7.
Directed by Olivia Wilde, DON’T WORRY DARLING stars Oscar nominee Florence Pugh, Harry Styles, Olivia Wilde, Gemma Chan, KiKi Layne, and Chris Pine. It also stars Nick Kroll, Sydney Chandler, Kate Berlant, Asif Ali, Douglas Smith, Timothy Simons and Ari’el Stachel.
Alice and Jack are lucky to be living in the idealized community of Victory, the experimental company town housing the men who work for the top-secret Victory Project and their families. The 1950’s societal optimism espoused by their CEO, Frank—equal parts corporate visionary and motivational life coach—anchors every aspect of daily life in the tight-knit desert utopia.
While the husbands spend every day inside the Victory Project Headquarters, working on the “development of progressive materials,” their wives—including Frank’s elegant partner, Shelley—get to spend their time enjoying the beauty, luxury and debauchery of their community. Life is perfect, with every resident’s needs met by the company.
All they ask in return is discretion and unquestioning commitment to the Victory cause. But when cracks in her idyllic life begin to appear, exposing flashes of something much more sinister lurking beneath the attractive façade, Alice can’t help questioning exactly what they’re doing in Victory, and why. Just how much is Alice willing to lose to expose what’s really going on in this paradise?
Danger at every turn! The Hallmark Movies & Mysteries channel has won over fans with its variety of thrilling franchises over the years — and the list just keeps getting longer.
While the characters and locations are different in each franchise, every mystery film series is packed with adventure, a witty and curious lead and lots of twists and turns.
In fact, Sweeney, who first played baker Hannah Swensen in the Murder, She Baked movies, revamped her character for a spinoff franchise that started in August 2021 called the Hannah Swensen Mysteries. The premise is still based on Joanne Flukes’ books, but the mysteries are even more intense.
“I’m so excited to revisit Hannah Swensen and to again work with Cameron [Mathison] and Barbara [Niven] on these fun stories that combine romance with intrigue,” the Days of Our Lives star said in a statement to Entertainment Tonight in May 2021. “The fans have been so vocal in their love of these characters and it’s exciting to be bringing them back to life and to return to Hannah’s bakery where it all began.”
Fans met Sweeney’s Hannah in 2015’s Murder, She Baked: A Chocolate Chip Cookie Mystery. The amateur sleuth managed to help solve a murder, spark a romance with the town’s new detective, Mike Kingston (Mathison), get caught in a love triangle with dentist Norman Rhodes (Gabriel Hogan) and run her bakery all in one movie.
While the series concluded in 2017, the characters all returned in 2021 for the revamped — and continued story line — of the baker who can’t stay out of trouble no matter how hard she tries.
Sweeney, who is also the star of The Chronicles Mysteries, isn’t the only Hallmark Movies & Mysteries actor who is busy with a successful franchise. Cameron Bure, who is the reigning queen of Christmas for the main Hallmark Channel network, is also a staple on the mysteries front.
She starred in 17 Aurora Teagarden Mysteries movies from 2015 to 2021. In February 2022, her 18th film in the series debuted with the Full House alum bringing a familiar face along for the ride: her daughter Natasha Bure.
“I loved it. I loved every minute of it,” Cameron Bure exclusively told Us in February 2022 of working with her daughter, who plays the younger version of her character, Aurora, in the mystery.
The Christmas Contest star explained that she had talked about bringing both Natasha and Lexa Doig’s daughter, Mia Shanks, into the franchise for a while before it actually happened. (Doig plays Aurora or Ro’s BFF Sally Allison in the series.)
“We were like, ‘Wouldn’t it be great if we did an Aurora Teagarden [and] we did flashbacks and we had our own daughters playing us as teenagers?’” the California native recalled. “So to have that come true and we were able to do that [as actors] was so much fun.”
Cameron Bure, who also shares sons Lev and Maksim with husband Valeri Bure, joked: “I felt like the biggest stage mom. I was so proud. I was giving her all kinds of notes and how to act like Aurora and Lexa was doing the same with her daughter. And we were taking pictures and then video recording the screen as they were doing their scenes. Like it was, it was so much fun.”
Scroll down to see which Hallmark Movies & Mysteries franchise you’ve already seen — and which ones you need to mark off your list:
The season 2 premiere of THE WHITE LOTUS tallied just over 1.5 million viewers in the U.S. on Sunday night across HBO Max and linear telecasts, according to a combination of Nielsen and first party data.
Total cross-platform viewing was up 63% vs. the season 1 premiere night (944K) and up 35% compared to the average debut night audience for each episode across season 1 (1.1M).
Season 1 went on to average 9.3M viewers per episode across platforms in the U.S. The series saw a resurgence of viewing in the weeks leading up to the season 2 premiere, ranking among the top 5 series on HBO Max last week.
The first installment, which premiered July 2021, received 20 Emmy® nominations across 13 categories and 10 wins, the most wins of any program this year, including Outstanding Limited or Anthology Series.
Season 2 credits: Created, written and directed by Mike White; executive produced by White, David Bernad and Mark Kamine.
Film Mode Entertainment, The Soska Sisters, and Radar Pictures are thrilled to announce UNSEEN, the latest thriller/horror from the infamous, world-renown “Twisted Twins” aka Jen and Sylvia Soska, whose hit films include Vendetta, Rabid, American Mary and ABC’s of Death. The film is written and directed by Jen and Sylvia Soska and is currently casting. The film is produced by global powerhouse producer Ted Fieldwhose impressive credits include a slew of global box office hits like Texas Chainsaw Massacre, Amityville Horror and the Jumanji franchise.
Film Mode Entertainment (FME) is teaming up with Jen and Sylvia Soska, aka “The Twisted Twins” again, after a successful run on the hit 2019 reimagined David Cronenberg horror film, Rabid, on the groundbreaking new film, UNSEEN, inspired by one of the world’s most innovative video games, BlindSide. FME has just boarded the project as worldwide sales agent for global rights to the film.
Film Mode Entertainment will be premiering a presentation reel at AFM, featuring never before seen interviews of the producers and filmmakers sharing their vision for the film along with candid insight into their inspiration and influences on Monday, October 31, 2022 at 5pm at Tunnel Post in Santa Monica, and will begin pre-sales at the market.
“Audiences have already shown enormous appetite for sensory deprivation thrillers; and UNSEEN is going to raise the bar even higher in this high concept and suspenseful story. With the phenomenal talent of the Soska Sisters at the helm and Ted Field guiding the team forward, we know have a hit on our hands. Not only are we thrilled and honored to be working with Ted, Sylvia and Jen, we just can’t wait for audiences to embrace this thillride as much as we have.” Said Clay Epstein, President of Film Mode Entertainment.
“Unseen is an experiential horror film that places the audience in Kafkaesque dilemma where they wake up in a world of unknown terrors they can only hear since their sight is gone.” Said Radar’s CEO, Ted Field.
UNSEEN is a psychological sci fi thriller that takes place in the 1970s about a Boston couple who wake up blind. They quickly discover that everyone around them have also been stricken blind and what’s worse is there is something else in the darkness with them. Their only hope is Ada, a blind woman who volunteered the day before for an experiment to allow her to see again in her dreams. They receive a panicked call — now she can see! She is at the university up the street, and they must find their way to her if they hope to survive this nightmare.
“As lifelong gamers, we have always wanted to have the opportunity to adapt a video game into a feature film experience. Breaking new ground by exploring a thriller narrative within science fiction has given us the ability to elevate our story like never before. We are excited for fans to see something completely new from us.” Said The Soska Sisters, Jen and Sylvia.
The script for UNSEEN was inspired by the global sensation video game BlindSide, a terrifying audio-only thrilling adventure designed by tech gurus Aaron Rasmussen and Michael T. Astolfi set in a fully-immersive 3D world the gamer will never see, with over 1000 sound effects and pieces of dialogue, and gyroscope-enabled virtual reality. Inspired by Rasmussen’s experience temporarily living with blindness caused by an accidental explosion, the game offers an identical gameplay experience to both sighted and visually-impaired users
BlindSide quickly became well-known for its unique contribution to the audio-only game genre. It garnered nearly 50,000 downloads after its release, was honored with the Games for Change Most Innovative Award, was featured on MSNBC, in The New Yorker, Wired, and Gizmodo to name just a few. The game and its creators garnered further accolades from museum exhibitions to multiple awards, and the inner-workings and concept of the technology has been utilized by researchers and explorers, and now as the inspiration for a major feature film.
Producers for UNSEEN are Ted Field, Maria Frisk, Michael Napoliello, and Alex Power of Radar Pictures, and Twisted Twins Productions.
Clay Epstein of Film Mode Entertainment is Executive Producing.
UNSEEN is currently in development and moving into the pre-production phase with additional news on casting and more to come.
Film Mode Entertainment continues to bridge the gap between filmmakers and audiences and raises the genre-bar for feature films by nurturing high-quality, engaging commercially viable movies like UNSEEN and bringing them to the global marketplace with great success.
The Soska Sisters (Twisted Twins) are represented by Wonder Street, Characters and Vanderkloot Law.
Radar Pictures is represented by Buchwald.
About Film Mode Entertainment
Film Mode Entertainment is a leading worldwide sales agent, production entity and distribution company, focusing on commercially driven feature films of all genres and budget sizes. Film Mode represents projects at all stages of the filmmaking process, often as Executive Producer, with the aim of helping producers and distributors achieve maximum exposure for their films. Film Mode’s recent titles include Mayim Bialik’s feature directorial debut, AS THEY MADE US, starring two-time Oscar-winner Dustin Hoffman, Academy Award-nominee and Emmy Award-winner Candice Bergen, Simon Helberg and Dianna Agron, CHICK FIGHT starring Malin Ackerman and Bella Thorne, CRYPTO starring Kurt Russell, Luke Hemsworth and Alexis Bledel, STAGE MOTHER starring Academy Award nominee Jacki Weaver, Lucy Liu and Adrian Grenier. Previous releases include SUGAR MOUNTAIN starring Jason Momoa, and THE GOOD NEIGHBOR starring Academy Award-nominee James Caan. Film Mode accelerated their growth and expanded their capabilities by entering into a partnership with SCREEN MEDIA, representing their catalogue of more than 600 titles, including WHAT’S EATING GILBERT GRAPE starring Leonardo DiCaprio, who was nominated for an Academy Award and a Golden Globe for his performance, and MONSTER, starring Charlize Theron who won an Academy Award and Golden Globe for Best Actress for the film. The company also has its own distribution arm, as well as a documentary label, DocMode. Film Mode is based in Beverly Hills, CA. For more information, visit www.filmmodeentertainment.com
About Radar Pictures
Radar Pictures is a leading Hollywood development company that leverages high-profile IP to produce motion pictures and television for the global marketplace. Radar was founded in 1999 by Ted Field, one of the most successful entertainment executives of the last 30 years with an outstanding track record in movies, music, and television. Mr. Field has produced more than 60 feature films, including hits “The Hand that Rocks the Cradle,” “The Last Samurai,” “The Amityville Horror,” “Jumanji,” and “Riddick,” which have generated over $10 billion in worldwide revenues, and is currently producing a number of epic television series, including Robert Jordan’s “The Wheel of Time.”
The best hand cream is kind of a big deal. Our hands suffer a ton of daily indignities, from typing away at computers to withstanding alcohol-filled hand sanitizers. But skin is still skin, wherever it is, and it deserves to be cared for. “What people don’t often realize is that the skin on your hands is just as important to pay attention to as the skin on your face,” says Anna Guanche, MD, a board-certified dermatologist in Calabasas, California.
Not only will your hands encounter dryness, sensitive skin, and, if those are left unchecked, eczema just from constant wear and tear, but they’re also susceptible to signs of aging, such as wrinkles and dark spots. “I see so many patients asking about sun spots on their hands, and it’s a really common spot for skin cancer,” says Mitalee Christman, MD, a board-certified dermatologist in Boston.
All this to say: The hands merit the same TLC as everywhere else, whether you’re working with cracked skin from overzealous handwashing, on the hunt for a fast-absorbing lotion that doesn’t leave a greasy residue, or need a nourishing option for super-dry skin.
That means when it comes to the best hand creams and lotions, you should look for similar moisturizing ingredients popular in other skin-care products—think humectants (like hyaluronic acid and glycerin), emollients (like ceramides and fatty acids), and occlusives (like petrolatum and beeswax). You can also look for certain preferences, such as unscented options, or those that offer built-in sunscreen. With that in mind, scroll on for the best hand lotions, ahead.
All products featured on Glamour are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.
The Critics Choice Association (CCA) today revealed an updated timeline for the 28th Annual Critics Choice Awards, which includes deadlines for submissions, voting, and dates for nominations announcements. Submissions for the Critics Choice Awards television categories are open until Monday, November 14, and TV nominees will be announced on December 6.
Film nominations will be announced on December 14, 2022. Winners will be revealed at the awards ceremony taking place on Sunday, January 15, 2023, and airing live on The CW from the Fairmont Century Plaza in Los Angeles (7:00-10:00pm ET – delayed PT, check local listings).
Additional dates can be found below.
28TH ANNUAL CRITICS CHOICE AWARDS TIMELINE:
Courtesy of the Critics Choice Association
Monday, November 14, 2022 – TV Submissions close
Tuesday, November 15, 2022 – NomComs begin deliberation (TV)
Friday, December 2, 2022 – NomComs render recommendations (TV)
Friday, December 2, 2022 – Nominating ballots go out to FILM Branch Members
Tuesday, December 6, 2022 – Critics Choice Awards TV nominations announced
Friday, December 9, 2022 – Deadline for returning nominating ballots (Film)
Wednesday, December 14, 2022 – Critics Choice Awards FILM nominations announced
Friday, January 6, 2023 – Final ballots go out to the FILM Branch Members
Friday, January 6, 2023 – Final ballots go out to the TV Branch Members
Friday, January 13, 2023 – Deadline for returning final ballots (Film)
Sunday, January 15, 2023 – 28th annual Critics Choice Awards
The Critics Choice Awards are bestowed annually to honor the finest in cinematic and television achievement and will continue its combined film and television awards format honoring the best in cinematic, televised, and streaming achievement. Historically, they are the most accurate predictor of Academy Award® nominations. The 28th annual Critics Choice Awards show will be executive-produced by Bob Bain Productions and Berlin Entertainment. The CCA is represented by Dan Black of Greenberg Traurig.
Follow the 28th annual Critics Choice Awards on Twitter and Instagram @CriticsChoice and on Facebook/CriticsChoiceAwards. Join the conversation using #CriticsChoiceAwards.
About the Critics Choice Association (CCA)
The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 580 media critics and entertainment journalists. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the intersection between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.
About The CW
THE CW TELEVISION NETWORK launched in 2006 as America’s fifth broadcast network, offering fourteen hours of primetime programming, Monday through Sunday 8-10pm ET/PT. The CW’s primetime programming is also available to stream for free, without authentication, on the ad-supported The CW app, now available on every major OTT platform, and CWTV.com. Additionally, The CW broadcasts a three-hour Saturday morning kids block. The CW’s digital network CW Seed launched in 2013 and offers original short-form digital content as well as past seasons of fan-favorite television series. For more information about the network and its programming, visit www.cwtvpr.com.
Cormac Roth, musician and son of actor Tim Roth, has died after a battle with germ cell cancer, his family announced. He was 25.
This past July, Roth revealed on Instagram that he had been diagnosed with a stage 3 version of the disease in November of last year, saying that it had “managed to stay many steps ahead of me” despite extensive chemotherapy treatments and multiple surgeries.
“It has taken away half of my hearing, 60pounds of weight, my confidence…but it hasn’t taken away my will to survive, or my love of making music,” he wrote. “Love to you all please make sure to do the things that you love. Life is short. It is chaos. And you never know when it’s going to be you.”
In a statement, Roth’s family called him a “wild and electric ball of energy and his spirit was filled with light and goodness.”
“As wild as he was, Cormac was also the embodiment of kindness. A gentle soul who brought so much happiness and hope to those around him,” the statement read. “The grief comes in waves, as do the tears and laughter, when we think of that beautiful boy across the 25 years and 10 months that we knew him. An irrepressible and joyful and wild and wonderful child. Only recently a man. We love him. We will carry him with us wherever we go.”
Roth is survived by his parents, Tim and Nikki, his brother, Hunter, and his half-brother, Jack.
Severance is adding an impressive array of corporate drones to its Season 2 roster.
Gwendoline Christie (Game of Thrones) and John Noble (Fringe) are among eight new cast members joining the Apple TV+ series in its sophomore run, TVLine has learned.
The new hires also include Alia Shawkat (Arrested Development), Merritt Wever (Unbelievable), Bob Balaban (The Chair), Robby Benson (the voice of Beast in Disney’s Beauty and the Beast, American Dreams), Ólafur Darri Ólafsson (The Missing, NOS4A2) and relative newcomer Stefano Carranante.
In addition, Apple TV+ announced that production is officially underway on Season 2. (See photo below, then keep reading.)
The new cast members will join returning series stars Adam Scott, Patricia Arquette, Britt Lower, John Turturro, Dichen Lachman, Zach Cherry, Tramell Tillman, Jen Tullock, Christopher Walken and Michael Chernus.
The series follows Scott and his team at Lumon Industries, whose employees undergo a procedure that divides their memories between their work and personal lives. But, as Season 1 showed us, the division isn’t always so neat. (Read a finale recap and check out our post-finale chat with Lower here.) The show hails from creator/writer Dan Erickson and director/executive producer Ben Stiller; Erickson and Scott also are among the show’s EPs, and Arquette will serve as a producer in Season 2.
How are you feeling about Severance‘s Season 2 newbies? Sound off in the comments!
The first season of the Reboot series has come to an end. In this episode, entitled ‘Who’s the Boss’, the creators of the show have prepared even more surprises and unexpected plot twists for the audience. Each of the characters is struggling with their old unresolved problems and trying to come out of them victorious. By the end of the season, viewers will see not only the peak of some characters’ relationships but they will also be able to see their true face, which they have tried to hide throughout the show.
What distinguishes this show is that in addition to brilliant humor, which perfectly conveys the state of each of the characters and fits each of the situations, there is also the heart of this show here – these are people who are trying to reboot their lives and start from scratch. So how will it end for each of them? Will there be a happy ending or not? Let’s find out.
WHO’S THE BOSS HERE?
The final episode begins in the writers’ room, where they are trying to order food (as always, there are difficulties). Suddenly, their sweet discussion is interrupted by Elaine, who asks Gordon and Hannah to talk to her in private (something seems to be happening…). Unexpectedly, Elaine informs them that her former boss has been fired and the management of Hulu has changed. And this event does not bode well. Gordon tries to calm Elaine down. After all, this has happened more than once (is it true?) and there’s nothing to worry about. Hannah and Gordon are trying to figure out who the new boss is now.
Courtesy of Hulu
Elaine reports that is Tyler Griffin. And, suddenly, Gordon changes his attitude to the whole situation. Is it really so bad? According to Gordon, Griffin is a terrible person who will smile in your face, and then stick a knife in your back (WOW!). It seems the whole show is under threat, because now he will cancel it. And not only the show, now everyone is at risk of being dismissed. To tell the truth, no one is ready for such a turn of events!
Courtesy of Hulu
Hannah and Gordon return to the writers’ room and everyone asks the same question – why does Gordon hate Griffin so much. And then the cruel truth is revealed why the original show ‘Step Right Up’ was canceled. This information just throws Hannah into shock. It turns out that the reason was Griffin himself. But why? The thing is (again, according to Gordon) that Gordon and Griffin just didn’t get along (to put it mildly). Griffin considered their show a failure and told the press that this show was “under performed”.
But Gordon decided to tell the truth to the press and Griffin didn’t like it. But is this the true reason? Unfortunately, the real reason is much worse. One of the screenwriters, Selma, reminds Gordon that he slept with Griffin’s wife (what a twist!). Gordon says it was just revenge (allegedly he took this idea from the movie ‘Tin Men’). Everyone in the room is joking about it, but Hannah is trying to bring everyone back to earth. Don’t any of them realize that the show will definitely be canceled now?! It seems that everyone understands everything, they are just trying not to acknowledge it.
STRESSFUL MEETING WITH TYLER GRIFFIN…
And then Elaine reappears in the writers’ room and informs them that Griffin is waiting for Gordon and Hannah in his office (it seems someone has problems!). And then everyone realizes that the show could be canceled at any moment. Gordon and Hannah walk into the office and see Tyler Griffin (Peter Gallagher) is “very busy” talking on the phone. He ends the conversation and turns to Gordon and Hannah. He says he really likes the show. According to him, it is immediately obvious that Hannah had a hand in it (this is not what happened before in the old show). Everything seems to be going well. But it is not like that.
Courtesy of Hulu
After all these great words, he informs Gordon and Hannah that he is taking Timberly away from them for the leading role in another show (how is that?). Hannah says he can’t do it, because they have a contract with her. But Griffin says he can do anything, and he can also cut production and marketing budgets. And he does all this out of spite (this is a mess!). Gordon breaks down and calls Griffin stupid and vain. In other words, he calls him a man without brain (that’s an insult!).
Courtesy of Hulu
In addition, he adds that Griffin’s wife slept with him because Griffin was “under performed” (touché!). And Gordon proudly leaves his office. Hannah just has no words (what just happened?). Griffin hints to her that she may be the only showrunner on this show, and Gordon will leave. But Hannah refuses such a tempting offer. Hannah is just shocked by what Gordon has done.
She catches up with her father and tries to figure out what just happened. Gordon is proud of what he just did (he will go down in history!). All that matters to him is that now everyone in his circles will talk about this conversation with Griffin! Hannah tries to shame him and says that he has just taken a job from a large number of people who work on the show (and many of them have families!). But it doesn’t seem to bother Gordon much. So how will it end for everyone? We will return to this a little later.
HOW COULD THIS HAPPEN WITH BREE AND REED?
While Gordon and Hannah are trying to accept the situation they find themselves in, Bree gives an interview to one of the journalists. It seems that everything is going perfectly. But then the journalist asks Bree a question, which stuns her. Bree is asked how she feels about her ex-husband marrying his assistant (the one who broke up their marriage!). But Bree calmly answers the question that she is happy for him and this nice girl. But the journalist is relentless. After that, another question follows, how does she feel about the fact that they are expecting a baby (oh, my God!). Bree, of course, pretends that everything is great and says that she is happy for both of them.
Courtesy of Hulu
And, suddenly, she adds that she and Reed are back together and are even thinking about having children (this is a trap!). Of course, this will be exclusive material for the press! Timberly comes to the set and sees that Bree is just not herself. She’s trying to figure out what happened. Bree informs Timberly that she has just done a very stupid thing. Bree tells her about her “successful interview” and that she seems to have told reporters that she and Reed are back together. Timberly says that Reed’s interview comes right after Bree’s interview, and it is necessary to warn him about this “important issue”.
Courtesy of Hulu
Bree rushes to Reed’s trailer in time to give him urgent information (of course, she doesn’t even knock!), and in the trailer she bumps into Reed’s girlfriend Nora (Eliza Coupe). What a surprise! Bree says it’s really nice to meet her. And Reed walks into the trailer, who is amazed that his girlfriend is here (and Bree too!). Bree says it was nothing urgent and leaves. Of course, Nora begins to suspect that something is wrong here. Reed says that there is nothing between him and Bree and tries to explain everything to her.
But he is urgently called for an interview (something will happen now!). Reed calmly gives an interview and talks about how glad he is to return to the show again and reunite with his old cast, from which you don’t expect any “surprises”. But then the journalist says that it was a surprise for her when Bree told her such unexpected news.
Courtesy of Hulu
Reed asks what the news is. She says it’s the news about his reunion with Bree, and she also mentions the kids. She reports that the Twitter is buzzing after such news. Reed is just in shock (it can be read on his face!), he smiles sweetly and just leaves the interview. He tries to call Nora, but gets a voice message.
Reed is just furious and can’t understand why Bree did this. Bree tells Reed that she panicked when she heard the news about her ex-husband. She just said the first thing that popped in her mind. Reed asks her if she still has feelings for him. Of course, Bree denies everything (but is it true?). Reed says it’s all just awful and that Bree has dragged him into the abyss of her lies, even though he didn’t ask for it. He tells her that this is his life, not a game. All Bree can blurt out is that she’s sorry about everything. Oh my god, what a disaster!
ZACK AND CLAY’S BIG PROBLEMS!
While the fate of the entire show is being decided, Clay is struggling with real problems in his life. Zack arrives at the set and sees Clay sitting motionless in his car (what happened?). He hesitantly approaches him, but Clay is just not himself. He informs Zack that today he has to sign papers for his first house (this is an occasion!). But Clay can’t come to terms with this and just can’t imagine himself as the kind of person who will live in his own house! This is a very big step for him, since now there will be no booze and drugs in his new home. Now he is leading an almost righteous lifestyle, and it is very difficult for him.
Courtesy of Hulu
Zack says it’s so cool when you buy your first house. And of course he understands that Clay is nervous and this is normal. Zack bought his first house at the age of 14 (and he was nervous too!). And then Zack adds that now he already has six houses, five of which he rents out. And, of course, it brings Zack extra income (what a smart guy!). Clay is just in shock. Zack goes to the set and meets Elaine there, who tells Zack the unpleasant news. She doesn’t want to be fired.
Zack calms her down and says that she is the best and no one will fire her for sure. But Elaine is not sure about this and hints to Zack that their show is also under threat of closure. Zack is distraught and understands that he has to tell Clay this news. But Elaine says he can’t do that, since this is confidential information. Zack says that he can’t do this to Clay and their friendship is a priority for him, not some formality. This is the first quarrel between Zack and Elaine. Is their relationship over?!
Courtesy of Hulu
Clay still does not dare to sign his documents. He is not completely sure about this decision. But his friend Dougie (Bob Clendenin), who is also a real estate agent (as well as his old buddy from AA), is trying to convince him of this. After all, this is also a great achievement for Dougie and a new step in his life too. And finally Clay gives in and is ready to sign everything.
But then Zack bursts into the trailer and asks Clay not to sign the papers for the house. That’s brave! Zack explains this by saying that their work is not stable and anything can happen. And Clay is not sure about it. Of course, Zack doesn’t tell him the most important reason. And, in the end, Clay signs the papers for the house. Zack leaves without saying what’s really going on. What’s next?
WILL THE SHOW BE CANCELED?
It seems that Gordon is not in the mood to apologize to Griffin and the show really will close. Is this really so? Gordon walks around the set and asks to scroll back through the footage: he laughs and realizes that the show has really exceeded all his expectations. He walks past the writers’ room and sees how Hannah deftly handles everything. The viewer can see on his face how proud he is of his daughter. Gordon goes back to Griffin’s office and says they need to talk again (what will happen?). At the end of the working day, Hannah informs Gordon that she has consulted Mallory from HR, and Griffin can be pressured to change his decision to cancel the show. But Gordon stops Hannah. And he says that this should not be done.
Courtesy of Hulu
He has already agreed with Griffin (made a deal with him) that if Gordon leaves the post of showrunner of this show, then Griffin will not cancel it. Hannah can’t believe what she’s hearing. She is amazed that Gordon is simply unable to apologize to Griffin. But Gordon says he’s too old and rich to do that. But he is sure that everything will be fine with the show, because Hannah knows what she is doing.
Hannah says he’s leaving her again, like he did when she was a kid. But Gordon says it’s not the same. He says he’s proud of her and what they did on the show together. But he has to go. He doesn’t want to say goodbye to anyone, because he has done this so many times that it will be unbearable for him. He packs up and leaves. Hannah stays alone in his office…
Courtesy of Hulu
At this time, Reed returns to Nora in hotel room to explain the whole situation with Bree. He sees that Nora has already packed her things and is ready to leave. After all, she has learned important news from Twitter. But Reed tells her that it is nothing and that there cannot be anything between him and Bree. Bree blurted all this out in a hurry, without thinking about the consequences. But Nora says that this whole situation is unacceptable for her and a long-distance relationship is not for her.
And then Reed takes an important step (but is it the right one?) he asks Nora to marry him. Nora agrees (but she is in a kind of stupor for a minute…). Both are happy about this, but their conversation is interrupted by a phone call from Nora’s mother. She goes into another room. At this moment, Bree calls Reed. She admits that she wasn’t honest with him. And everything she said in the interview about their relationship with Reed, she just wanted to hurt her husband. After all, her husband had always been jealous of Reed. But why? The answer is simple – Bree never stopped loving Reed and her feelings are still alive. Reed is shocked and says he just got engaged to Nora. Bree understands everything and hangs up…
Courtesy of Hulu
Meanwhile, Clay still can’t come to terms with buying his house. He’s sitting in an empty house and something is eating him from inside. Suddenly, the doorbell rings, and he gets a gift from Hulu to congratulate him on the purchase of his new house – it’s a bottle of alcohol (it’s tough!). He continues to stare at this bottle of alcohol, and it seems that now he will break his sober lifestyle. But at the most critical moment, his thoughts are interrupted by the doorbell. On the threshold, he sees Bree, who congratulates him on buying a house and says that she does not want to feel lonely. Clay says it’s better for him not to be alone either. And that’s where the first season ends, leaving viewers with so many unsolved questions that their heads are spinning.
IS THE REBOOT OF CHARACTERS’ LIVES OVER OR NOT?
The first season ends on a strong note, but also sad at the same time. All the characters are definitely going through hard times, but not everything is always smooth and good in life. This is what the creators of the Reboot series are trying to explain. Their main goal is to show that each of the characters is an ordinary person with problems like everyone else and everyone experiences them in their own way. Each of them goes through their own growth path from episode to episode.
Courtesy of Hulu
Clay has learned to live without alcohol and stay sober throughout the day (although it is not easy for him). Bree is trying to sort out her feelings and emotions and at the end of the season she succeeds. Zack really falls in love for the first time and learns how to behave in this situation. Hannah and Gordon restore their father-daughter relationship throughout the series, and they do it well. Reed learns to empathize with his colleagues and also deals with his feelings. Of course, by the end of the season, viewers see that the characters have not yet fully figured themselves out and solved all the problems. But at least they’re trying to do it!
And we must pay tribute to the entire cast and creators of the series for creating such a wonderful project. After all, every episode in this show is great, and the actors have done an amazing job embodying these characters on the screen. But, of course, at the end of the season, the creators of the show leave the audience with a little shock (and how else?). Obviously, at the end it is hinted that this show will definitely not end. After all, there are so many questions that viewers will certainly want to get answers to. But will they get them? Perhaps we will find out very soon.
Julia Roberts is still cinema’s sweetheart. With a filmography that has amassed a collective gross of more than $3.9 billion globally, which is in the top 50 of any actors of all time, she has become one of the defining actors of her generation.
After an early breakout in “Mystic Pizza” (1985), Roberts’ explosion in Hollywood came with her work as the charming Shelby in “Steel Magnolias” (1989), which earned her an Oscar nomination for best supporting actress.
The following year, she gave the world Vivian Ward, the “hooker with a heart of gold” in Garry Marshall’s classic rom-com “Pretty Woman” (1990) opposite Richard Gere. She picked up her second nom for best actress and became one of the most famous celebrities in Hollywood.
Throughout most of the 1990s and the first half of the 2000s, she was the highest-paid actress in Hollywood, earning between $20-25 million per film, which included “My Best Friend’s Wedding” (1997), “Notting Hill” (1999) and “Runaway Bride” (1999). When she was cast as the single mother in “Erin Brockovich” (2001) opposite Albert Finney and Aaron Eckhart, she gained the respect of her peers that she so richly deserved. She steamrolled the awards season, winning the Golden Globe, SAG and eventually, the Oscar for best actress for her towering performance.
Not done yet, she moved into franchises such as “Ocean’s Eleven” (2001) and “Ocean’s Twelve” (2004) and has worked with directors like Mike Nichols (“Charlie Wilson’s War” and “Closer”), Jodie Foster (“Money Monster”) and Peter Hedges (“Ben Is Back”).
Next on the docket for the star after the release of “Ticket to Paradise” with George Clooney is the upcoming thriller “Leave the World Behind,” based on the novel by Rumaan Alam. Distributed by Netflix, she will star alongside Oscar winner Mahershala Ali, Ethan Hawke and Kevin Bacon.
In honor of her 55th birthday, Variety has ranked Roberts’ 10 best film performances below.
Honorable mentions: “Mystic Pizza” (1985); “Sleeping with the Enemy” (1991); “Stepmom” (1998); “Charlie Wilson’s War” (2007); “Duplicity” (2009)
The Hirs Collective have announced a new album with a stacked roster of special guests. The self-produced We’re Still Here arrives March 24 via Get Better and includes contributions from Frank Iero (of My Chemical Romance), Pierce Jordan (of Soul Glo), Geoff Rickley (of Thursday), Jeremy Bolm (of Touché Amoré), Marissa Paternoster (of Screaming Females), Damian Abraham (of Fucked Up), Justin Pearson (of the Locust and Planet B), Chip King (of the Body), and more.
Today, the group has shared the LP’s title track, which features vocals from Shirley Manson of Garbage. Check it out below and scroll down for the tracklist and cover art.
“We’ll never quit this collective, a version of therapy for ourselves and anyone who feels in need to scream their lungs out for one more day of living,” the Hirs Collective said in a press release. “We don’t think we can destroy every single negative structure, but we can dismantle them within ourselves. And if we have the chance to destroy it, let’s fucking go. But we aren’t going to be given any power from anyone else and have to take it for ourselves.”
Content
This content can also be viewed on the site it originates from.
We’re Still Here:
01 We’re Still Here [ft. Shirley Manson and AC Sapphire] 02 Sweet Like Candy [ft. No Man, Thou and Jessica Joy Mills] 03 Burn Your House Down [ft. Jessica G.Z. and Gouge Away] 04 N.O. S.I.R. [ft. Justin Pearson and Nevada Nieves] 05 Waste Not Want Not [ft. Soul Glo and Escuela Grind] 06 Public Service Announcement [ft. Dan Yemin and Dark Thoughts] 07 Judgement Night [ft. Ghösh and Jessica Joy Mills] 08 Trust the Process [ft. Frank Iero, My Chemical Romance and Rosie Richeson] 09 XOXOXOXOXOX [ft. Melt Banana] 10 You Are Not Alone [ft. Lora Mathis and The Body] 11 Apoptosis and Proliferation [ft. Nate Newton and Full of Hell] 12 So, Anyway… [ft. Geoff Rickley and Kayla Phillips] 13 A Different Kind of Bed Death [ft. Anthony Green and Pain Chain] 14 Neila Forever [ft. Jeremy Bolm and Jordan Dreyeri] 15 Last King Meets Last Priest [ft. Chris #2 and Derek Zanetti] 16 Unicorn Tapestry Woven in Fire [ft. Marissa Paternoster, Damian Abraham and Pinkwash] 17 Bringing Light and Replenishments [ft. The Punk Cellist and Sunrot]
Essential Doc Reads is our curated selection of recent features and important news items about the documentary form and its processes, from around the internet, as well as from the Documentary magazine archive. We hope you enjoy!
What started as a rejected book idea has evolved into Is That Black Enough For You?!?, a documentary that is rich with archival clips and embedded with interviews from Black talent from throughout the ages. From Vanity Fair, Yohana Desta reflects on how the documentary explores Black contributions to culture, specifically in cinema.
Mitchell reexamines and exalts landmark Black cinema of the 1970s, heralding the artistic and entrepreneurial pioneers who not only shaped the decade but also created blockbuster templates that white Hollywood lifted wholesale and used for its own success. Creating a movie soundtrack and releasing it ahead of the film as a way to drive ticket sales? For that tactic, you can thank Curtis Mayfield, who released his soundtrack for the 1972 film Super Fly a month before the movie’s debut, just because he could. Introducing a film’s main character by showing them walking through New York to the sounds of a groovy disco song? Shaft did it six years before John Travolta strutted into Saturday Night Fever. (As Mitchell quips in the film: “Every generation gets its own Elvis or Eminem.”)
Matthew Carey from Deadline assesses the value of art outlined in Kelcey Edwards’ The Art of Making It. Through interviews with people positioned throughout the art ecosystem, the documentary evaluates the fragility of the art world and the risks artists take to make their place in it.
“Art is typically dialogued about more as a commodity and less as a place to exchange ideas,”. director Kelcey Edwards observed during a panel discussion after the screening. “I started to kind of become concerned that these artists who were trying to express themselves and foster important cultural dialogue about some of the most pressing issues of our time were running against the unsustainability of what they were trying to do and so many barriers to entry.”
“We were hoping to shine a light on people crazy enough to take on all this debt and receive all this education,” noted producer Debi Wisch. “And even with a terminal degree from a school like Yale, the chances of making It — which in our minds was being able to support yourself, doing what you’re trained to do — was less than 5 percent. I think you’d be hard-pressed to find any other… nonlinear profession where the chances of making it are sort of so serendipitous and risky..”
Will Tizard from Variety discusses how the Ji.hlava Documentary Festival is acting in solidarity with Ukrainian filmmakers by screening films on Russia’s invasion of Ukraine, as well as hosting a conference on ethics. Funds from sale accreditations are going towards Docudays UA Festival.
Documentaries allow us to rethink the complex issues of the day, ask questions and not to succumb to stereotypes. With the Russian invasion of Ukraine, this is all the more important because it is a real milestone in the history of the 21st century. The rules that have been built up for decades have ceased to apply.
For The Guardian, Lauren Mechling discusses how Sara Terry’s A Decent Home paints an intimate and personal picture of the realities of the affordable housing crisis in the US. After six years of working on the doc, what Terry accomplishes is a human-driven story that promotes empathy on a topic previously desensitized by graphs and data.
This shift in the mobile home market is a microcosm of what’s happening across America, where more and more private equity firms are buying single-family homes and refashioning them as rental properties, putting home ownership out of reach for so many working Americans, and forcing so many communities to unravel.
The math is mind-boggling. While inflation and wage stagnation are impeding the average American’s ability to get by, rents are heading skyward.
Any filmmaker who sets out to make a documentary faces multiple challenges, not the least of which is a set of ethical issues inherent in the process. How to portray the subjects of the film? What to shoot and what not to shoot? How to edit so that the film is true to its topic and subjects, yet also works as a compelling story for the audiences? If a filmmaker is working in a foreign country or culture (or subculture), how to represent people with dignity and sensitivity to that place, time and experience?
Most people not involved in filmmaking are not entirely aware of the power of the camera and editing to structure events in ways they would never expect. At the heart of documentary, production is the relationship between filmmaker and subjects–not often an equal balance of power. And for the most part, it is the filmmaker who determines how that will be managed.
A survivor of the stampede that killed 154 Halloween revellers in Seoul has recalled the horror of seeing 40 bodies scattered around her after escaping the crush.
Authorities are being blamed for poor crowd control after 100,000 people – mostly in their teens and 20s dressed in Halloween costumes on the first night out without Covid curbs in three years – poured into streets in the popular Itaewon nightlife district.
Police said today they had deployed 137 officers at the event, significantly more than previous years. But witnesses said they were focused on tackling drug use rather than crowd control in the small, winding streets.
Among the dead was 24-year-old actor and singer Lee Ji Han, who appeared on reality TV show Produce 101 to create a K-pop band.
Mink and Federica, students from the Netherlands and Italy, joined the celebrations on Saturday night at the moment partygoers were collapsing and receiving CPR.
Mink told the BBC: ‘At the end of the alley there were 30, 40 bodies around me.
‘Everybody had been having fun, smiling, looking crazy, looking great. It just wasn’t something you could imagine would happen.’
Police officers examine the scene two days after a deadly stampede occurred in the Itaewon district of Seoul
Mourners pay tribute in front of a joint memorial altar for victims of the deadly Halloween crowd surge
Today, mourners have flocked to memorials honouring the 154 dead, and were seen weeping, praying and placing flowers at the official altar
Authorities are facing blame for poor crowd control after 100,000 people poured into Itaewon’s streets
Among the dead was 24-year-old actor and singer Lee Ji Han (pictured) who appeared on reality TV show Produce 101 to create a K-pop band
Federica added: ‘Seoul is famous for policemen being everywhere, and you always feel safe. It could have been better managed.’
Today, mourners went to memorials to the 154 dead and were seen weeping, praying and placing flowers at an official altar set up for the victims – who were mostly young women.
‘I am devastated by what happened, they were just trying to have a good time,’ 19-year-old student Hwang Gyu-hyeon told AFP, weeping and struggling to speak clearly.
‘I pray for the victims. I can’t believe this accident happened despite the signs that were clear beforehand. Nothing was done to prepare for this crowd,’ she said.
Song Jung-hee, 69, said she kept thinking about how ‘excited and spirited’ the young victims must have been, eager to enjoy a night out without Covid restrictions for the first time in three years.
Revellers were able to party without enforced mask wearing or group limits.
Police said at a briefing today they had deployed 137 officers to the event, significantly more than previous years
The victims were mostly in their teens and 20s and wearing Halloween costumes to celebrate the first night out without Covid restrictions in three years
A Buddhist nun prays in tribute to those who were killed, at a makeshift memorial outside a subway station
Officers guard the site of the deadly stampede in Itaewon, Seoul, as the country’s president, Yoon Suk-Yeol vowed a thorough investigation into what is one of the country’s worst disasters
‘If only there had been more police officers to keep order, this would not have happened,’ she told AFP.
Ji Han’s agency paid tribute to him today.
935 Entertainment said in a statement: ‘It’s true that Lee Ji Han passed away due to the accident in Itaewon on October 29.
‘We also hoped that it wasn’t true, and we were very shocked to hear the news. The family is suffering immense grief right now, so we are being very cautious. May he rest in peace.’
They later added: ‘Please send a warm farewell to [Lee], who left us too soon. We will also remember Lee, who shone beautifully with his passion for acting.’
Ji Han rose to fame on the second season of Produce 101, in which 101 contestants compete for a spot in a K-pop band.
He later appeared on the popular drama show Today was another Nam Hyan Day in 2019.
Dozens of mourners gathered at a makeshift memorial outside a subway station in Itaewon. Many wiped away tears as they placed white chrysanthemum and bottles of soju on the altar.
One sign at the memorial said: ‘At an age when you all were all about to blossom like flowers… My heart is broken. I pray all the souls will rest in peace in heaven.’
Calls for accountability were growing on Monday in the press and online, as potential lapses of crowd control and policing emerged.
‘This was a disaster that could have been controlled or prevented,’ Lee Young-ju, a professor from the Department of Fire and Disaster at the University of Seoul, told broadcaster YTN.
Investigators inspect the scene of a stampede that happened during Halloween festivities in Seoul
Calls for accountability were growing on Monday in the press and online, as potential lapses of crowd control and policing emerged
Left: The alleyway is seen early on Sunday morning. It remained cordoned off as police continued their investigations into the tragedy. Right: The same alleyway is seen shortly before the crush. Hundreds of people are shown packed in
Emergency workers urgently tried to extricate those most in need of medical assistance from the crowd
‘But this was not taken care of, with no one taking the responsibility in the first place.’
Online, claims also spread that police this year were not actively managing the crowd, which allowed too many people to congregate around the subway station and in the alleyway at the epicentre of the disaster.
‘I’ve lived in Itaewon for 10 years and experienced Halloween every year but yesterday was by no means particularly crowded compared to previous years,’ Twitter user @isakchoi312 wrote.
‘Ultimately, I think the cause of the disaster was crowd control.’
On Sunday, the government had defended the policing plan.
‘(The crush) was not a problem that could be solved by deploying police or firefighters in advance,’ Interior Minister Lee Sang-min told a briefing.
South Korea is typically strong on crowd control, with the country’s regular protest rallies often so heavily policed that officers can outnumber participants.
Revelers dressed in Halloween costumes are seen leaving the scene after a crush killed at least 154 people in Seoul
Korea’s Prime Minister Han Duck-soo (centre) inspects the scene of the deadly Halloween stampede
Protest organisers must by law report plans to authorities in advance, but there were no such requirements for the young people flocking to the Itaewon Halloween event.
Tens of thousands of partygoers were packed into the downhill alleyway that was no more than 10 feet wide.
Witnesses described scenes of chaos as people pushed and shoved to get through, with no police in sight to guide or control the crowd.
Others described being trapped in a narrow, sloping alleyway, and scrambling to get out of the suffocating crowd as people piled on top of one another.
Most of the 154 dead, including 26 foreigners, had been identified on Sunday, with the education ministry confirming on Monday that at least six young teenagers were among the victims.
But the toll could rise further with at least 33 people in critical condition, officials said.
The country started a week of national mourning, with entertainment events and concerts cancelled and flags nationwide flying at half-mast.
